WEEK 3: Being A Performer

I started by completing the “Being a Performer Quiz” and the “Job Opportunities Quiz”.

 

 

A report that explores the variety of roles, responsibilities and functions in the performing arts, and looking how they interrelate.

In the performing arts there are a variety of roles and each role is critical to the creative and performance process of producing a show.

At the top of the hierarchy are the DIRECTORS who are responsible for overseeing a production company and they are responsible for financing and finding funds for the project.  They would also have the final say on presentation and advertising when trying to find funds. The Managing Director’s job is to oversee all staff within their company and would delegate day-to-day jobs to the departmental managers (Marketing Manager, Front of House Manager). A Director does not need specific training requirements or experience but a degree in a subject such as English Literature or Drama and Theatre studies or Creative and Performing Arts may improve an applicant’s chances. Entry without a degree is possible if the applicant has a reputation and experience as an actor, writer, producer, assistant director etc. Having practical theatre experience in acting, stage management and direction would be very useful when applying for the role of a Director.

An example of an undergraduate course is the BA Directing course at the University of the Arts London which would give the applicant a direct entry into the directing profession and would include placements with theatre and TV companies. http://www.arts.ac.uk/csm/courses/undergraduate/ba-directing-drama-centre-london/ Or if the applicant wished to further their training they could apply for the MA Directing which is a Masters course which provides a deeper understanding of the acting process and equips you with the skills to work in theatre, film and TV and radio. http://www.arts.ac.uk/csm/courses/integrated-masters/ma-directing/ Both courses can be applied for via the UCAS website and require 5 A*-C grades at GCSE and a Foundation Diploma in Performance at either Level 3 or 4.

Below is an example of the kind of job advert for a Theatre Manager that is responsible for the day-to-day running of the theatre.

Soft skills of a Director would include being able to efficiently lead a team of people and so strong leadership skills are crucial. They need to be able to represent the company to outside people and keep up to date on the daily running of the company. A Director should have excellent negotiation and interpersonal skills as well as having the ability to develop innovative ideas and to solve problems creatively and practically. Experience in the industry is important as the Director should have an awareness and understanding of technical issues, the workings of the theatre and the process of performance and acting.

Typical tasks the Director would undertake would include:

·      Programming and budgeting

·      Working with writers through workshops or script development schemes

·      Holding auditions for productions, selecting and hiring designers, musicians, etc

·      Attending production meetings with set designers

·      Communicating and liaising with all parties involved, including actors, the creative team, the production team and producers

·      Help to publicise the production by giving interviews and leading discussions

In a theatre production company the director is likely to have a specialist skill, for example Cameron Mackintosh, the Chairman Director of Cameron Mackintosh Ltd. has been producing musicals for over 45 years. Those 45 years of experience make him the perfect person to be the managing director of a production company as he would have a vast knowledge of how a show goes from an idea to become a popular show.

http://www.cameronmackintosh.com/about/cameron-mackintosh

A case study:

· Your name? Mark Sheridan

· Job title? Drama teacher/Director

· When did you decide to go into the performing arts industry? At university

· What interested you about this line of work for you to choose it as a career? Working with people, shaping ideas, being creative

· Describe the training and qualifications you have undertaken, if any? A levels. Degree in English Literature/Drama and Theatre Studies. PGCE (teaching) English/Drama/Media

· What has been your biggest career achievement since leaving education?Becoming a teacher in charge of drama. Directing school productions; “Little Shop of Horrors”, “Oliver”, “Grease”, “Dracula Spectacular”, “Bugsy Malone”.

· What was your first professional job? I have not been paid for any professional work. I have at university been involved in voluntary community theatre about local history and issues in Liverpool

· What advice would you give to someone trying to get into the business? I would suggest speaking to as many people as possible. Agents and actors. Be involved with as many productions as possible and gain contacts and knowledge/experience

· Do you enjoy your job? Teaching is slightly different to being part of the industry

· What is the most difficult part of your job? (See above)
 

This case study shows a Director who took a route through teaching and so rather than being responsible for a theatre company or the theatre itself, he would be responsible over the casts of his productions and would oversee all aspects of puttings the shows on (directing, budgeting, technical, production).
 

Roles such as Artistic Director are overseen by the Director and they would feed all their ideas back to the Director during the creative process. An Artistic Director is responsible for conceiving, developing, and implementing the artistic vision and focus of an organisation (e.g. Theatre Company). The Artistic Director would typically report to a chief administrative officer if there was one in the company. For all important decisions about the development of activities the Artistic Director would consult with the chief administrative officer.

Typical tasks of an Artistic Director include:

·         Programming and budgeting

·         Working with writers through workshops or script development schemes

·         Adapting a script, might involve working with or collaborating with the playwright

·         Managing time and organising people and space

·         Holding auditions for productions

·         Organising rehearsals

·         Communicating with all parties involved (actors, creative team, production team) 

Many Artistic Directors do not have formal training as the skills required tend to be developed by doing the work and are process-led. It is the experience, reputation and credits that are essential in order to progress and be successful within the directing sector if the industry. Some drama schools however offer specialist courses in directing, stage management/technical theatre. An example of a degree that an applicant could undertake is BA (Hons) Stage Management at Rose Bruford College, https://www.bruford.ac.uk/courses/stage-management-ba-hons/ . The course allows applicants to learn a wide range of management skills (team leadership and liaising with industry professionals) and develop skills in areas such as lighting, sound and set construction. The course also allows the applicant to collaborate to make a wide range of performances and events and can build experience through work placements.  

This area of work is open to all graduates but a degree in subjects such as English Literature, Drama and Theatre Studies, Music or a Directing/Stage Management course, although if the person had a good reputation and experience as an actor, assistant director or stage manager a degree would not be necessary. Those helping to get into the profession should gain practical theatre experience in acting, stage management and direction in theatre work such as amateur and fringe. To help learn about the directing process and how to work with actors and the production team forming a theatre company would be a great way of gaining knowledge and experience. Others skills sought after from an Artistic Director is:

·       Ability to express yourself both orally and in writing, as well as being creative and prepared to take artistic risks

·       Team working and time management skills

·       Awareness and understanding of the workings of a theatre and the process of performance and acting

·       Ability to develop innovative ideas and to solve problems creatively and practically

·       Dedication and enthusiasm

 

Below is an application form for Artistic Director for the theatre company Tricycle, which is acclaimed for its programme of new work. Responsibilities listed are split into three sections: Artistic (to provide “strong, inspirational and high-profile” leadership, leading and developing artistic policy to create an imaginative programme of theatre), Creative and Entrepreneurial (to initiate and develop artistic and educational collaborations and to broaden and diversify The Tricycle’s sources of income), Organisational and Financial (To oversee the recruitment and professional development of The Tricycle’s staff and to maintain the highest level of awareness in theatre, arts and education practice). The job does also ask for “person specific” skills and experience they are looking for in the post holder: clarity of artistic vision and ambition, strong track record of professional theatre production, direction and developing new work, good knowledge and understanding of the theatre industry and arts funding and the ability to inspire and motivate others.

http://www.tricycle.co.uk/wp-content/uploads/2008/08/AD_Job_Description.pdf

A case study:

·         Your name? Graham Shackell

 

·         Job title? Performing arts practitioner (performer, tutor, director, writer) 

·         When did you decide to go into the performing arts industry? Early 20's 

·         What interested you about this line of work for you to choose it as a career? Creative expression, the chance to create worlds and explore them

 

·         Describe the training and qualifications you have undertaken, if any? Studied with Antonio Fava at his international school in Italy, workshops and residencies/courses with various companies including Scarabeus, Can Do Co, and various stage combat qualifications

·         What has been your biggest career achievement since leaving education? Performing to tens of thousands on tour in Mexico, and/or teaching severely disabled and abused children in Peru and making real breakthroughs with them 

·         What was your first professional job? A touring street show from my own company called 'The uncanny adventures of Flibble and Gibble' or teaching circus skills

·         What advice would you give to someone trying to get into the business? Attitude is at least as important as talent, if not more, I would never hire an actor if I even suspected any whiff of something I didn't like in their attitude, and this is common among directors. Also it's worth volunteering sometimes when you are first starting, to get to know a company, friendships and contacts can be very important in this business. Just give it your all in everything you study, in every part you play even if you hate it, because you never know who is in the audience 

·         Do you enjoy your job? Love it 

·         What is the most difficult part of your job? It can be difficult to have a holiday as you don't want to book time off until the last minute in case any work comes in suddenly. Having said that I get to work abroad fairly often so that compensates some. The worst thing is when there is a financial crisis in the arts and suddenly there is no work and you can’t see where the next contract is coming from. It’s hard when you get rejected for roles, funding, commissions etc.

 

 

This case study covers aspects of both a Director and an Artistic Director, Graham has created a company that takes works using the theatre style of Commedia dell' Arte on tour and is responsible for creating and directing these pieces. An example is the Commedia dell, Arte take on Hamlet ("Toby or not Tobie") that he directed at North Hertfordshire College. Graham's training includes working with Commedia practictioners and theatre companies that has made up the experience requrd for him to be a Director/Artistic Director.

In the performance sector of the performing industry an example of a job is a DANCER. Dancers work in a variety of genres (classical ballet, modern stage dance, contemporary dance, street dance) and often perform to a live audience or take part in a recorded performance for television, film or music videos. Dancers use movement, gesture and body language to tell a story or portray a character to the audience. Many dancers will follow portfolio careers, combining performance with teaching, choreography or administrative work in a dance company.

Typical work activities:

·         Preparing for and attending auditions and casting sessions

·         Preparing for performances, by rehearsing and exercising

·         Studying and creating choreography

·         Learning and using other skills such as singing and acting – roles in musical theatre require a combination of performance skills

·         Teaching dance, either privately or in the public sector

·       Running workshops in the community

·       Undertake administrative, promotional or stage management work, particularly in a small company or if setting up your own company

·       Self promotion is also a significant feature of work: sending out a CV/photographs/footage, attending auditions and meetings 

Many dancers work on a freelance basis on short, fixed-term contracts, however there are some opportunities for full-time work with dance companies. Dancers are required to practise daily and must be able to learn new steps and styles quickly. The career of dancers can be short because of the physical strength required and injuries can have an impact on the length of a performance career. Many dancers therefore combine their dance role with teaching or administrative duties to make a living in dance.  

Training to become a dancer often starts from a young age, but dancers can begin training in the teens or even at university. It is vital to have a high level of training and ability in at least one form of dance but it is also important to be versatile in dance styles so that the applicant will stand out amongst others. Joining a local dance company or dance school can help build up experience in performing which will again help the candidate stand out from the rest. Applicants will need to show motivation and discipline, as well as resilience, creativity, confidence and self-belief.  

An example of an Undergraduate course is the BA (Hons) Contemporary Dance course at Trinity Laban Conservatoire of Music and Dance in London. http://www.trinitylaban.ac.uk/study/dance/undergraduate/ba-(hons)-contemporary-dance

This programme will prepare the applicant for a career in contemporary dance as they develop the technical, creative and performance skills needed to become an individual and versatile dance artist. During the programme there will be major performance projects where they will work with leading dance practitioners to create and perform a wide range of work.  The entry onto the course is through an audition where the applicant will demonstrate their commitment and potential required to study dance to a professional level.  Entry requirements will include qualifications appropriate for entry to university/degree level education such as A Levels or perhaps a BTEC Level 3 in Dance at college. http://www.nhc.ac.uk/courses/Dance/BTECLevel3inDance_10573.aspx   

Here is an application form for a dance job at Wildfire: http://www.teachkidsdance.com/Wildfire_Dance_job_app_101310.pdf The application is laid out similarly to the others I have looked at and like all application forms has asked for the applicant to list all previous experience. As a dancer it is important to have experience within the industry as it allows the person to stretch their abilities to become a versatile dancer. Also as dance is such a competitive profession it is important for dancers to be continuously learning and attending open dance classes so they are always learning. Pineapple Dance Studios is one such venue where a dancer could be going to take extra lessons in varying styles of dance, such as Latin: http://www.pineapple.uk.com/classes_and_timetable/latin/default.aspx The wider the range of experience a dancer has the more jobs they will be able to audition for.

A case study:

·         Your name? Trudina Youngs  

·         Job title? Dancer / Principle Dance Instructor 

·         When did you decide to go into the performing arts industry? In the early 1980’s 

·         What interested you about this line of work for you to choose it as a career? I love to dance and enjoy passing that passion on to others. I have always been interested in going to places such as Australia to learn new dance styles, each new location has brought me new experiences. 

·         Describe the training and qualifications you have undertaken, if any? Latin American and Modern Ballroom with IDTA Great Britain. Licentiate qualifications in Modern Ballroom and Freestyle and Associate qualifications in Modern Ballroom, Latin American and Freestyle. 

·         What has been your biggest career achievement since leaving education? Being awarded the John Dilworth scholarship in 2007 beating out 962 other professional candidates.

·         What was your first professional job? Working with the Australian dance federation for the millennium. 

·         What advice would you give to someone trying to get into the business? Work as hard and often as you can and enjoy everything about it. It is also important to be willing to try as many new things as possible, you never know when it could be used. 

·         Do you enjoy your job? I love every moment of it. The pleasure I see in those I dance with or for is exhilarating, and I am always anticipating the next time I’ll be able to perform around the UK in touring shows. 

·         What is the most difficult part of your job? Being able to balance running a dance school, whilst still maintaining a career as a professional dancer.

This case study looks at a dancer who splits their time between taking part in shows and events as a professional dancer and running a dance school as the principal instructor. Trudi has undertaken several qualifaications in many styles of dance enabling her to be a multi-skilled instructor as well as a versatile dancer.