Having come to the end of my BA Professional Practice (Acting) course at Middlesex University I look back at the wealth of knowledge I have accrued along the way.
I have been taught the importance of using existing networks, and discovering new ones, and how this can work to your advantage. I have been taught about different learning styles, how to use new online resources such as Delicious and Google Docs, and how to write a blog. All of these skills that we have been equipped with have not only helped us through our modules and our final project, but they are skills which will now be transferable to jobs I undertake in the future.
The final project has been a mammoth climb for me. I have never considered myself to be naturally good at writing and so being faced with a 12,000 word project appeared extremely daunting in the beginning. Being able to work through my fears and complete this project has been one of the biggest challenges I have faced so far. I have learned so much while carrying out this project about the importance of planning and executing such a large scale research project.
I was not sure at the beginning of the course what I hoped to get out of it. In realism, what I have gained from the last two years is more than I ever expected. I hope that I will have obtained a degree in which I can be proud of and that I can take the skills I have learned and put them into good practice in future work I do.
Thursday, 5 May 2011
Log 3: Summary of Project Findings
The project I have undertaken has been an exploration into the role of, and possible career progressions of Supporting Artistes. My aims were to establish if it is possible to progress from being a Supporting Artiste to an actor, to find out whether people that are influential to an actor’s career progression feel being a Supporting Artiste to be beneficial or not, and to find out how professionals such as other extras, actors, agents, production crews and casting teams within the industry perceive the role of a Supporting Artiste.
The results showed that the majority of people felt that it was possible for a supporting artiste wanting to progress into acting to achieve this. It also showed that the majority of people working in the industry valued the role of the supporting artiste, and that casting directors were willing to give supporting artistes who wanted to progress, a chance.
I hope that my project can be used as an informative tool to supporting artistes wishing to progress who are unsure if this is possible, and to people who are not sure about how to get into acting; I hope my project could allow them to consider using supporting artiste work as a route into acting.
The results showed that the majority of people felt that it was possible for a supporting artiste wanting to progress into acting to achieve this. It also showed that the majority of people working in the industry valued the role of the supporting artiste, and that casting directors were willing to give supporting artistes who wanted to progress, a chance.
I hope that my project can be used as an informative tool to supporting artistes wishing to progress who are unsure if this is possible, and to people who are not sure about how to get into acting; I hope my project could allow them to consider using supporting artiste work as a route into acting.
Tuesday, 3 May 2011
Log 2: Google Docs
Google Docs is a site which allows people to upload documents and to invite others to view or edit the documents which have been uploaded. It also allows users to chat with other users, and to publish documents onto blogs or web pages.
Google Docs was particularly useful to me as it allows you to look back at previously uploaded documents, which meant I was able to scan through drafts and feedbacks to tweak my final document.
In the module handbook we were issued at the start of this year it talks about the benefits of having someone else look over your work. Using Google Docs I have been able to invite friends and family who I have wanted to read my drafts to go onto Google Docs and view my documents. This has meant they have been able to offer vital advice and support on my project, without me having to individually send each person a copy of my draft.
Being able to access my documents from anywhere has been really important for me. I am not always in a position in which I can take my laptop with me, so being able to work on my drafts away from my laptop, in the library or at friends’ houses has been incredibly useful to me.
Google Docs, as with Delicious will be something I can use in the future and is a welcome new addition to my ever growing knowledge of the web.
Google Docs was particularly useful to me as it allows you to look back at previously uploaded documents, which meant I was able to scan through drafts and feedbacks to tweak my final document.
In the module handbook we were issued at the start of this year it talks about the benefits of having someone else look over your work. Using Google Docs I have been able to invite friends and family who I have wanted to read my drafts to go onto Google Docs and view my documents. This has meant they have been able to offer vital advice and support on my project, without me having to individually send each person a copy of my draft.
Being able to access my documents from anywhere has been really important for me. I am not always in a position in which I can take my laptop with me, so being able to work on my drafts away from my laptop, in the library or at friends’ houses has been incredibly useful to me.
Google Docs, as with Delicious will be something I can use in the future and is a welcome new addition to my ever growing knowledge of the web.
Log 1: Delicious
The website Delicious is a social bookmarking site which allows you to bookmark a website that you want to go back to. It allows you to save as many websites as you like and lets you share them with others, not just on the Delicious website but also via email or websites like Twitter. Delicious will categorise your websites based on tags that you give them, for example; I saved a website which looked into a career in acting, and I gave this website two tags, career and acting. This then enabled me to see all of the bookmarks saved by others with the same tags.
Delicious has served as a fantastic tool for me whilst carrying out my project. The ability to search the website for sites that had been saved by others relating to my project was invaluable when carrying out my Literature Review. It has also meant that if I have been away from my home computer and come across a website that I thought was relevant to my project, I was able to log into Delicious, save it and go back to it when I got home.
Carrying out my project and being introduced to this new website has taught me about a new aspect of the World Wide Web that I was unaware about before beginning the project. It is something I can use in the future, not just in further academic work but in future work and social settings.
Delicious has served as a fantastic tool for me whilst carrying out my project. The ability to search the website for sites that had been saved by others relating to my project was invaluable when carrying out my Literature Review. It has also meant that if I have been away from my home computer and come across a website that I thought was relevant to my project, I was able to log into Delicious, save it and go back to it when I got home.
Carrying out my project and being introduced to this new website has taught me about a new aspect of the World Wide Web that I was unaware about before beginning the project. It is something I can use in the future, not just in further academic work but in future work and social settings.
Saturday, 13 March 2010
Learning Diary 1
In this first learning diary I want to talk about career progression and whether the decisions we make at certain times in our professional lives are for the best or for the worst. The reason I have been thinking about this is because recently I decided to leave my current work placement at Chickenshed Theatre to peruse my career as an actor elsewhere. I thought long and hard about this decision, I considered what would happen if I left and then struggled to find work, I questioned my ability to “make it”. I also worried about how this change would affect my university course and choosing a topic title. I knew that if I stayed at Chickenshed I would have been supported there in whatever topic I had chosen and been given the resources I needed to carry out my topic research. So was this my safe option?
Since leaving Chickenshed I have focused all of my energy into finding myself the right kind of work and representation. So far I have been extremely lucky and have had a constant stream of work, and only this week landed my first speaking role for a programme for the BBC. I have realised that within the work I am doing now there is a huge network of people that I can call upon to help me research my topic.
I think that had I not left Chickenshed when I did then the opportunities that have arisen since, may not have come up, so I feel that I have definitely made the right career progression for me at this time.
Since leaving Chickenshed I have focused all of my energy into finding myself the right kind of work and representation. So far I have been extremely lucky and have had a constant stream of work, and only this week landed my first speaking role for a programme for the BBC. I have realised that within the work I am doing now there is a huge network of people that I can call upon to help me research my topic.
I think that had I not left Chickenshed when I did then the opportunities that have arisen since, may not have come up, so I feel that I have definitely made the right career progression for me at this time.
Thursday, 11 February 2010
A New Landscape- Recent Paintings
Hi guys, I wanted to make you all aware of an exhibition my dad will be holding soon in London. Here are the details and feel free to check out his website, the link is below:
http://www.roypickering.co.uk/
A NEW LANDSCAPE : Paintings by Roy Pickering and Charles Hustwick.
EXHIBITION OPEN : 22-27 February 2010 , Mon-Fri 10am -6pm Sat 11am-4pm
PRIVATE VIEW : Tuesday 23 February 6.00-9.00pm
VENUE : The Gallery in Cork Street
Contact : Roy Pickering
T: 07984 229 863 E: roypickering@hotmail.com W: www.roypickering.co.uk
Contact : Charles Hustwick
T: 020 7378 8153 E: chustwick@btinternet.com W: www.hustwick.co.uk
Contact : The Gallery in Cork Street
The Gallery in Cork Street, 28 Cork Street, London W1S 3NG
Wednesday, 6 January 2010
Writing Style 2 Draft 2
As I sit in the dressing room on the opening night of the show I can feel the adrenaline of the other cast members ricocheting off the walls. I am sat quietly in a corner going over in my mind all of my cues, the dance routine in the opening scene and my lines for the second act. My thoughts are interrupted by a tannoy announcement “The cast of Pinocchio, this is your beginner’s call. Please start standing by; this is your Act 1 beginner’s call”. This was it; I gather my group, ensuring everyone is ready and set to go on stage. As we walk through the dark corridors, lit only by the blue backstage light, my stomach reiterates my nerves by doing a slight flutter.
In the auditorium the stage is set with a large red and gold circus tent hanging from the ceiling. As the audience take their seats and the house lights begin to dim, three objects and dragged on stage by cast members. All is quite apart from the distance sound of whistling which becomes increasingly louder as Geppetto walks through the auditorium and onto the stage. While he whistles he removes the cloth covering two of the objects to reveal two very brightly coloured puppets.
Backstage, behind the curtain I am stood holding a washing basket watching the monitor, awaiting my cue. Gepetto begins to sing about carving a puppet as he uncovers Pinocchio, the third puppet hidden under the cloth. As he carves, the puppet comes to life arm by arm, leg by leg until the puppet Pinocchio is larger than life and ruder than ever! “You are the worst father a puppet has ever had” booms Pinocchio, “and you, are the rudest puppet a father has ever met!” retorts Geppetto. This is my cue. As I walk onto the stage, through the blinding lights that are painting the stage with a fountain of colours I can just about make out the silhouettes of hundreds of people. All of whom are staring at me, awaiting the next instalment of the story being told to them.
My job at this point is to show my distain towards Pinocchio’s behaviour through body language and facial expressions. Pinocchio begins to run around the stage causing havoc and distruction, including emptying the contents of my washing basket across the stage! He runs through the audience singing and performing aerobatics.
We begin to sing and dance telling the story of how we are able to catch this puppet and find out why he is behaving in such a way. We finish the song and run off stage. We did it, the first scene is over with, and as I walk back through the dark corridor and up to the dressing room, my heart is pumping and adrenaline is pumping through my veins at a rapid rate. I now wait, wait for the next scene and for another rush excitement.
In the auditorium the stage is set with a large red and gold circus tent hanging from the ceiling. As the audience take their seats and the house lights begin to dim, three objects and dragged on stage by cast members. All is quite apart from the distance sound of whistling which becomes increasingly louder as Geppetto walks through the auditorium and onto the stage. While he whistles he removes the cloth covering two of the objects to reveal two very brightly coloured puppets.
Backstage, behind the curtain I am stood holding a washing basket watching the monitor, awaiting my cue. Gepetto begins to sing about carving a puppet as he uncovers Pinocchio, the third puppet hidden under the cloth. As he carves, the puppet comes to life arm by arm, leg by leg until the puppet Pinocchio is larger than life and ruder than ever! “You are the worst father a puppet has ever had” booms Pinocchio, “and you, are the rudest puppet a father has ever met!” retorts Geppetto. This is my cue. As I walk onto the stage, through the blinding lights that are painting the stage with a fountain of colours I can just about make out the silhouettes of hundreds of people. All of whom are staring at me, awaiting the next instalment of the story being told to them.
My job at this point is to show my distain towards Pinocchio’s behaviour through body language and facial expressions. Pinocchio begins to run around the stage causing havoc and distruction, including emptying the contents of my washing basket across the stage! He runs through the audience singing and performing aerobatics.
We begin to sing and dance telling the story of how we are able to catch this puppet and find out why he is behaving in such a way. We finish the song and run off stage. We did it, the first scene is over with, and as I walk back through the dark corridor and up to the dressing room, my heart is pumping and adrenaline is pumping through my veins at a rapid rate. I now wait, wait for the next scene and for another rush excitement.
Monday, 4 January 2010
Writing Style 3
“We work using an inclusive creative process which means everyone is welcome, and everyone is valued”
(http://www.chickenshed.org.uk/about/main)
Chickenshed Theatre Company was founded in 1974 by Mary Ward and Jo Collins with the vision of creating a theatre company that would be accessible and available to anyone with a passion to perform, 35 years later this can still be seen in every aspect of their work. They would describe their method of theatre as inclusive theatre, an ethos that aims to make every aspect of the workshopping, rehearsals, production and performance accessible to all, be it performer or audience member.
This vision can be seen today within Chickensheds workshops, education programs and regular performances and shows, both onsite and at outside locations. It runs workshops either as a regular commitment or as one off events, for children, adults or schools/companies. These aim to include everyone who is interested regardless what their situation might be, as long as there is an interest, anyone is welcome. As the Chickenshed website states “These workshops are all underpinned by our inclusive creative process which harnesses the creativity of each individual, and magnifies it, to make theatre that belongs to everyone.” At present Chickenshed has over “600 amazing children and young people” involved in workshops, as members, on a regular basis. Anyone can become a member however the waiting list has over 2000 names of potential members all waiting to become a part of this unique setup.
In terms of education Chickenshed was the first centre, and remains the front runner, to teach inclusive performing arts. Like the workshops it is open to anyone who shows interest in the arts and is willing to do what it takes to develop and progress. Not only does it provide the chance for youngsters to learn about the world of performing arts it also provides nationally recognised and accredited qualifications such as courses at BTEC, foundation degree and MA level. As well as working in workshops, both active and written based, students also take part in performances alongside company members.
Chickensheds values and visions can best be seen through its performances. In its current production of Pinocchio, an adaptation of Carlo Collodi’s original story from “The Adventures of Pinocchio”, it combines drama, dance and music, sign language, audio description and captioning to create an inclusive experience for both audience and cast. The ethos of inclusion can be seen in the 600+ cast, which is split into 4 rotas that perform 15 shows each throughout the run and is lead by a group of core cast who participate in all 60 shows. This allows all of the members of Chickenshed’s children, youth workshops and its students to partake in the show if they so please, without the story or quality being compromised. The involvement of sign language in the show not only allows deaf cast members to follow cues on stage, it also does not exclude certain audience member from being able to watch the performance.
So with this in mind can Chickenshed’s vision of “everyone is welcome, everyone is valued” still be seen to be working today. I feel that their latest production of Pinocchio not only shows this but also shows the potential the company has to further this vision in the future.
Writing Style 2
The stage is set with a large red and gold circus tent hanging from the ceiling. As the audience take their seats and the house lights begin to dim, three objects are dragged on stage by cast members. All is quite apart from the distance sound of whistling which becomes increasingly louder as Geppetto walks through the auditorium and onto the stage. While he whistles he removes the cloth covering two of the objects to reveal two very brightly coloured puppets. Gepetto begins to sing about carving a puppet as he uncovers Pinocchio, the third puppet hidden under the cloth and as he does so one of the other puppets begins to sign as Geppetto sings. As he carves, the puppet comes to life arm by arm, leg by leg until the puppet Pinocchio is larger than life and ruder than ever! The stage suddenly comes to life with cast members, some doing washing, others gossiping, all doing intriguing things for the audience to feast their eyes on.
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Sunday, 3 January 2010
Writing Style 1 Draft 2
Chickenshed Theatre Company would like to cordially invite you to their Christmas production of Carlo Codolli’s Pinocchio.Chickenshed are bringing this production back to life for a second time in what promises to be even better than the first. Experience the magic as the two hundred strong cast inclusively incorporate dance, drama, music and sign language to re tell an age old classic!
Follow Pinocchio along his journey as he transforms from a wooden puppet into a real life boy, from naughty to nice, and even into a donkey! Watch as the 7ft tall, hip HOPPING cricket bounces his way across the stage and marvel as the Blue Fairy enchants you with her aerobatics on the suspended circus ring.
This production is the perfect outing to get you into the Christmas spirit as the Chickenshed cast turns this fantastic classic into a truly unique and original experience for all the family. Never has a production made the audience feel so involved in a story as this one does, with characters popping up in the auditorium and magical songs encouraging them to sing and clap along.
Brought to you from their theatre in the heart of London’s Southgate, this production runs from the 9th December until 16th January.
Ticket prices:
Previews (Wed 9 – Sat 12 December):
Stalls: £12, Gallery: £10
Peak performances (Fri 18 December – Saturday 2 January):
Stalls: £19.50, Gallery: £13.50
Standard performances (all other dates):
Stalls: £18, Gallery: £12
Concessions are available for all performances.
Sign Language is integrated into all performances
Captioned performances:
Friday 18 December at 7.30pm
Friday 8 January at 12pm
Saturday 9 January at 3.30pm
Audio-described performances:
Wednesday 23 December at 7.30pm
Wednesday 6 January at 1pm & 7.30pm
Friday 8 January at 7.30pm
Monday, 9 November 2009
Writing Style 1
Chickenshed Theatre Company would like to cordially invite you to their Christmas production of Carlo Codolli’s Pinocchio. Experience the magic as the two hundred strong cast incorporate dance, drama, music and sign language to re tell an age old classic!
Follow Pinocchio along his journey as he transforms from a wooden puppet into a real live boy, from naughty to nice, and even into a donkey!
This production is the perfect outing to get you into the Christmas spirit as the Chickenshed cast turns this fantastic classic into a truly unique and original experience for all the family.
Brought to you from their theatre in the heart of London’s Southgate, this production runs from the 9th December until 16th January.
http://www.chickenshed.org.uk/
Box Office: 0208 292 9222
Follow Pinocchio along his journey as he transforms from a wooden puppet into a real live boy, from naughty to nice, and even into a donkey!
This production is the perfect outing to get you into the Christmas spirit as the Chickenshed cast turns this fantastic classic into a truly unique and original experience for all the family.
Brought to you from their theatre in the heart of London’s Southgate, this production runs from the 9th December until 16th January.
http://www.chickenshed.org.uk/
Box Office: 0208 292 9222
Thursday, 5 November 2009
Kolb's Learing Cycle
Following the session we had last week on Kolb’s Learning Cycle I am going to attempt to write four examples which will hopefully fit into the four categories outlined in the Cycle; Concrete Experience, Reflective Observation, Active Experimentation and Abstract Conceptualisation. Here goes...
Concrete Experience
After completing my A Levels in Nottingham and taking 2 years out to work at the BBC I decided it was time to get a degree. I knew I wanted to do my degree in Performing Arts, or if possible in Acting. I applied to a number of different universities and performing art colleges and waited to see if I would be given an interview. Quite late on into the year I received a letter from Chickenshed, one of the places I had applied for, asking me to come to an open day and for an interview. I spent the day there and watched a production of Vanity Fair that was being shown in the theatre at the time. I was amazed at the professionalism of the performance and was excited at the possibility of being able to be part of that. I wasn’t sure I was quite ready to leave Nottingham as I had a lot of ties there and had started to feel as though I had just found a good network of support there, but this course looked good and so I had a dilemma on my hands. Two months later my status on UCAS changed from conditional to unconditional and I realised how I was secretly hoping to get in and how excited I was about getting the place...so I packed my bags, left Nottingham and moved to London!
Reflective Observation
Having been in London now for two years and having just completed my Foundation Degree I can look back and reflect on whether my decision to move was the right one. In the two years I’ve been here I have been part of 7 professional theatre productions, performed in venues such as the Hard Rock Cafe and The Guildhall and learnt sign language! That alone is more than I did in the six years I was in Nottingham. I think that the decision to move was the right one as it has opened me up to experiences I would never have had if I had stayed where I was. Not all of it has been positive, I have struggled to build a good group of friends that I know I can rely on at the drop of the hat, with the exception to one or two people. This has made it hard and quite lonely at times and I still get homesick every now and then, but I haven’t lost my friends in Nottingham and I get to see them often. So I guess you could say I get the best of both worlds...the glitz and glamour that London brings, and the comfort and support from Nottingham.
Abstract Learning
Doing my Foundation at Chickenshed has opened me up to an entirely new type of theatre that previously I had very little knowledge of- Inclusive Theatre. I have learnt that unlike what most drama schools will tell you, it isn’t about being the best at what you do according to a bunch of people judging you from behind a desk, it’s about having the passion to do what you want to do and if you have that passion then who’s to say you can’t do. The director at Chickenshed often says to us that by thinking like this it doesn’t mean that we’re compromising quality because she expects nothing less than the best that we can offer. Being able to think this way, and being able to strive off of the passion and love that I have for acting has given me the confidence to go for auditions I wouldn’t normally go for because at the end of the day what more can I offer than a passion for acting and my own personal best when I do it.
Active Experimentation
Taking everything that Chickenshed has taught me about inclusion I can now take this and apply it to everything in life. I can look at the things that I do and look at how this may affect other people and about having a greater respect for different individuals’ situations. This can be applied in workshops where there may be a group of participants with a range of different physical abilities and adjusting the language you use in order to accommodate and make everyone feel comfortable with what you are asking them to do. For example, instead of saying “Ok, everyone stand up,” this could be changed to “Everyone rise to your working levels.” This simple change of language opens up the instruction to everyone in the group by being considerate of what people are physically capable of doing.
Tuesday, 13 October 2009
Links of Interest
Ipop
Ipop is an organisation based in High Barnet that work with disabled children to enable them to play and take part in social activities along side children without disabilities. They provide support workers to go into after school clubs and playschemes to provide one on one support for particular children. This organisation is of interest to me as I have recently started working for them and the work they do ties in with the work I have been doing with Chickenshed over the last 2 years. I am also interested in this organisation because I feel that it so important for every individual to be given the opportunity to participate in activities of their choice without having to come up against barriers.
St John Ambulance
St John Ambulance is a volunteer organisation which offers first aid support in a number of different capacities,such as big scale events like the London Marathon and the Lord Mayor's Parade. They also have division that are based locally that offer first aid training to companies and also attend community events such as football matches and fundraisers.
I have recently started volunteering with this organisation because I feel that first aid is a vital skill to have as you never know when you may need to put it into practice. It is also good to be part of a group of people wanting to help others and give something back to their local community
People I Admire
Chickenshed 
Chickenshed is a theatre company in North London and it is where I have spent the last two years doing my degree. Although Chickenshed is an organisation rather than one person, the staff that have created and built Chickenshed up over the years as a collective are who I admire. The reason I admire Chickenshed is because for the last thirty five years they have strived to create an atmosphere, a performance space and theatre that can be used and appreciated by everyone.
Their ethos is that theatre should be for everyone regardless of race, ablity, or background, and that by enabling these people to work together they can create beautiful beautiful theatre. I find them inspirational because even now, fighting against conventional ways of thinking is difficult, let alone trying to achieve this in 1973!
Chickenshed is a theatre company in North London and it is where I have spent the last two years doing my degree. Although Chickenshed is an organisation rather than one person, the staff that have created and built Chickenshed up over the years as a collective are who I admire. The reason I admire Chickenshed is because for the last thirty five years they have strived to create an atmosphere, a performance space and theatre that can be used and appreciated by everyone.
Their ethos is that theatre should be for everyone regardless of race, ablity, or background, and that by enabling these people to work together they can create beautiful beautiful theatre. I find them inspirational because even now, fighting against conventional ways of thinking is difficult, let alone trying to achieve this in 1973!
Mike Leigh
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Mike Leigh is an English director born in Salford in 1943. He started as a theatre director and playwright but later moved into television and film. The way that Leigh works is that he starts with a basic idea for a script and then builds on his structure by taking ideas from the improvisation of his cast. He often doesn't tell his cast his ideas for his script, but puts them in senarios where they can develop their characterization and from this he notes their responses to the tasks and use these to develop his script.
I admire his work because it is not the conventional way of playwrighting and is not something that many directors use. I feel that this style of working is beneficial for the cast, as it helps them to discover their character and I think that this method of working is something that I may be able to use when workshopping with children as a way for them to come up with ideas for scenes and characters.
Bertold Brecht
Bertold Brecht was a German playwright and theatre director born at the end of the 19th Century. Brecht was renowned throughout the 20th Century as the creator of the very influential “Epic Theatre”. Brecht’s intentions behind epic theatre was to cause the audience not to identify with the characters on stage emotionally, which was the trend in naturalistic theatre, but to invoke the audience to question and debate the performance they were seeing. His plays often had a social or political message, and in inviting the audience to criticise the opinions on stage he hoped they would realise the social/political injustice and be encouraged to go out and make a change in the wider world. The reason why I admire Brecht is because he was the first practitioner to break the conventional stereotype that audiences were there merely to be entertained. Thus doing so this opens up a wider spectrum in theatre for audiences so that they didn’t just empathise with the characters but listened to the story at hand.
Reflective Learning
Kolb's Learning Cycle
During our session we looked at Kolb's learning cycle, focusing on the four parts of this cycle. We took extracts of texts from peoples blogs and tried to map them and find out where they fitted within Kolb's cycle. We hypothesised certain sentences within the text and found ways of changing the wording so that the sentence fitted into more than one of the four parts of the cycle. We then did a feed back session and looked at how this exercise would be helpful in writing our own blogs and using Kolb's cycle to make our blogs more fluent.
Rosea, Akin, Amal
During our session we looked at Kolb's learning cycle, focusing on the four parts of this cycle. We took extracts of texts from peoples blogs and tried to map them and find out where they fitted within Kolb's cycle. We hypothesised certain sentences within the text and found ways of changing the wording so that the sentence fitted into more than one of the four parts of the cycle. We then did a feed back session and looked at how this exercise would be helpful in writing our own blogs and using Kolb's cycle to make our blogs more fluent.
Rosea, Akin, Amal
Monday, 12 October 2009
My Professional CV
Rosea Pickering
Email: roseapickering@hotmail.co.uk
Online Agencies: http://www.castlink.co.uk/artist_detail.php?artist_id=2122
http://www.starnow.com/roseapickering
Agent: Mad Dog Castings, 3rd Floor 15 Leighton Place, London NW5 2QL
Location: London
Student Equity Member
Height: 5’9” Build: Medium Hair: Brown Eyes: Brown
Accents: UK South East RP, London, Nottinghamshire
Role Playing Ages 20-25
Skills:
Full Driving Licence, Sign Language Level 1, Horse Riding, Workshop Leader, CRB Checked, Moderate Spanish, Swimming
Singing: Alto Chorus
Instruments: Piano Grade 4, Saxophone Grade 5, Clarinet Grade 6
Training:
2007-2009 Chickenshed Theatre Company: Foundation Degree Inclusive Performance 2:1
2003-2006 High Pavement Sixth form: Theatre Studies A Level. B
Credits:
Theatre
2009:Heads or Tales, Chickenshed Theatre. Role: Imogen
2009:The Attraction, Chickenshed Theatre. Role: Drunken Townsperson
2008:Fairies Tales, Chickenshed Theatre. Role: Bad Fairy/Babysitter
2008:12 Days of Christmas, Chickenshed Theatre. Role: Goose Pate
2008:SeaChange, Chickenshed Theatre. Role: Lost Child
2007:A Christmas Carol, Chickenshed Theatre. Role: Dilber
Film and Television
2009:Trimming Pablo, Short Film. Role: Delgate
2009:The Naked Stranger, Viral. Role: Drinker/Football Player
2009:The Lee Nelson Show, Sketch Show. Role: Surgeon's Nurse/ Falaraki Party Girl
2009:Chat Room, Feature film. Role: Lady shopping
2009:Swinging with The Finkels, Feature Film. Role: Party Guest
2009:Honour Killing, Bollywood Film. Role: Wedding Guest/ Dancer
2009:Female Sketch Show, Sketch show. Role: Party Guest/ Walker in park
Email: roseapickering@hotmail.co.uk
Online Agencies: http://www.castlink.co.uk/artist_detail.php?artist_id=2122
http://www.starnow.com/roseapickering
Agent: Mad Dog Castings, 3rd Floor 15 Leighton Place, London NW5 2QL
Location: London
Student Equity Member
Height: 5’9” Build: Medium Hair: Brown Eyes: Brown
Accents: UK South East RP, London, Nottinghamshire
Role Playing Ages 20-25
Skills:
Full Driving Licence, Sign Language Level 1, Horse Riding, Workshop Leader, CRB Checked, Moderate Spanish, Swimming
Singing: Alto Chorus
Instruments: Piano Grade 4, Saxophone Grade 5, Clarinet Grade 6
Training:
2007-2009 Chickenshed Theatre Company: Foundation Degree Inclusive Performance 2:1
2003-2006 High Pavement Sixth form: Theatre Studies A Level. B
Credits:
Theatre
2009:Heads or Tales, Chickenshed Theatre. Role: Imogen
2009:The Attraction, Chickenshed Theatre. Role: Drunken Townsperson
2008:Fairies Tales, Chickenshed Theatre. Role: Bad Fairy/Babysitter
2008:12 Days of Christmas, Chickenshed Theatre. Role: Goose Pate
2008:SeaChange, Chickenshed Theatre. Role: Lost Child
2007:A Christmas Carol, Chickenshed Theatre. Role: Dilber
Film and Television
2009:Trimming Pablo, Short Film. Role: Delgate
2009:The Naked Stranger, Viral. Role: Drinker/Football Player
2009:The Lee Nelson Show, Sketch Show. Role: Surgeon's Nurse/ Falaraki Party Girl
2009:Chat Room, Feature film. Role: Lady shopping
2009:Swinging with The Finkels, Feature Film. Role: Party Guest
2009:Honour Killing, Bollywood Film. Role: Wedding Guest/ Dancer
2009:Female Sketch Show, Sketch show. Role: Party Guest/ Walker in park
My Top 5 Resources
in no particular order....
Facebook
http://www.facebook.com/
Most people use Facebook as a social networking site, a way of keeping in touch and up to date with friends and family across the globe. I too use it for this purpose, however I have recently discovered it to be a great professional networking resource. Whenever I meet people whilst filming on set we swap Facebook details and keep eachother informed on upcoming castings. This is good because I get to hear about castings I may not already know about and also it means that when I go onset there are usually one or two people there I already know which always helps to calm the nerves!
Starnow
http://www.starnow.com/
Starnow.com is a website which you pay a subscription to upload you professional profile and receive information on auditions and castings. The website will only send you castings that match your criterea and enables you to apply directily to the casting directors.
This website has provided me with a lot of paid work over the last few months which has helped to improve my professional CV.
It has been a great source for establishing a professional network and I have started to be asked back to work on new projects by casting directors rather than needing to go via the website for work.
The Stage
http://www.thestage.co.uk/
The Stage is a newspaper and website for the performing arts industry. It's great for keepiong up to date on news about the industry. It also has features on different things and reviews on current performances.
I find this resource extremely valuable as I feel it is important to keep up to date on information surrounding my chose career. Plus it usually has some good audition information!
Equity
http://www.equity.org.uk/
Equity, for me is a vital resource, as they protect my rights as a performer. They provide information on pay and working conditions as well as information on job vacancies within the industry.
The great thing about Equity is that they do a Student Equity membership so that even though I'm not acting full time yet, when I am acting and studying I still have that support from them.
http://www.facebook.com/
Most people use Facebook as a social networking site, a way of keeping in touch and up to date with friends and family across the globe. I too use it for this purpose, however I have recently discovered it to be a great professional networking resource. Whenever I meet people whilst filming on set we swap Facebook details and keep eachother informed on upcoming castings. This is good because I get to hear about castings I may not already know about and also it means that when I go onset there are usually one or two people there I already know which always helps to calm the nerves!
Starnow
http://www.starnow.com/
Starnow.com is a website which you pay a subscription to upload you professional profile and receive information on auditions and castings. The website will only send you castings that match your criterea and enables you to apply directily to the casting directors.
This website has provided me with a lot of paid work over the last few months which has helped to improve my professional CV.
It has been a great source for establishing a professional network and I have started to be asked back to work on new projects by casting directors rather than needing to go via the website for work.
The Stage
http://www.thestage.co.uk/
The Stage is a newspaper and website for the performing arts industry. It's great for keepiong up to date on news about the industry. It also has features on different things and reviews on current performances.
I find this resource extremely valuable as I feel it is important to keep up to date on information surrounding my chose career. Plus it usually has some good audition information!
Equity
http://www.equity.org.uk/
Equity, for me is a vital resource, as they protect my rights as a performer. They provide information on pay and working conditions as well as information on job vacancies within the industry.
The great thing about Equity is that they do a Student Equity membership so that even though I'm not acting full time yet, when I am acting and studying I still have that support from them.
YouTube
Youtube is a website in which anyone can post a video up about just about anything and people can view these videos and comment on them. I think Youtube is a great resourse as it allows people to express their opinions on topics, make people aware of certain issues or just show the world the things they find funny,sad, or just plain weird! As a performer its a great way of showing the world who you are and what you can do, and in return the world will come back and tell you exactly what they think of you!
Thursday, 24 September 2009
Kelly and Rosea's Blog
Who are we?
Kelly
I am Kelly Coiffic- Kamall, who has a geat inerest in performing arts especially dancing, although I have studied Drama, Dance and Music. My passion has always been dance. I find that I lack self esteem in the subjects that Im not comfortable in such as drama. I tend to hold back instead of just letting go. This is something that I need to overcome for myself.
Rosea
I am an independant, outgoing, emotional and clumsy person! I have a love for acting and performing which works well with the fact that I am LOUD! (sometimes too loud). My passion and excitement for the things I am interested in can mean I run before I walk at times, but I have the ability to keep going until I succeed in what I set out to do.
What we thought of eachother!
Kelly's thoughts on Rosea
I found that Rosea is a very friendly girl who has learnt to adjust to her surroundings for example she used to live in Nottingham with her family but has now moved to London to persue her love for performing arts. So I think that she can adapt to anything that is thrown her way.
Rosea's thoughts on Kelly
Bubbly!! Kelly has a passion for music, dance and drama, but specifically dance. She can play the piano, drums and guitar and used to do ballet.
From speaking to her I sense that she has the abilty to self evaluate well what her strengthes and weaknesses are and that she not as confident in some areas of peformance as she is in others.
What we're in to!
Kelly likes: Learning different and new instruments, Ballet, and all the normal stuff like clubbing, movies, listening to music and facebook!
Rosea likes: Acting, playing instruments, dancing badly, socialising with mates, teasing her kitten, and also like Kelly....FACEBOOK!
Kelly
I am Kelly Coiffic- Kamall, who has a geat inerest in performing arts especially dancing, although I have studied Drama, Dance and Music. My passion has always been dance. I find that I lack self esteem in the subjects that Im not comfortable in such as drama. I tend to hold back instead of just letting go. This is something that I need to overcome for myself.
Rosea
I am an independant, outgoing, emotional and clumsy person! I have a love for acting and performing which works well with the fact that I am LOUD! (sometimes too loud). My passion and excitement for the things I am interested in can mean I run before I walk at times, but I have the ability to keep going until I succeed in what I set out to do.
What we thought of eachother!
Kelly's thoughts on Rosea
I found that Rosea is a very friendly girl who has learnt to adjust to her surroundings for example she used to live in Nottingham with her family but has now moved to London to persue her love for performing arts. So I think that she can adapt to anything that is thrown her way.
Rosea's thoughts on Kelly
Bubbly!! Kelly has a passion for music, dance and drama, but specifically dance. She can play the piano, drums and guitar and used to do ballet.
From speaking to her I sense that she has the abilty to self evaluate well what her strengthes and weaknesses are and that she not as confident in some areas of peformance as she is in others.
What we're in to!
Kelly likes: Learning different and new instruments, Ballet, and all the normal stuff like clubbing, movies, listening to music and facebook!
Rosea likes: Acting, playing instruments, dancing badly, socialising with mates, teasing her kitten, and also like Kelly....FACEBOOK!
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