Friday, 30 May 2014

WEEK 6: Identifying your Future Training.

LIPA (Drama School):
The Liverpool Institute for Performing Arts is considered to be a state-of-the-art performing arts higher education institution and with it being situated in the centre of Liverpool, a vibrant and cultural city LIPA students will have access to a host of music venues, theatre, museums and festivals which would add to the experience of being educated at a highly regarded school. LIPA statistics show that in the last four years 96% of LIPA graduates are in work three years after leaving, this percentage is encouraging for any performing arts student looking to work in the industry.
LIPA’s number one priority when looking at potential students is their natural ability, a desire to learn and their potential in their chosen discipline, and so it is important that students apply for a course that they are skilled in and wish to extend their knowledge in their chosen field.
BA (Honours) Acting
LIPA aim to produce versatile, creative and thoughtful actors who are able to take responsibility for shaping their own careers. The programme offers technique, rehearsal and performance practice in both live and recorded media. This is combined with classes that give the actor the necessary business insight to be able to find and create work to achieve a sustained career. The first year allows the students to build technique through classes in improvisation, scene study, textual analysis alongside classes in voice and movement. The second year allows you to consolidate and extend the work explored in the first year and participate in a more demanding technical and artistic practice. In the final year the students are preparing to face the industry as well-informed and self-reliant professionals and perform and showcase themselves in a variety of public productions, as well as undertaking a Final Research Project allowing them to pursue individual areas of interest.
Entry Requirements:
·    5 GCSEs – minimum grade C or above, including Maths and English Language
·    Plus tariff points (160-280) from Level 3 Qualifications (including: A-Levels and BTEC National Diploma
·    Experience: Passion and commitment to acting would be demonstrated through having already performed in a range and variety of acting roles (in or outside the school/college environment and/or at professional level)
I have completed an example drama application form which I will include as an attachment in my submission.


Manchester Metropolitan University:
Manchester School of Theatre has a long standing reputation for preparing its students for careers as professional actors, with a range of courses to offer. Their graduates have gone on to find careers in major theatre, film and TV companies. Their BA Acting programme is accredited by Drama UK and is acclaimed for enjoying links and collaborations with many of the region’s key employers.
BA (Honours) Acting
The BA Acting course is acclaimed both nationally and internationally for providing the necessary experience and skills to train as a professional actor working on stage and screen. The course aims to nurture instinctive ability in an environment that allows for development of new skills whilst enabling the students to recognise their strengths and abilities. Year one will consist of a mixture of workshops, classes, seminars and public performances designed to produce and combine skills such as voice, movement, acting, textual analysis and research. These skills will be put to use in the study units, such as scene study and ensemble work. The second year moves on to looking at experimental and devised theatre, Shakespeare, acting for camera, stage combat and singing and gives the students the opportunity to rehearse and perform a play. The final year is performance based and the students will work with staff and guest directors in preparation for a series of public performances. The students are also trained to act for radio and take part in the annual Showcase event and festivals at London’s Globe Theatre and Royal Shakespeare Company.
Entry Requirements:
·    5 GCSEs – minimum grade C or above, including English Language
·    280 tariff points required at A2 or equivalent (BTEC National Extended Diploma DMM at Level 3)
https://www2.mmu.ac.uk/study/undergraduate/courses/2015/11400/


Bath Spa University
Bath Spa University ensure they provide innovative teaching and research to provide a high quality student experience and envision to be a leading educational institution in creativity, culture and enterprise. As the university is based in a world heritage city connected to a network on international partners Bath Spa will ensure that its graduates are socially engaged global citizens.
BA (Honours) Acting
The training on the course is practical, intensive and professionally focused. The students will explore a range of skills, processes and job roles to prepare them for a varied freelance career in the industry. Graduates have gone on to establish theatre companies as we as securing work in film and television. 90% of the students were in work/study six months after finishing. The first year is an introduction to acting where the students will have skills classes to develop professionally focused vocal and physical skills, as well as classes that allow them to explore the range of “acting tools” required for a professional career, how drama works and how to create theatre. The second year will test these process and a range of modules, such as American Drama and Physical and Visual Theatre are available for the students to choose the kind of actor they want to be. The third and final year consolidates the skills acquired in the first two years. Context classes will focuses on a project and preparation for the business side of the industry while skills classes prepare you for the entry to the profession. The students will also perform in a series of professionally staged films and plays, while the professional module prepares you for the world of work.
Entry Requirements:
·    The typical offer range for applicants is 300-320 Tariff points including two A-Levels at minimum BB (one in drama or theatre studies)
·    During the audition process the audition panel will consider the academic reference, academic qualifications and personal statement of each candidate
When applying for an acting course all successful applicants will be invited to attend an audition where you will be expected to perform at least two monologues (one contemporary/one classical) and perhaps take part in a workshop. These auditions will be considered alongside your qualifications and personal statement.

Below is a copy of my performative CV which I would take to auditions with me both for drama school/university and when looking for work once in the industry: 






Below are screenshots of a LIPA application that I started to complete as if I was applying to their BA Acting course:


Attached to the email that this blog is sent on is a copy of my UCAS application for this year.
A non-performance related job: Stage Management
The stage manager is crucial when putting on a show as their role is to coordinate all aspects of a theatre company to ensure the successful delivery of a performance. Jobs involve managing rehearsals, actors, props, costume fittings and liaising with the director. A stage manager should have a good understanding of both technical and artistic elements of a performance and will be involved from the rehearsal stage through to the live performances, where they will be able to deal with any issues during the show. Dependent on the size of the production there can be a deputy stage manager and perhaps assistant stage managers to help assist the stage manager.
Tasks of a stage manager include obtaining all props, furniture and set dressings as well as managing the props and possibly the design budgets and liaising with the production manager regarding costs. The stage manager will be responsible for making changes to the set between scene changes, prompting actors and cueing technicians and running the backstage and onstage areas during performances. Stage managers must have good communication skills as they will be interacting with people on a daily basis from the various departments during the process of putting on a show. Good organisation is a key soft skill for a stage manager as well as being able to remain calm under pressure or in a crisis.
Entry Requirements
This area of work is open to all graduates but qualifications in subjects such as performing arts, drama/theatre studies and music may increase an applicant’s chances. Studying a degree accredited by Drama UK would be useful as the courses offer work experience in functioning venues where the students would be given the chance to work as a stage manager. A driving licence may also be an added requirement in some roles when moving props and set to a venue.
BA Stage and Production Management – East 15
This course at East 15 will help prepare students for a sustainable professional career in stage management and theatre production. The course allows the students to develop their individual qualities as well as their skills in communication, presentation and analysis necessary for employment. The course is practical, allowing the students to become a part of the creative production team within the first 6 weeks of the course. Within the first year students acquire a range of established stage management skills whilst working on a number of public productions produced in central London theatres. Students begin to take on more responsibility for productions in the second year allowing them to develop their managerial and organisational skills. The final year sees the students will be working at a professional level, taking on full responsibility for both the organisational and financial aspects of productions. The last year also gives students the opportunity to undertake a professional industry-based work placement helping to prepare them for when they graduate and go to find work, often students will gain employment through a successful work placement.

Entry Requirements:
·    Applicants must be successful at their interview, where they are encouraged to share their experience and passion for the Theatre industry.
·    A –level grades of E or above, a pass in BTEC National Award or equivalent qualification

Employment opportunities and functions in the performing arts after training
Once students have completed training at university or drama school they are now able to go out into the industry as knowledgeable professionals ready to seek out work or further training.
One of the first things an actor might wish to do is to get an agent, who will represent the actor and their work and will help find jobs for them in the industry. When approaching the task of finding an agent you need to be aware that research is needed to find the agent right for you. Being close to a major city can be advantageous as there are an abundance of agencies to consider and are easily accessible on the internet. An actor fresh out of drama school may have been lucky enough to be signed to an agent as a result of their showcase at the end of their final year but for most new actors, they have little professional credits and so looking for smaller and younger agencies with good connections to the industry would be a good option as they will take an interest in fresh talent. Another way to find an agent would be to find agencies that are looking for new clients and they tend to specify the type of people they are looking for, so if you fit the description this could lead to you being signed. When approaching a possible future agent you need to have a professional headshot and CV ready to access, a demo reel is also an advantage and can be sent to an agent to watch, which might raise your chances of being called in. The casting agency Spotlight offer up their studios to tape actors if they have been asked to send in a tape to an agent and once you have worked with their experienced camera operators you are able to review the footage and choose clips and then it is emailed to the actor who can then send it on to the agent.
Rather than looking to gain an agent some graduates may come out of drama school/university and decide that they wish to undertake further courses to stretch themselves as an actor. An example could be attending classes at the Pineapple Dance Studios for an actor who wishes to improve their dance skills to make them more accessible for castings or to help someone prepare for an audition that requires learning a new style of dance. Pineapple is available to everyone with classes ranging from “absolute beginners” to “professional dancer” and offers over 40 different varieties of dance styles, including classical ballet, salsa and Egyptian dance. Over 250 classes take place in a week and this covers all levels and is open to all ages. Taking part in a class may also be a good way to help research and prepare for a role, an example could be contemporary dance. Contemporary is known for its individual “style” of exploring the energy and emotions of the body to produce dances which are often personal to the dancer. This style of dance often involves playing with balance and improvisation and this could be an effective and practical way of preparing for a role.
Another option for a graduate could be going directly into working within the industry. An example could be taking a job at a Butlins as a Redcoat. Redcoats interact with guests at all times and are seen as brand icons for the Butlins brand. The Redcoats host numerous live shows at the entertainment complexes providing daily evening entertainment, with each night having something different to offer. The job as a Redcoat involves a lot of time running activities for children and so this job could be the stepping stone for a performer interested in becoming a children’s entertainer. Part of the training to become a Redcoat is undergoing training in song, dance, street theatre and presentation skills to be able to provide activities for the children at the resorts. The majority of Redcoats are aged between 18 and 25 and so this would be a great job for newly graduated students as a way of gaining some work experience. National auditions are held for those wishing to apply for the job of a Redcoat and the information can be found on their website and publications such as The Stage. A successful audition is not based purely on performing skills, there is a large emphasis on ability with people, being a team player, having a cheerful personality and their potential. The successful candidates are often selected because they have an outgoing personality and hunger to succeed within the entertainment business.
This website will be where applicants will go to when looking for the auditions to be a Red coat.

Thursday, 17 April 2014

WEEK 5: How the Performing Arts is Funded and Considering your Own Event

Private and Public Methods of funding and financing performing arts events

When planning a performing arts event it is important to consider the ways in which the project is going to be funded, things won’t just appear from nowhere. Funding is not provided for any specific organisations, individuals and small groups are able to receive the same funding as a larger organisation.
 
Large organisations, such as the Arts Council are relied on to provide funding and financial support to the arts. The Arts Council invest £1.4 billion of public money from the government (received from the Department for Culture, Media and Sport) and an estimated £1 billion from the National Lottery into arts and culture across England. This investment funds a wide range of activities, including theatre, dance and music. The funding that the Arts Council provides helps them to achieve their mission of “Great art and culture for everyone”, and this can be seen through their promise to fund all types of activities within the arts.
The Arts Council want to use their investment and expertise to encourage and support artistic and cultural excellence across the country, and they hope to do so by working alongside education bodies and partners  such as the British Council as well as investing in activities which build on the cultural legacy of the London 2012 Olympics. The council wish to represent the height of ambition, talent and skill that will demonstrate England’s status as a world centre for cultural excellence. The theatres supported by the Arts Council include audience specific work (children/rural communities), companies that focus on new writing, or devised work and national companies such as the RSC and the National Theatre. They promise to support artists and organisations as they continue to challenge and experiment. They state that they know theatre is not created without taking risks and they will work alongside the sector to increase its ability to deal with those risks by identifying new partners, markets and opportunities.
The Arts Council have a budget each year that is divided into different amounts that are allocated to organisations around the UK. Applications have to be made for the funding. Grants are available for activities carried out over a set period and which engage people in England in arts activities and help artists and organisations carry out their work. The Arts Council’s main programme is the “Grants for the arts” which is responsible for spotting new ideas and nurturing fresh talents. Between 2012 and 2015 a Lottery budget of £202 million was set aside for Grants for the Arts. The council has been granting awards since its launch in 2003 and in February this year alone they have offered a total of 313 awards with a total value of £6,464,622. Recipients include the Milton Keynes Festival Fringe, Worcestershire County Council and the National Youth Music Theatre.
The link below shows all the awards ever to be granted by the Arts Council and it shows the broad spectrum of performance projects that have been funded, the Arts Council is an organisation crucial to bringing new projects to life. http://www.artscouncil.org.uk/funding/grants-arts/awards-made-area-and-artform/ 
Another source of funding for the arts is the Lottery which works in partnership with the Arts Council. Since the National Lottery began in November 1994, it has injected around £2 billion into the arts. The Lottery has funded projects ranging from the Angel of the North and the Tate Modern to instruments for bands and refurbishing arts buildings. Lottery money is responsible for funding the Art Council’s Grants for the arts. The Grants for the arts is an open-application funding programme which offers grants between £1,000 and £100,000 and will help more people take part in the arts, as well as helping the development of artists, arts organisations and the creative economy. In 2000 the National Lottery through the Arts Council supported a four-year restoration programme of the National Opera House which reopened in 2004 allowing it to go from strength to strength.
12 National Lottery distribution bodies are responsible for allocating the funding raised by the National Lottery. The income raised for Good Causes from ticket sales is paid into the National Lottery Distribution Fund and allocated to the distributing bodies. Up to 31st March 2013 the money delivered for National Lottery Projects was allocated as follows:
·         Health, Education, Environment, and charitable causes – 40%
·         Sports – 20%
·         Heritage – 20%
·         Arts – 20%
The Lottery is responsible for heavily subsidising the funding of the arts. For example the refurbishment of the National Opera House in the early 2000s was funded mainly by money provided by the lottery. As shown above the Arts sector receives 20% from the National Lottery Project and so there is a lot of competition when participants are trying to gain funding for their projects and there are several requirements that must be met for the funding to be granted, such as that the project must reach audiences in England.
Most funding organisations for the performing arts are working to show the skill and talents in the performing arts sector in England.  

Up until 29th March 2013 the Foundation for Sports and Arts was also providing all important funding for the arts. Many communities, organisations and individuals throughout Great Britain and Northern Ireland were benefiting from major capital projects and bursaries. Their goal was to increase active participation in sports and the arts, especially amongst young people. The FSA would award grants of up to £75,000. The funding would go towards improving facilities and refurbishing buildings, as well as widening access and supporting creativity. Smaller funds and grants are also a possible way for the arts to be supported and funded, as well as self funding of the arts, which allows the individuals/groups to raise their own funds for their projects. Forms of self funding include:
Fundraising: Fundraising can include activities such as cake sales and bag packing in a supermarket. These activities encourage the general public to donate to the project you are undertaking. Fundraising is an efficient way to raise funds and is simple to organise. It is important that when organising something like a cake sale the prices are reasonable or there is a risk of no money being raised. You must always thinking of the customers as they are the ones funding your project.
Ticket Sales: Selling the tickets for your own show is also a could way of self-funding as you are able to set the prices of the tickets, again it must be considered how much the audience are willing to pay for the show.
Sponsorship: You could undertake an activity or challenge, such as a fun run or shaving your hair and then getting your family and friends, work colleagues etc. to sponsor you. This is an effective way to raise funds as the sponsor form would allow you to keep track of how much money you’ve raised and you could create a chart that shows when you reach your target, this could further encourage people to sponsor you.   
Advertising: Advertising events are the best way to encourage people to attend a show or performance. Advertising can be as simple as putting posters in schools, shops, around town. Online advertising is just as prominent now, and people are now able to invite people to events on Facebook. Advertising not only encourage people to buy tickets to shows but it also encourages backers to attend, and they could potentially offer further funds towards the project.  
 
If a project is lucky enough to get a Backer this means that the individual or company will be the financial backer and provide the funds necessary. A backer will consider the project if they feel it has potential and there is financial prospect, they want to put money into something that will result in them gaining positively from it.  Cameron Mackintosh is a well known backer who has produced several successful musicals around the world, “Miss Saigon”, “My Fair Lady” and “Oliver” to name but a few. Another form of backing is crowd funding which involves looking for backers to donate funds but is done on a larger scale. Kickstarter is a funding group for creative projects, including films and music. It allows anyone to make a pledge for projects that they express an interest in. Since April 2009, over $1 billion has been pledged by more than 5 million people, funding more than 50,000 creative projects. These projects are able to happen because people are able to directly support them by pledging online making Kickstarter is an easy and efficient way to gain funding.
Drama UK is an example of an organisation that provides funding for further training within the arts. They provide a link between the theatre, media and broadcast industries and drama training providers in the UK which helps them offer help and advice to students wishing to train in the performing arts sector. They promise to provide anyone interested in drama and the careers related to it with a route map to the training and the opportunities available. Drama UK offer guidance for those who are looking for funds to study at Drama School or at university as they are aware of the challenges of covering the costs that come with further training. The Drama UK website provides a list of useful funding websites such as The Student Loans Company, NUS and The University of London Careers Service which will provide answers about finance as well as offer possible loans and grants to those who apply for them. When targeting prospective funders they suggest that you approach local businesses or trusts that may support training in the arts and you must be specific about how your needs and aims meet the objectives o f the organisation.


The BBC Performing Arts Fund looks to seek out and support aspiring individuals and community groups who may lack existing support or due to personal background or circumstance have been unable to achieve their potential without the support of the Fund. The Fund believes that offering mentorship and advice to individuals and community groups allows them to achieve their most ambitious goals. The charity is funded through revenue from the voting lines of BBC entertainment programmes, most recently being The Voice, which looks for new vocal talent from across the UK to support and nurture. Since 2003 they awarded over £4 million in grants and they have awarded bursaries to over 1,300 people and organisations. The Fund is the UK’s biggest funder of musical theatre in the charity sector, supporting 162 students to date. 

 
 
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My Own Event – Pantomime – Cinderella
The event I will organise will be two performances of the pantomime “Cinderella” at the Centre for the Arts in Hitchin on the 14th December. As it is already a published play we will have to pay the performance rights for the 2 shows that will take place on Saturday 14th (matinee and evening). The show will be available to family and friends of the performers as well as the general public and the matinee show will offer a family ticket for a family of 4 for £20 (2 adults, 2 children). To promote the show we will place advertisements in and around the Hitchin area to advertise the production and encourage ticket sales. The college will be responsible for selling the tickets for the show as a way of self-funding. The prices of the tickets will be reasonable to encourage good ticket sales as an audience may not be willing to pay high prices for tickets.



 
Income
Outgoings
Tickets  (£7 Adults, £5 Concessions)
£1520
 
Costumes
 



Cinderella: Shawl (costume cupboard), Tattered dress and ball gown (hired), character shoes (own) tights (bought - £2)
 
£22
Buttons: Blue jacket, white shirt and black pantaloons (hired), trainers (own) socks (bought - £2)
 
£22
Baron Hardupp: White shirt, 2x coat, 2x pantaloons (hired), jazz shoes (own), socks (bought - £2)
 
£22


Baroness Hardupp: 2x dress (hired) and wig, character shoes (own) tights (bought - £2)
 
£22
Ammer: Dungarees, yellow shirt, black wig (hired), boots (own) socks (bought - £2)
 
£22


Tongs: Dungarees, green shirt, brown wig (hired), boots (own) socks (bought - £2)
 
£22
Asphyxia: 2x dress, nightgown, undergarments (hired) bra and heeled boots (costume cupboard) tights (bought - £2)
 
£22
Euthanasia: 2x dress, nightgown, undergarments (hired) bra and heeled boots (costume cupboard) tights (bought - £2)
 
£22
Prince Charming: Crown, 2x jacket, pantaloons, 2x shirt (hired), riding boots (costume cupboard) socks (bought - £2)
 
£22


Dandini: Hat, blue jacket, shirt, black pantaloons (hired), riding boots (costume cupboard) socks (bought - £2)
 
£22


Major Domo: Red jacket, white shirt, black pantaloons (hired), jazz shoes (own) socks (bought - £2)
 
£22
Fairy Godfather: White suit and sparkly waistcoat (hired), jazz shoes, wand, glasses (own), shawl and walking stick (costume cupboard)
 
£22
Female chorus: 2x dress, petticoat (hired), black character shoes (own)
 
£198
Male chorus: White shirt, black pantaloons, 2x jacket (hired)
 
£154
All chorus: White socks/tights (bought - £2) (Included in costume price)
 
-
Fairies: tutus, wings, wands and accessories (own)
 
 
Props
 



Baskets (props cupboard)
 
 
Benches (props cupboard)
 
 
Fireplace (props cupboard))
 
 
Scroll (props cupboard)
 
 
Guns (props cupboard)
 
 
Cutlery (props cupboard)
 
 
Glass slippers (costume cupboard)
 
 
Trolley (props cupboard)
 
 
Luggage (props cupboard)
 
 
Handbags (props cupboard)
 
 
Tickets (props cupboard)
 
 
Candles (£4)
 
£4
Vegetables (£2)
 
£2
Trays/Goblets (props cupboard)
 
 
Spoons/Plates/Trays (Props Cupboard)
 
 
Make-up/Mirrors (own) 
 



Marketing/Publicity
20 A3 Posters
50 A4 Posters
100 A5 Flyers
 

£2
£5
£5
Set
Flats provided.
Additional materials i.e Paint, brushes, nails and glue
 
 
£100
Performing Rights
£50 per performance
 
£100
Hire of Venue
Hanger – £200
 
 
 
£200
Lighting
£200-£250
 

£250
Refreshments
The second year students will run at stall and they will provide the refreshments as well as keeping the takings.
 
 
 
£1520
£2184
Profit/Loss
-£664


PROFIT AND LOSS
1.      Give as many examples of potential income as you can within your budget.
160 adult + 80 concession = £1,520
80 + 160 concession = £1,360
120 adult + 120 concession = £1,440
240 adult = 1,680
240 concession = £1,200
120 adult + 30 family = £1,440
60 family = £1,200
60 adult + 180 concession = £1,320
180 + 60 concession = £1,560
2.      Establish how many seats you have within your venue.
There are 120 seats in the Hanger theatre
3.      How many nights will the show run for?
The show will run for one day only (Saturday 14th), with one matinee and one evening show.
4.      How much would you like to charge per ticket?
I will charge £7 for adults and £5 for concession tickets (children and OAPs). For the matinees show we will also offer a family ticket for the price of £20 for two adults and two children.
5.      How many of these tickets will be subsidised (student, OAP, etc) and how did you come to this figure?
I decided to subsidise a third of the tickets for both shows (40 tickets) as children are known to particularly enjoy coming to see Christmas pantomimes, but as pantomimes are generally aimed at a slightly more adult audience it would be better to have a larger number of adult tickets available for sale compared to children/OAP tickets.
6.      If you have a shortfall in your budget list the steps you would take to cover it?
A way that I would deal with a short fall in my budget list would firstly look at other ways in providing costume and technical equipment in a cheaper way. For example I would use an in-house technical team, such as Da Vinci college students who are able to supply the lighting and sound needed for the show. Another possible way to cover a shortfall would be to look at the number of shows that have been planned and see whether more should have been added. For example if the show had proven to be particularly popular and has been selling out this would suggest that more dates could have been added and this would have created a higher income as more tickets would have been sold. To further cover a shortfall the possibility of increasing the price of tickets could be considered, however for my show I feel that this would not have been as effective as it is a pantomime and people do not wish to pay an exorbitant amount of money on a ticket.
7.      What factors can affect the income within your budget?
The factor that is most likely to affect the income within my budget would be ticket sales. It is important that ticket sales are good to ensure that we are able to make some profit after the outgoing funds have been paid for props and costume etc. To ensure that ticket sales were good I would have to guarantee that advertising is efficiently used to promote the shows and this would in turn create a good profit which would decrease the loss.
8.      Look at the budget and establish how many of the items you have listed could be provided either in house or from other sources?
Most items needed for my show are provided by the costume and prop cupboard at the college and those that were not available within college resources were easily resourced cheaply from local companies. Most of the budget was spent on the hire of costume but the costumes were sourced efficiently as I used a group discount as the costumes had to be hired in large numbers.