Merry Christmas!

So, that's it for now! After both a hectic work and study schedule, I am off on holiday! Here's wishing everyone, including the BAPP community, a very merry Christmas! I've left a little video message for you from my Mamma Mia! International Tour cast 2013-2015 

(recorded at the Marina Bay Sands in Singapore)

ENJOY!

Saturday 10th December: The Pheonix Theatre

Today I played Penny Johnson in Dirty Dancing on the West End stage.

Wait a minute...

TODAY I PLAYED PENNY JOHNSON IN DIRTY DANCING ON THE WEST END STAGE!

 

 



Check out one of my first blog posts of the module back in September, when I was rehearsing the role: http://meganlouch.blogspot.co.uk/2016/09/live-dream.html

Now one of my final blog posts of the module and I've only gone and done it! WAAHHH!

Observation & Interview checklists

Judith Bell "Doing your research project: a guide for first time researchers."

6th Edition. Open University Press. 2014

I thought these would provide extremely useful in the planning of the inquiry, especially as I move forward into drafting the proposal. Check them out:

 

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Literature review: 'Advancing the social sciences through the interdisciplinary enterprise'

Advancing the social sciences through the interdisciplinary enterprise, by Marilyn Stember (1991) The social science journal. Published by Elsevier Inc. Vol 28 (1) P. 1-14  

After already achknowledgeing the need for interdisciplinary work within social sciences, this literature aims to inform people on how to enhance interdisciplinary enterprise whilst acknowledging the opportunities and challenges it faces. It discusses the strategies required for successful collaborative work. 

Before we begin analysis, social science is the scientific study of society and human relationships. This links in with arts based research which uses qualitative, social scientific research to draw upon "inspirations, concepts, processes and representational forms from the arts." (Knowles & Cole 2008)

"While serving very useful purposes, academic disciplines create barriers that sometimes run counter to the very intellectual purposes of those who created the university."

"This landscape in all Its beauty, sometimes gentle, sometimes terrible, cannot be seen fully by any one of the occupants of the room. Indeed, it cannot be known fully by a whole generation of men [and women]. Explorers of each generation travel into its unknown recesses and, with luck, return to share their discoveries with us. So the life of the new room would go on-thought, reflection, contemplation -as the explorers bring back their discoveries to share with the room’s occupants. This landscape that we gaze on and try to understand is an epic portion of the human experience." 
Blackberry Winter. Mead, M (1972)

Vincent Van Gough (1888) 'Starry night over the rhone'.

Stember concludes that the above "calls attention to the need for interdisciplinary efforts to facilitate the integration and synthesis of knowledge toward a more complete understanding of the whole."

In a theatrical setting, this suggests that all creative elements and departments must work with together in order to put on a successful production. It also supports one of my inquiry aims in the sense that integration and interaction with others should help me to understand and appreciate the rest of the company. This in regards to their skills and imperatives. 

Arguments supporting interdisciplinary enterprise 

Intellectual argument: specialisation has allowed for tremendous knowledge gain but the need for context forces boundary changes. Interdisciplinary work facilitates different levels of analysis toward problems.

Practical argument: problems of the world aren't organised into academic disciplines- overlap exists. Different perspectives and varying knowledge is required to solve problems and provide solutions to pressing problems such as human health.

Pedagogical argument: education is much more supportive of interdisciplinary work. Many courses now require you to study core subjects and then select modules from other areas.

History

"The contemporary view is that disciplines exist in an open-minded confederation and that knowledge can be understood and advanced through interdisciplinary work. One tendency has been to regroup disciplines according to fields of study. Engineering, for instance, involves mathematics, physics, and business administration among others, while nursing requires a different but equally diverse configuration including biology, chemistry, sociology, and psychology. Another tendency has been to create new disciplines (e.g. biochemistry) that cross traditional disciplinary lines."

We can relate the above to modern day training in musical theatre. It is quite common  for people to study a 'diploma in musical theatre' rather than 'dance' or 'acting'. Irregardless, performers will generally have lessons in all three disciplines in order to increase their employability and become a 'triple threat'. I would argue that in today's musical theatre scene, this doesn't necessarily qualify as interdisciplinary because you are expected to be proficient in all 3 skills as a member of the performing company. I'm interested in the interdisciplinary skills across departments in the whole company.

"Although interdisciplinary research and educational programs were launched in limited ways after World War II, the interdisciplinary experience in universities is only a few decades old."

I feel that the arts may be one of the most advanced and developed in regards to interdisciplinary skills - this because of its collaborative nature. Therefore I feel my working environment is a perfect place to conduct this inquiry in order to explore interdisciplinary as a concept, a concept that could be beneficial for other professions and organisations.

Definitions of interdisciplinary 

"In the literature the term interdisciplinary is used in both broad and narrow senses. In the broad sense interdisciplinary literally means between disciplines; suggesting the basic elements of at least two collaborators, at least two disciplines, and a commitment to work together in some fashion in some domain. In the narrow sense, interdisciplinary describes a specific type of non disciplinary effort that is distinguishable from other non disciplinary  approaches to research and education such as cross disciplinary or multidisciplinary. To confuse matters further, multidisciplinary and interdisciplinary -  are often used interchangeably, usually in the broad sense."

- Unity of intellectual frameworks beyond disciplinary perspectives

- Integration of the contributions from several disciplines to a problem is required

- Several disciplines who each provide a different perspective on an problem

- A viewing of one discipline from the perspective of another 

- Within disciplinary work

For my inquiry, I shall be looking at interdisciplinary in the narrow sense so that it is more focussed. I feel it will also help the third part of my question in regards to moving forward and developing as a practitioner. This is because I believe I already have an element of cross disciplinary knowledge and multidisciplinary input in our production in my current role as an ensemble dancer.

A key concept in regards to interdisciplinary is 'productivity'. The use of interdisciplinary skills allows us to achieve more in the work place and therefore be more successful collectively. It also helps to overcome creative imperatives like the lack of time or space.

"In interdisciplinary efforts, participants must have an eye toward the holistic complex of interrelationships and take into account the contributions of others in making their own contributions. Interdisciplinary, then, is a complex endeavor that seeks to explicate relationships, processes, values, and context using the diversity and unity possible only through collaborative approaches."

The above quote supports another purpose behind my inquiry I.e. To expand on my professional networks. It reiterates that the obtainment of interdisciplinary skills will impact on relationships. My inquiry aims to discover these skills through integration and creative a positive impact on relationships. It is from these that my networks will expand and help me to move forward into other productions - this through increased contacts, reputation and references. 

Strategies for interdisciplinary work

Selecting appropriate members and leaders

What do we look for?

- Commitment to a common interest

- Security and recognized competence in at least one discipline

- A broad perspective I.e. A taste for adventure into the unknown and flexibility

- Personal competencies that allow people to function as a team: the ability to work toward outcomes, relate to feelings and needs of others, convey interest and respect, schedule time, handle multiple activities, meet deadlines, act mature, to be open and act responsibly when dealing with people and situations. The ability to secure information, compare data, identify issues, and be creative in a group setting.

"Successful interdisciplinary teams require a common focus for their work. This clear, recognisable idea may be advanced by a single individual who is able to generate sufficient enthusiasm in others."

"Leadership in research projects or educational programs is needed to synchronize the efforts of the individual members or teams. Such a director or coordinator must have the responsibility and authority to oversee the activities." Leadership roles are required to provide adequate "supervision, monitoring, and integration."

Teams often are composed of disciplines of unequal status and a mixture of senior and junior faculty members. This can cause conflict and power imbalance which is why a leader is required to establish ground rules and oversee interdisciplinary work. In a theatrical environment, this would be the 'company manager' which is whom i shall be seeking consent for the inquiry from.

Stember talks about motives for interdisciplinary work such as interest, free time, personal prestige and establishing reputation. It made me think again about my own motives for this inquiry - increasing professional reputation by demonstrating my interest and enthusiasm, as a result of integration and interaction.

Establishing ground rules

These are required to create a rewarding atmosphere and prevent bickering.

Stember talks about: Procedure, Responsibilities, Timetables, Approach

It important in a musical theatre setting for a company manager to enforce ground rules already established in the contract and equity union guidelines. A good example of time tabling for the entire company is the pre show calls delivered by the deputy stage manager. It is stated when we have 30 minutes, 15 minutes and then 5 minutes prior to the commencement of the show. This so all departments can manage their time efficiently in regards to the responsibilities/procedures needed to be carried out.

Explicating and Resolving Epistemological and Methodological Differences 

"Failing to understand, appreciate, or agree with another perspective results in participants retreating to a common level shared by all. But such a level cannot make use of the disciplinary insights and it compromises the professional integrity of the members."

This suggests that the increased understanding and appreciation of others allows for greater perspective. I believe this is integral for a production so we can help prioritise the varying creative elements at different points in the show. For example: as a dancer performing high kicks, it is essential for me to stretch backstage before a big number where there isn't really the room to do so. The assistant stage manager is understanding and appreciative of what I need to warm up so will wait to fulfill his next responsibility so that I can use the wing space. This means that I don't have to compromise my movements on stage and can sustain my own integrity when delivering the routine.

Infrastructural support

"Joseph Kockelman noted that the greatest problem in interdisciplinary ventures is still the development of coordination and cooperation among people who can pull together, instead of being pulled asunder by disciplines."

Therefore, the stress on relationships in my inquiry is paramount and something I wish to explore further.


Acknowledgements

Knowles & Cole, 2008. "Handbook of the arts in qualitative research: Perspectives, methodologies, examples and issues." Sage Publications Inc.

Kockelmans, J. “Why interdisciplinarity,” p 136

Mead, M. 1972. Blackberry Winter: My earlier Years. William Morrow Incorporated

My UK debut as Penny Johnson!

Last night I made my UK debut as Penny Johnson in Dirty Dancing at The Grand Theatre, Wolverhampton. I figured it would be interesting to see how cross/interdisciplinary skills and interactions vary between this track and my normal ensemble track. 

Observation grid:

I have decided that I'd like to conduct observation during show pre - set as I feel it is where I can see optimum activity without interfering the production itself. As a pilot activity, I thought it would be useful to journal my own show pre - set, using the observation grid as a reference. 

Order of activities:

Apply own make up

Parish notices (taken by company manager/producer)

Warm up (Taken by Dance captain)

Sound check (taken by Stage manager and head of sound)

Rehearse (with other principles, dance captain, sound & lights)

Prep pin curls and wig cap

Secondary warm up

Get fitted with wig and microphone (by head of wigs)

Change (2 visits to the dressing room from the dresser)

Sound check (taken by sound no.2)

Prepare for beginners 

Interaction during show: stage manager, assistant stage managers, deputy wig mistress, cast members

I find it so interesting that the wig department fit the microphone as Penny. This is because it is situated in her wig. With the big dance lifts and routines required, it is too dangerous having the wires coming down the back. This is a great example of interdisciplinary skills as the wig experts must know how to position the microphone for optimum sound and comfort, whilst using the equipment correctly. As Penny, I had increased interaction with the sound department due to the fact I don't normally wear a microphone. It was so nice to see them! I also got the opportunity to interact with different cast members both on and off stage. Everybody was so helpful. The assistant stage managers helped me with props that I don't normally use and entrances and exits I don't normally do. It was important for me to be polite so that people were willing to help and to not be afraid of asking questions. Prior to the show, the deputy wardrobe mistress approached me and made it very clear that she was there should I need any help and pointed out where my costumes would be set etc. I was still responsible for applying my own make up and prepping my hair for the wig. These are great examples of interdisciplinary skills required from me. I must know how to pin curl most efficiently in order for the wig to have sufficient anchorage and not run the risk of it falling off. I was also responsible for ensuring my body was warm enough for what was required.

Previously, we have discovered how creative success depends largely on others in regards to the affect it has on people and their reactions. This is why I was keen to gather some reviews of my current production, as part of my literature collection. As I made my debut on the opening night (aka press night) in a new venue, I was eager to check out the local reviews from the performance. Take a look at these articles below - as an artist, I'm pretty much on cloud 9 right now!

Express and Star

Fashion-mommy

http://www.myplanetvapor.com/Cloud-9-30ml_p_103.html

Piloting the interview: Chloe West (BAPP student & SIG)

Skype: Sunday 27th November

Chloe works as dance captain for an entertainment company in Spain that delivers 4 x 1 hour long theatrical productions that tour. Check out her blog here!

I was really interested to talk to Chloe because we were both directing our inquiry questions towards a theatrical environment.

My working title of inquiry: What interdisciplinary skills should I possess as a dancer in order to impact positively on the creative success of a musical theatre production? How will obtaining these affect my professional, working relationships? How will interdisciplinary skills and positive working relationships help me moving forward into other productions?

Chosen Research method 1: Interview

You can see previous question ideas on my blog here. These have changed and developed as my inquiry topics have. Please see below my current, structured interview questions. Any feedback on them in regards to relativity, wording etc would be hugely appreciated. I have provided subheadings to structure the interview and to help give structure in the analysis process.

Creativity

1. What do you define as creativity?

2. What signifies 'creative success' in your area of expertise?

3. How can we measure the creative success of a production?

Skills

4. What skills are required in your professional practice?

5. How important do you think interdisciplinary skills are in a Musical Theatre environment?

6. What skills or knowledge would be useful for a dancer in Musical Theatre to know about your area of expertise?

7. Are there any creative imperatives that you require in order to facilitate creative success in your role or department?

Relationships

8. What would you define as a professional relationship?

9. How do you go about working with others in your practice?

10. What is this importance of having positive, working relationships?

11. What quality do you value most in a fellow company member?

General

12. What are your influences?

13. How did you get to where you are today?

14. Do you have any future aspirations in Musical Theatre?


Chloe's definition of creative success....

"Getting a positive reaction from the audience."

Chloe mentioned how her production company submit surveys to the hotel guests in order to gain feedback on their shows. She also spoke about audience reaction during performances, particularly when they'd incorporated any changes. She said it's interesting when they pick up/react to something unexpected. Consideration needs to be applied from the performer if they are receiving a certain reaction. We spoke about not pushing your performance. I believe we need to get the balance between audience reaction and staying true to our creative choices/material. A good example of this would be Lisa's hula in Dirty Dancing. I cover Lisa and it is important, if the audience aren't responding or are responding tremendously, not to take it too far. She is a normal girl after all who is participating in a talent show and taking it very seriously.

https://www.youtube.com/watch?v=UlT35Ote09c

"The company coming together in order to make a better show."

Chloe mentioned how her team have received new costumes for one of their shows and how it's visually improved the show instantly. She also spoke about a particular number she performs and how elements of the costume and set help to set up the performance and give context. Because Chloe's productions are 1 hour long, the shows are condensed to fit the time scale. She said how the audience can be loving the music and the routines but have no clue what's going on in regards to storyline. It's essential for all parts of the show to come together in order for it to make sense to an audience.

I asked Chloe about interdisciplinary skills.....

It was interesting to hear how Chloe, as a performer and dance captain, has involvement in managing costumes. Due to the nature of their shows and budgets, they don't have a resident wardrobe department. This means she has responsibility for checking all costumes are packed, set correctly, as well as making minor alterations or repairs. "I never make a costume", says Chloe. This comment is integral to my inquiry - I am not trying to become an expert in other areas, it is about having basic skills and understanding in order help and benefit the show overall. Wardrobe malfunctions often occur in theatre with quick changes and such like. A lot of the time there isn't room for extra people back stage to dress. Chloe gave a great example when she said how useful it would be if the boys in her cast knew how to do dresses up etc, that way we can help each other out.
Chloe also said how she's developed more basic knowledge in sound. From her experience performing in different venues, she has had to work with varying sound systems and learnt more about 'reverb' in different spaces. She now knows how to work with the effect to benefit the sound of her performance.

What are the creative imperatives in your role.....

As a dance captain working for a touring production, time is the biggest imperative when arriving at each venue. How much time she has affects the preparation required for rehearsals, both before and at the venue. She said that communication with the hosting companies definitely helps in order to figure out dimensions and equipment available in the space; as well as communication with her dancers to see what they need to practice.

In regards to working with others.....

Chloe and I are in similar situations in the sense we both live and socialise with the people we are working with. Therefore getting the balance between professional and personal interaction is key as well as understanding the context of situations. We both agreed that forming positive personal relationships definitely benefits the working environment and performance. You must be considerate of how you speak to people and form mutual respect in order to make good team work.

"You get more from people when you communicate effectively."

I mentioned how on tour, if your nice to people in work, they are more likely to help you personally e.g. The wardrobe department allowing you to use their machines for washing, or the wig department giving you a trim.

"Positive working relationships give better chemistry on stage."

In her role as a dance captain, she has to be even better at dealing with people and apply thought and logic to her approaches. It's imperative to consider how what your doing or what changes you make, affect or relate to other departments. It seems interdisciplinary skills are even more apparent in leadership roles. This could not only help me as a dancer but set me in good stead for my desired career progression into a dance captain.

I asked Chloe what quality she valued most in a colleague and she said "work ethic - work ethic over skill any day." You may be the most talented but how you work affects everybody, the professional environment and the show. Being organised, concentrating and listening, all allow for increased productivity and efficiency.


It was great chatting with Chloe about her experience in Spain as well as our inquiry proposals. We both agreed that interview was an appropriate research method because of its qualitative and social approach. It was also good to acknowledge how our professional conversation had covered our more structured questions without even asking them. I discovered that clarity is key in interview or discussion and that I need to revise the wording of my questions, this to prevent leading explanations on my part as the interviewer. 
From this pilot, I have come to the conclusion that a more informal approach to the interview is beneficial - especially when I already know the participants to a certain extent. It allows for professional conversation which I feel creates a more personal rapport and relaxed atmosphere in the interview process. Therefore I have decided to be more open with my interview questions and use the structured ones as prompts. I will have to be careful in regards to time management when using a more conversational approach. Mine and Chloe's discussion lasted for an hour and a half because we spent some time at the beginning forming an initial rapport and then got chatting openly about our individual experiences which was really helpful. Using this approach will hopefully help the inquiry itself in regards to developing my professional, working relationships; as well as provide added detail and allow for unexpected data. 

Literature review: What is creativity?

So, due to the fact I've never written a literature review - I decided to do a some research on how to go about it and have a little go at one. I found this article online by professional course director and lecturer, Steve Gould, published for the 'Centre for Academic Success' at Birmingham City University:

http://library.bcu.ac.uk/learner/writingguides/1.04.htm

"A good literature, therefore, is critical of what has been written, identifies areas of controversy, raises questions and identifies areas which need further research." (Gould, S. 2011)

"......linked at all times to your own purpose and rationale." (Gould, S. 2011)

After reading the above statement, I felt it would be good to post my inquiry question at the top of my literature review so it remains in the back of my mind through out. Module three student, Bethany Huckle, also suggested using the 'PEE' technique when writing (i.e. Point, evidence, explanation) to help provide structure.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

My inquiry: "What  interdisciplinary skills should I as dancer possess in order to impact positively on the creative success of a musical theatre production? What affect can these have on my professional, working relationships?"


"What is creativity? The National Theatre's Ollie Winser talks design, inspiration and the digital revolution." (Staff writer, 2015) www.thedrum.com


http://www.thedrum.com/news/2015/06/24/what-creativity-national-theatres-ollie-winser-talks-design-inspiration-and-digital

Introduction: (outline of the literature including main topics covered and the importance of this to my topic)

This interview was conducted by The Drum Magazine as part of a campaign sponsored by Millennial Media to "decode the DNA of pure creativity'". As part of this campaign the Staff Writer approaches several creative experts from different industries including television, theatre, design and music. The aim is to discover what the individuals define as creativity, the alignment between creative ideas and creative output, the impact of digital revolution; as well as what inspires them and their opinions on how creativity can be nurtured.
This particular interview was with the creative director of the National Theatre's graphic design studio, a man who is responsible for the design output across the organisation. The National theatre claims to be one of the world's leading theatre producers, staging up to 30 productions each year and having a global audience of over 4.2 million people. It is highly regarded amongst the public audience, artists, and attracts many a creative expert. Before I can look into the impact of cross disciplinary skills on creative success, I must explore the assumptions behind it with particular focus on a theatrical environment. Discovering a stronger meaning will provide me with more focus when studying the interdisciplinary skills required and how relationships are impacted upon executing such skills. Therefore, expert Ollie Winser's perspective surrounding creativity will be of great value to my research. I have decided to structure my review using the interview questions as sub headings.



"How do you define creativity?"

Ollie believes that creativity is about "making something new". This would imply that originality is key to creative success. In relation to musical theatre, there have been many a production of the same musical but you often hear the creative team say how they want to 'bring something new' to the production in order to put their own stamp on it and to make it interesting for the audience. This makes me wonder if the concept of currency (Bourdieu, P. 1972), explored in Module 1: Part 3, is vital to the creative success of a production. This links in with the actual inquiry process and the continuation of professional development in order to stay current with skills, networks and audience expectation. I was part of the 2015 UK tour of Annie, a production which was originally performed in the UK in the West End, 1978. I have found a photograph from each production and you can clearly see the development in costumes and set design. What was a creative success back in 1978, may not be perceived so now and vice versa. In regards to 'cross disciplinary skills' from my inquiry question, does that mean these are also continually advancing to accommodate these expanding, creative boundaries? I believe this ties in with the creative imperatives so looking into how these have changed in musical theatre would benefit the inquiry.


http://www.dailyrecord.co.uk/entertainment/celebrity-interviews/whats-you-wont-miss-you-7324352

http://www.donatello.co.uk/leaping-lizards-annie-musical-arrives-brighton/

Ollie feels that "creativity is most valuable when it says something about the human experience." According to the Oxford dictionary, experience is defined as an "event or occurrence which leaves an impression on someone." Therefore a creative success could be measured by the emotional and intellectual impact it has on others. Musical theatre is a form of performance and entertainment combining several art forms. I believe the purpose of entertainment is to engage an audience and make them feel something. If as human beings we are positively affected by something, I believe we are more likely to value it and thus deem it a creative success. Therefore, is audience reaction towards our skills a measure of our creative success? I'd like to look into audience reviews of my current production to assess their take on the creative elements of the show.

"Where does your inspiration come from?"

Ollie states that his inspiration come from "a mixture of observation and conversation. I love looking at work but I also love discussing it. This has a lot to do with my interest in language, process and collaboration." Observation and conversation both involve others - they aren't individual activities. This supports my idea that creative success is more likely to occur when people work collectively as a team, sharing ideas and learning from one another. It also supports my chosen research methods of observation and interview in order to gain qualitative data whilst expanding and developing professional networks. I'd like to look further into the language and process I should use when conducting these activities in order to get the most out of them and conduct them as ethically as possible.
I read a book on psychology by Dr Nick Hayes. He spoke about 'comparative psychology' which is where we compare our individual behaviour to that when we are interacting with others. He also talks about humans being 'social animals' and learning what we need to know from our 'direct social influences', including our working communities (Lave and Wenger). This also supports the idea that collaboration and interaction are key to creative success. What I am interested to explore is how interdisciplinary skills can affect the approach and success of such interactions and in turn, the relationships formed with colleagues.
"Good creative conversations can be inspiring because they forge new ideas", says Ollie. I found this statement particularly interesting because a definition of 'forge' in the Oxford dictionary is to 'create
(something) strong, enduring or successful.' Therefore, it would seem that ideas formed from experts working together lead to a bigger creative success.

"Can creativity be taught or is it entirely instinctive?"

A main purpose of my inquiry is of course, to learn and to continue professional development in Musical Theatre. I am hoping that the interdisciplinary element of my inquiry enables the obtaining of new skills. Ollie believes "people with creative instinct also want to improve their output, and that's often through learning - learning from their own experiences but also the experience of others." This supports the idea that I wish to explore as my inquiry topic. How developing skills, not only as a dancer, but in the areas of other experts will improve creative success. Now the questions is, what skills in particular? I feel that this is where professional conversations and observations of people in other departments will provide useful.

"How closely do the two sides of creativity - thinking and producing - need to be aligned?"

Ollie again suggests that creative success is a result of collaboration and shared ideas that complement one another. "You can have a good idea badly produced and a brilliant production of a bad idea, but I think they need to be aligned if you want to make great creative work." The above quote made me wonder if the producer is actually classed as part of the creative team. When Ollie states that the ideas and producing should be aligned, it probes curiosity about how much creativity a producer should possess and how much business and administrative skills a creative should possess. It suggests interdisciplinary skills and understanding of other experts is required for the creative success of a production. However as in my inquiry, it is not about stepping on other people's toes when questioning, observing and learning elements of their area; it is about a creative meeting budgets and requirements, and the producers helping to make a vision happen for example. It also made me think about the concept of leadership in creative success. I did some research on the role of a producer and came across an article in 'What's on stage' discussing a new titular addition - 'creative' producer. It seems this has formed from some people's attitude towards the producer being purely an administrative role. The opposing debate is that producers have always been 'creative entrepreneurs' and that those who are successful have always required creative skills in the form of taste, presentation and judgement on creative aspects such as the script and choreography. I believe that the producer can be a great influencer when it comes to the creative imperatives. Working with them and forming positive relationships, I feel, will only help when it comes to their facilitating of ideas and creative success.

"What impact has the digital revolution had on creativity in its widest sense?"

"There's a lot of imitation out there - as people see more, they imagine less." We have discovered in module 1 that the internet and web based communications have done wonders for collective intelligence, collaboration and the sharing of ideas. It has helped facilitate independent learning by providing a huge reference base but what has it done for creativity? I think it is important to distinguish the difference between getting inspiration for ideas and copying them, whether it be subconsciously or consciously. I believe that we must use information we see and read on the internet to feed our own imagination rather than relying on it. It supports Ollie's earlier definition of creativity - you "make something new". In other words, a creative success something that is imaginative and original.
"Social media has opened up creative communications and has enabled us to engage better with audiences." Ollie talks about interaction with others, implying that creativity is more obtainable or successful in numbers. We have established that creative environments, such as the arts, are collaborative environments. Increased communication helps to feed creative activity. There is huge stress on interaction with  our personal and professional communities, as well as our special interest groups, at Middlesex University. This is because these interactions can instigate ideas or provide evidence for our own topics of interest. Having a larger network of creative communications that involve varying experts, will also help to facilitate each other's ideas and provide deeper understanding and support. More over, creative access is often a team effort.

"How can creativity best be nurtured?"

"By allowing and embracing failure as a necessary part of any creative process", says Ollie. I feel that this supports my chosen research method of trial and error as part of participant observation - particularly in a practical environment. A common saying is that 'we learn from our mistakes' implying that failure can be a positive thing. You must have a go and get things wrong in order to learn and better yourself as a professional. Therefore I believe acknowledgement of failures and areas for improvement, are key when it comes to creative success. In regards to my role as a dancer, this could be through my knowledge of different steps and how they should be executed or reaction from others (such as the audience) to my movements for example. This also suggests that having a broader skill set can allow for increased creativity and the importance of relationships when it comes to defining the successes. In regards to making mistakes and failures, although they are accepted and acknowledged as part of the creative process, is there a time and a place? For musical theatre professionals and dancers, I believe the rehearsal room is where this should happen. When reaching the stage you're expected by the producers, creative leaders and audience to demonstrate the performance consistently and to a certain standard. Continual mistakes will become frowned upon. At the end of the rehearsal process, i.e. the creative process, the aim is to have achieved creative success ready for the technical period and paying audience. This clarifies what Ollie says in the sense that failure is a vital part of the process - not the product.
Ollie also feels that "creative spaces" are imperative for creative success. "A good creative leader won't have all the ideas but they'll build an environment in which they will flourish." I feel that both practical and atmospheric elements of the environment are imperative. Auditions are a great example
of this. They can be very nerve wracking experiences for the people auditioning which can make it difficult for the individual to reach their full potential. I had a lovely experience where one director actually had a chair out for me; he shook my hand and we had general chit chat in order to make the environment a relaxing and encouraging one before singing my song. It's in the directors interest after all to get the best out of the performers and to see the most successful representation of their ability. I think this can also be applied in the rehearsal room for a musical theatre production. The more comfortable you are made to feel, the more you can focus on the creative aspect of the process and flourish. In a more direct application of the theatre setting and for a dancer in particular - i believe it is more the practical elements of the environment allowing for the creative success to happen and grow even more. Things like even flooring, sufficient temperatures and costumes that facilitate the choreography. Therefore it seems the level of creative success achieved is partly dependant on the working environment.

Conclusion: (summary of what has been written, identifies areas of controversy, raises questions and identifies areas which need further researching relation to topic)

From this interview, I have come to understand that originality is key to creative success. Ideas should be imaginative and different, as well as up to date with the ever advancing skills, facility and expectation. I would argue that this applies more to the creation of a new production or concept. In regards to an existing, successful, musical theatre production; creative success can be defined by the impact it has on the audience and their reactions. This in the form of emotions, applause and reviews of the company delivering the creative aspects. It would be great to compare reviews of a brand new musical against a musical that has been running for years, and see how they vary in judgement in regards to the creative elements.
It has also been established that there are factors affecting creative success. Creative imperatives such as skill set of individuals, equipment available and surrounding environment all being big contributors to this. Collaborating, communicating and interacting with others is also mentioned by Ollie on various occasions in regards to creativity. This would imply that creative success is a team effort and other company members influence this. In 'how to start your new job successfully', Christine Harvey states that your success often depends on others around you, which supports this analysis. We've also learnt that the Internet can both help and hinder creative success as it enables the expanding of networks for such collaboration as well as validation and inspiration for ideas. However, having the ability to obtain too much information and referencing can cloud individual thoughts and restrict imagination - something we deemed as essential to creative success.
I would like to focus on the creative imperative that is skill set when studying creative success and how obtaining and possessing interdisciplinary skills impacts on this. Ollie believes that thinking and producing should be aligned in the creative process. This has made me want to study any connection between interdisciplinary skills and leadership roles. Does the importance and need for these vary between positions? How do leadership roles impact on the fulfilment of these skills in regards to other creative imperatives mentioned?


Bibliography:

Bourdieu, P.

http://www.campaignlive.co.uk/article/1373187/job-description-creativedirector

Harvey, C. "Start your new job successfully."

Hayes, N. "Psychology in a week."

Lave and Wenger

Millennial Media

https://www.nationaltheatre.org.uk/about-the-national-theatre

Oxford dictionary

The drum magazine

http://www.whatsonstage.com/west-end-theatre/news/01-2012/year-of-the-producer-defining-and-debating-the-cre_5710.html

CREATIVE SUCCESS: What the SIG's say

Middlesex University Peer: Tom Hullyer (Module 3)

I'd been hoping to get the chance to chat with Tom as I'd seen he had similar interests to me. He is looking into collaboration and communication when putting on a production which I think ties in nicely with interdisciplinary skills in Musical Theatre.  We spoke about various structures within a production environment. We also discussed how when and what we communicate, can benefit or affect the production. Particularly in connection with leadership roles. He spoke about the most common theatre structure today: Regional theatre model. This model can be found in a piece of literature he recommended: "Working together in theatre: collaboration in leadership" by Robert Cohen. An example of this would by my production of 'Dirty Dancing.' You have the same creative team perhaps but often a change in artists with each contract. The change in performers can be both
advantageous and disadvantageous depending on the skills brought to the company, the dynamic from different training backgrounds or personalities etc. These factors could cause conflict in rehearsals for example, thus affecting the collaboration and the creative success. It reiterates that creative success of an individual or production is largely dependant on others. I mentioned to Tom how on tour we have a resident crew, but we also have local crew to work with when arriving at each venue. The difference in skills can definitively have a either a positive or negative affect on our success, or at least the facilitating of it.

Me: "How do you go about working with other people?"

Tom said how a new job often starts with a 'meet and greet' in order to get to know one another and form some sort of personal rapport. It is important to connect and form positive relationships in order to impact positively on the creativity and experience of a production.

Me: "What do you define as a creative success?"

Tom believes this is down to personal perception. He believe that as a dancer, it is fulfilling and facilitating the choreographers vision, and whether you are a creative success is dependant on their perception of how you execute the choreography. Again, we establish that it is heavily down to others. He talked about contentment with his own work and creative choices, as well as audience reviews/director feedback.

Tom also recommend author 'Patricia Leavey' who talks about arts based research being cross disciplinary and the importance of collaboration and team work.

Tutor: Talking to Paula briefly was useful in regards to defining creative success. She mentioned 3 things.....

1. Opportunities - are people fulfilled in their job? This links in with the concept of 'self - actualisation' from social influences in 'Psychology in a week' by Dr. nick Hayes. Does creative success come from challenge in the workplace?
2. Vision - seeing the work there and then. Our head of wigs department mentioned how he enjoyed theatre much more than film because he could instantly see his creative work on stage and gain satisfaction from it rather than having to wait months to see it on a screen.
3. Imperatives such as money. Can this limit opportunities and thus creative success?


Work colleague: I had a conversation with a fellow company member about their perception of creative success. It was interesting to hear that for them individually, being in demand by employers would make them a creative success - this is because their creative skills have been seen and valued. This supports what The National's Ollie Winser said about it being "visible and valuable" - your success has been acknowledged and is dependant on other people's opinion of your creativity. My cast member also believes that the greatest creativity happens when it is instinctive. We spoke briefly about external imperatives such as time in connection with this and how this can be both an advantage and a hindrance.

I also asked how my colleague went about working with other people and the concept of interdisciplinary skills in the workplace. He stressed the importance of open - mindedness, this in relation to both ideas and opinions of others. "I start each job with a blank page." This means no prior judgement is formed of his cast members for example but also of how certain characters should be played etc. As a more experienced member of the cast, they believed that interdisciplinary skills were required more amongst the senior roles such as the director. It made me want to look at the link between creative leadership and interdisciplinary skills.

Would possessing interdisciplinary skills help my creative success as a dancer? Would my possession of such skills impact on other people's/the productions creative success? Would it be more beneficial for career development in regards to moving up/between roles? I.e. Dancer - dance captain?

Reader 6: Tools of professional inquiry

We are conducting SOCIAL SCIENTIFIC research by drawing upon real life experience. Personally, i am using my current working environment as a case study and taking on the role of an 'inside researcher' - a role which allows for action based learning. I think this is particularly appropriate for this genre of research because i will be interacting directly with society and individuals within my practice.

Aims of the research:

Self discovery

Develop practice-based knowledge

Relate to other professionals

QUALITATIVE APPROACH: "stresses the human element of research." (Reader 6, 2016)

Part of my inquiry is looking at impact on professional relationships so this approach, i hope, will help to expand my networks in the working environment. It is an explanatory and exploratory approach, which often uses words and allows for development in our understanding. Collecting qualitative data provides for a more personal and valuable experience. We can do this by making notes, video or audio recording.

Research should be:

VALID - be relevant, truthful and come to logical conclusions

RELIABLE - approach to research activities should be consistent

GENERALISED - can my small scale inquiry be applicable to other situations? Arts based research is considered cross disciplinary and looks at various art forms. I believe my inquiry surrounding interdisciplinary skills for creative success and the impact on relationships,can certainly be applied to other art forms and experts. Generalisability increase research value by not limiting it to Musical Theatre, we don't want it to be situative. 

Qualitative research is "INTERPRETATIVISTIC" (Mason, 2002) Looks at how the social world is: interperated, understood, experienced, produced and constituted. We come to understandings from the research rather than identifying patterns within it.

"The researcher becomes one of the tools of inquiry, and must reflexively be aware of their own positioning and biases." (Mason, 2002) This could be making ourselves aware of leading questions for example. 

Using a combination of methods in work based research provides validity and support for any findings, which in turn makes it more reliable. Using several tools of inquiry to examine the same issue is called ‘triangulation'.  (Bell, 2005). It allows for comparison.

Common pitfalls of research :

Vague and ill defined aims

Lacking detail in the research design

Over ambitious, unrealistic with scope of activities and time scale

(Fox, Martin & Green, 2007)

From the above, i know that i need to be aware of point 2 and 3. Looking back to the Module 1 hand in - there was so much i wanted to say and do that i worked myself to the absolute bone and comprimsed detail to fit as many things in as possible

i believe that conducting a professsional inquiry is like learning a 'cover' in my environment of a Musiacal Theatre Production. You often start by studying the character and learning the lines. You would then observe the person you are covering in action, ask them any questions for clarification on entrances/exits/blocking. After that is likely that you'd rehearse and gain feedback from others as well as reflect internally. Similarly to conducting research you would be respectful of where you observe them from to prevent distraction/minimise pressure. You would also be considerate of asking quetions at appropriate times - not during a show for example. After all, there is a time and a place.

Once secure with the material, it may be that you expriment with different approaches or intentions to lines, and rehearse dance routines with different people. This so you can adapt your work and discover what is most successful for you personally, your co-workers and the audience.

Data Collection Tools

Doing a practitioner inquiry and conducting work based research enables us to gather evidence from primary sources. The data we collect should be PURPOSIVE. In other words, we should choose people to interview selectively and using defined criteria. I am hoping to apprach the heads of each department as i will gain information from the highest of experts in each area allowing for comparison and information supported by maximum knowledge.

OBSERVATION: Watch, record, analyse

Things to consider
- how will i conduct, where, and for how long (will this vary between participants)

- record via journalling or video, at the time of observation or afterwards

- will the observation process have a pre-determined framework or be completely open

- will the observation be participant or disinterested

- ethics: participant permission, confidentiality, gate keeper, employer support

- presentation and analysis of results

Observation can be an extremely rich source of data but be very time consuming to conduct and analyse. Recording the observation by video may provide too many ethical complactions in my work place due to not only the people on show, but the disclosure of the producers property such as costumes/props as well as the theatre company's environment. I think journalling may be the best option. obviously the purpose of observation is to watch activity but this can make it difficult to remember and analyse findings. A pre-determined framework for the journal i.e. an observation grid, would provide useful for making short hand notes of behavioural patters, specific responses, interactions and skills. i would need to create this in some sort of simple coding to make it un comprehendable to the prticipanats. I also need to think carefully how i position myself and take the notes in order to minimise interference with the normal setting. I hope to conduct observations during the pre- show set up as that is here i believe most activity will occur. Participant observation can make it hard to remain objective, particularly when you know the other people involved. However, i would really like to assign the last section of my observation to trial and error. I'd like the opportunity to participate in a form of work experience where i have a go at a particular skill of their choice. In regards to presenting results, it may be possible to form charts from my observation grids and create a video journal of my expereinces during the trial and error sessions.

INTERVIEW: questions/discuss, record, analyse

Thinsg to consider:
- how will i conduct: where, when and for how long (will this vary between participants)
- who will i approach and why
- interview structre (structured, semi-structured, open, narrativs, informal, guided)
- what am i trying to find out, therefore what questions need to be asked
- open or closed questions
- record via journalling, audio, video
- ethics: permission, data protection act - "off the record", secure storing of data collected
- presentation and analysis of results

Data collected from interviews can be very valuable because you gain insight into the "motives, expectations and attitudes" (Reader 6, 2016) of people that you wouldnt get in more statitstical, data collection tools. However it is important that you consider the wording of your questions so they are not leading in order to support your own feelings. A great advantage of interviewing is the adaptability. If you don't structure the interview too much you can probe the topic or further any intersting points raised by the interviewee - both of these provide the opportunity to uncover unexpected data. One disadvantage is that the interviewer may affect the responses of the interviewee - particularly if you know eachother. It is important to think about interpersonal variables such as age, gender, role and personal qualities; and about the subject being covered as to whether phone, skype or face to face interviews are best. A brief introduction of information sheet prior, explainng the purpose of inquiry and interview, i hope will minimise and interpersonal influences.

Conducting a PILOT interview will provide very useful when testing my approach to interview. I will do this with a family member or friend outside of my workplace so that my research inquiry is done with the most professionalism in the workplace.To do this i will need to contact the participant and email over the information sheet and consent form if they agree to take part. I will semi-structure some questions in the hope that i can probe the topic whilst allowing for any unexpected routes of interest. Being on tour i will conduct my pilot over the phone and for this i will require audio recording equipment, paper and pen, timer. 

When analysing the interview, it is important to write any quotes exactly as they were spoken - without paraphrasing. I think qualitative analysis would be best for my inquiry purpose in which i use written analysis to discover "comparisons, contrasts and insights" (Reader 6, 2016). This in regards to my own interpretations of the evidence, against the participant's construction of reality.

FOCUS GROUPS

The advantages of focus groups are that they generally involve people with similar interests, roles and experience, appropriate for and knowledgable to the inquiry topic. A focus group also provides a supportive environment for people who don't like to talk on their own or need help feeding and instigating their own thoughts. Atmosphere is key within a focus group. It is important to consider the space in which you conduct it, your introduction to the activity and how you arrange the seating for it. Focus groups can be difficult to manage. A plan of action should be in place via the means of prompt questions to help channel the discussion and prevent going off on tangents. Strong personalities can influence what other people say and affect the balance in response. I think that having an action to show you want to speak may provide useful - this to prevent talking over one another and creating a heated or unmanageable atmosphere. Focus groups can again be very time consuming with analysis of various, different voices but, 'professional conversations' if you like, do feed thoughts well and may provide less time consuming than conducting several indervidual interviews. For me personally, i think individual interviews would be more beneficial when analysing because of the structure provided.

I spend every day in a dressing room with 5 or 6 other girls in which we discuss allsorts - would it be inexcusable not to use this environment? Or do i purposefully not use it incase it impacts negatively in any way on our relationships and working atmosphere?

Things to consider:
- Seating plan for optimum atmosphere and participation
- Attendance to session
- Time keeping if discussions go off topic
- Recording needs to be clear and well placed because of multiple voices
- Identification to help the analysis of quotes
- Coding for note taking and the indivuiduals in the room
- Conduction: where, when, who, how long
- Ethics: consent forms, information sheets, permission, data protection

DOCUMENTS

First hand sources:

• library or academically based
• computer based
• policy focused
• historically oriented
• organisationally based
• internet
• journals or diaries

It is important to remember that document s cannot be taken at face value:

"We develop our ideas of the concepts, issues and policies with which documents deal through comparative analysis." (Reader 6, 2016)

Things to consider:

• who is the author?
• what is their position and what is its significance?
• what are their biases – political, personal?
• where, why, how and when was the document produced?
• what are its underlying assumptions?
• how is the document presented?
• how does this document relate to other documents?
• who is the intended audience?
• what is the ethical and/or value basis of the document?

All analysis and interpretations of data should relate back to what you've found about the inquiry topic and to your work place and professional role.

"...your professional inquiry and professional artefact use your practitioner research element as yet another experience to develop your professional role." (Reader 6, 2016)

Things to consider as an INSIDE RESEARCHER:

- remain objective

- instant feedback

- influencing data collected (research activity vs work activity)

- role duality

- my values

The Inquiry Proposal:

• topic for the inquiry or the research problem 

• research questions or hypotheses being explored 

• background of research (context an purpose of the inquiry) 

• explanations of the research approach or methodology - quantitative/qualitative/mixed 

• descriptions of the tools of inquiry undertaken during the module e.g. observations, sampling approaches used, interviews, focus groups, the literature that you sourced and reviewed 

• description of the tools of inquiry to be used in the professional inquiry 

• how you will handle the data and analyse the findings from the inquiry 

• ethical considerations, aspects of validity and reliability of framework 

• reflection from the learning process undertaken 

• timetable for the professional inquiry 

• the learning agreement with workplace signature where required 

• the resources that you might need to carry out the inquiry

( Mason, 2002 and Bryman, 2008)

Bibliography

Bell, J. (2005 & 2014) Doing Your Research Project (4th & 6th ed.)  Milton Keynes: Open University Press.

Fox, Mark, Martin, Peter and Green, Gill (2007) Doing Practitioner Research, London: Sage Publications Ltd.

Mason, Jennifer (2002) Qualitative Researching (2nd end) London: Sage Publications Ltd.

Reader 6 (2016) Middlesex University, Lodon

Continuing to develop my lines of inquiry

How do professional relationships impact on the success of a musical theatre production?

What is a professional relationship? 
"A professional relationship is an ongoing interaction between two people that observes a set of established boundaries or limits that is deemed appropriate under governing ethical standards. Establishing proper professional relationships is the backbone of career development."
https://www.reference.com/business-finance/professional-relationship-5d2d62d08b51f875#

What is a successful musical theatre production?

How do the creative & economical imperatives in a musical theatre production affect these professional relationships?

What are the creative elements of a musical theatre production?

SCORE | LYRICS | CHOREOGRAPHY | DIRECTION | BOOK | MUSIC | SET | COSTUME | LIGHT | SOUND | WIGS

See: https://www.musicals101.com/creative.htm

What are the economical situations surrounding a musical theatre production?

Budgets
Marketing 
Wages
Box office statistics
Funding
Tourism
Local businesses

Does the importance of professional relationships vary from a touring musical theatre production to a resident?

affiliation

weekly technical period

varying local crew 

What skills & knowledge should I possess as an ensemble dancer to form positive relationships in the musical theatre environment?

What is a positive/good professional relationship?

According to https://www.mindtools.com "there are several characteristics that make up good, healthy working relationships." These being:

- Trust

- Mutual respect

- Mindfulness

- Welcoming diversity

- Open communication 

Check out the full article here: https://www.mindtools.com/pages/article/good-relationships.htm

*it is imperative to consider ethics and morals when forming relationships - think about culture, language, honesty*

How do I form these?

Check out this article on http://smallbusiness.chron.com/build-good-professional-relationships-25403.html to read Ruth Mayhew's verdict on "how to build good, relationships relationships". Key things mentioned are:

- Introducing yourself

- Be honest, competent and work hard

- Help others who need assistance with an area of expertise you're familiar with

- Exchange help on professional matters 

- Take ownership of your responsibilities

- Look for a way to develop your skills, capabilities and experiences

- Avoid engaging in behaviour/actions that will threaten your reputation

What skills and knowledge should I possess as an ensemble dancer in a musical theatre environment?

Ethics checklist *TICK*

Here is a checklist I made for conducting interviews at work. I wanted to make sure everything was covered - let me know your thoughts and if you think I've missed anything!

'This Morning': Prince Harry & Meghan Markle

Whilst looking through reader 5 and making notes, I was listening to ITV's This morning. They were discussing the current affairs of Prince Harry and new girlfriend, US actress, Meghan Markle. It was really interesting to hear Phillip and Holly (hosts of This Morning) chatting to Camilla Tominey (Royal editor of the Sunday Express) about the statement Prince Harry had released expressing his anger and concern for his girlfriends safety. They were talking about 'social media trolls' and the nasty things said on Twitter to Meghan.  Some of this included 'racism' towards her black mother. Phillip picked up on Camilla being the first to release a story on the couple but she protested that everything she had written was true, that there was no bias, no judgement made towards Meghan and no 'character assassination' like other reporters. Camilla also felt strongly for Meghan due to the fact she had no representation on the matter and hadn't been given any 'right of reply'. It was also claimed that Meghan's family members had been offered 6 figure incentives to reveal inside information on the couple. There are so many ethical and moral issues here: invasion of privacy, bribery and bullying to name a few. 

Check out Camilla Tominey's article here:

http://www.express.co.uk/comment/columnists/camilla-tominey/729247/Prince-Harry-girlfriend-dating-actress-Meghan-Markle

SIG: Skype chat with Victoria-May Vickers, 4th November 2016

Through blogging, it was revealed that both myself and Victoria were interested in the concept of SUCCESS - her in regards to acting and myself in regards to dance. Therefore it seemed only natural to get together for a chat. We both admitted to struggling with the broadness of module 2 and trying to find answers rather than information - something I find really difficult considering myself as a logical person. It was then that we reminded ourselves about the Skype with Adesola where she said "think of sculpting the inquiry".  (http://meganlouch.blogspot.co.uk/2016/10/my-middlesex-university-network.html) Victoria then added "it's all about the process." If we knew what we wanted to find out or had answers to questions there'd be no point in the inquiry, and it's important to remember that the inquiry can change - even moving forward into module 3!

I firstly asked about Victoria's take on success and she mentioned key words that had already arisen from previous conversations I've had with others: CONTENTMENT and PASSION. In other words, being happy and getting enjoyment from what you do. I asked Victoria about her background and she revealed that injury had initiated a natural transition from more dance based performance to acting throughout her training. I then asked if that means she'd consider a successful dancer to be 'injury free'? Her response was "success has just taken a different route, the goal posts have changed." Again linking back to a previous idea of GOALS. (http://meganlouch.blogspot.co.uk/2016/11/mood-boards.html)

Another area of interest for Victoria was the CONTINUATION OF PROFESSIONAL DEVELOPMENT. My response was: could this be a branch off 'success'? In module one we mention the concept of CURRENCY in regards to staying up to date via social media and networking (http://meganlouch.blogspot.co.uk/2016/04/reader-3.html).Well the same could be said in regards to performing. By going to class, studying etc (I.e. Continuing professional development) we are keeping up to date with new techniques, productions, knowledge and experts in our industry who could prove to be great NETWORKS on the road to success. Does it also matter WHERE we continue development? Or is it how we, the individual, take on board the information?

Victoria works in a school so i spoke to her about the conversation I'd had with my mum (early years teacher) about CHARACTERISTICS OF LEARNING and how they are deemed key to success in a child's development and education. (https://www.gov.gg/CHttpHandler.ashx?id=104249&p=0). Victoria expressed the importance of PLAY THERAPY woth children to aid social integration, growth and development. The above made me think how our CHARACTER and RELATIONSHIPS feed success and how they are introduced from birth, right through school and follow through into our adult life. It links back to my blog on literature where I mention how humans are social animals and learn from others around them, their SOCIAL INFLUENCES as well as EXPERIENCES (http://meganlouch.blogspot.co.uk/2016/10/trip-to-library_27.html): family, friends, teachers, peers, colleagues. It would be interesting to look at professional development from child to adult and what we learn as a child that then helps us in the adult, professional world?

We went on to talk more about a persons character (in regards to WORK ETHIC and VALUES) vs TALENT. I believe "people that get it easy don't value it as much and often don't become as successful or have shorter-lived success." Victoria then shared a story of someone she knew from training who had been so naturally gifted and hadn't had to work as hard for success. "She was so unbelievably talented and worked professionally straight away. However, shortly after she gave up because her heart just wasn't in it." It just shows that MOTIVATION and ENJOYMENT for the industry are key to success - no matter how talented you are or how good you are at something,

I asked Victoria her opinion on a couple of topics that had cropped up during research and conversations with SIGS.

Do you conduct yourself differently according to different situations for success?

We spoke about PRESENTATION and COMMUNICATION in different environments such as auditions and schools. Victoria said how a teacher had told her: "They know if they want you for a job, 5 seconds after walking into the audition room." This would imply that the way you LOOK and the way your express your PERSONALITY is essential for success. We came to the conclusion that being APPROACHABLE and ADAPTABLE are vital qualities, and in regards to communication, Victoria said she has to be gentle and open minded within her primary school.


Do you think the concept of success has changed over time?

I related this to a Musical Theatre production in the sense that there are ever decreasing budgets, time frames, space, staffing; but also increasing knowledge, competition and expectation. Therefore, we are effectively trying to DO MORE WITH LESS which is why I feel it is even more important to COLLABORATE effectively and work as a team. We also spoke about new musicals vs classic musicals. How there seemed to be a time where several new musicals opened and closed after short periods, and how it now seems to be the classics making a come back. Victoria then made a valid point about new musicals such as 'Hamilton' coming to town and  'Aladdin' but then do these do well because they've had previous success? They are ESTABLISHED. Hamilton in regard to its Broadway success and Aladdin in regards to the Disney movie.

My areas of interest originally were:

What makes a dancer successful?
What makes a successful musical theatre production?
What skills and knowledge should I possess in a Musical theatre environment?

The above Skype chat has made me want to focus more on the importance of RELATIONSHIPS when it comes to the success of a production. What SKILLS and KNOWLEDGE are required in order to COLLABORATE and COMMUNICATE effectively with my fellow company members in the musical theatre environment.

Check out Victoria's blog: http://victoriamayvickers.blogspot.co.uk