willkommen zurück : welcome back!

The return of the blogger...


Good morning! It's definitely been a while and I must admit, I am feeling a little apprehensive about getting back into the swing of this blogging malarkey. It almost feels like the first day back at school after the summer holidays.

After receiving the results for module 1, I've got to say that my initial reaction was disappointment as anything other than a 1st wasn't an option in my head. I do believe that the arts have influenced my self critical nature and the desire to strive for perfection however; after taking a step back and chatting with Paula, my family and my friends, i came to realise that having never used Harvard referencing, never written in such a formal way, never done distance learning or learning at a university level - I'd actually done ok! The more I went through my work, the more ideas I had meaning I tried to cram lots in rather than being thorough with the ideas I already had. We came to the conclusion that I'd probably hindered myself by trying too hard - would you believe! I definitely think a similar approach applies to dance in that when you try too hard, you can become out of control and create too forceful a dynamic for example. For this module I plan to focus on more in depth reflection and evaluation as well as increase the communication between my tutor and peers. I struggled to make group Skype sessions whilst on tour because of rehearsals, show times or wifi problems. If this continues to be the case, I shall arrange additional one on on discussions to assist my learning.

I must admit that it's been a crazy couple of months and I am currently writing to you from a hotel in Duisburg, Germany. I've woken up from one of the best nights of sleep I've had in a long time and although I almost feel more exhausted for it, I can also feel that my body and mind have completely relaxed - finally! Normally I would be up at the crack of dawn ready to explore but today I am listening to my body - something I know to be more important than I allow myself sometimes.

As performers we succumb to the fact that we may be out of work for a period of time and this is often between jobs whilst we audition and such like. A break for the self employed dancer isn't always a bad thing as the body needs some time to recoup and as people, we need this time to affiliate with families and friends. In the past I've had longer gaps that I would've liked in the form of 6 months and even 9 months but most  recently, I've been very lucky having only 11 days between jobs.

Before throwing myself into the second module I asked myself 2 simple questions:

1) What is and has been my professional practice since commencing the BAPP Arts? 

Musical Theatre performance  
UK & International Tours

2) What is and has been my role within this practice? 

Performer - dancer/actor/singer
Ensemble/swing/cover 

From answering the above questions, it seems obvious to me that my inquiry should focus toward to the 'touring, musical theatre performer' and the environment surrounding it. After touring the UK for a year already, I was definitely nervous about going straight back on the road again for various reasons (of course I was also extremely excited!) Therefore if I can achieve anything from my professional inquiry I would like to inform and prepare other people for the most comfortable and rewarding experience. Unfortunately, lines of inquiry often come from problems or bad experience but it is also from these that we learn, create a better work place and become a more knowledgable practitioner. I strongly believe inquiry also promotes self discovery. Applying 'critical thinking' and 'reflection' to my practice has increasingly highlighted how I would do things differently to gain better results and made me more aware of my personal morals/ethics.

I have recorded various questions that have presented theirselves to me from commencing module 1 in February 2016 and my working experience so far.

1. Is decentralising the leadership role a good thing when putting on a production? What effects does this have on the technical period prior to opening a show? 

Although a company are working towards common goals, does one person need to be the central point of communication and make final decisions? Relate to the health and safety/welfare of performers both on stage with set changes etc and pastoral care off stage.

2. Does working as a performer impact on an individual's mental health? Do the variables of a touring environment effect the spectrum more so than a resident production?

Link to communication when away from home, displaying personal lives on social media, body pressures, unemployment - link this with web 2.0.
Eating disorders in regards to diet, anxiety in regards to being away from home and stage fright etc, depression in relation to adverse effect of adrenaline, anxiety with auditions and the unknown/reflection. What is reality and what is normal when on tour? Consumption of alcohol and drugs in relation to theatre culture. How we deal with a change in role - for example, playing a lead in one show to then being in the ensemble.

3. What is the importance of being a good company member and is this valued more than talent when it comes to offering a performer a job on tour?

Appreciate that you not only work but socialise and live with your co - workers on tour. Link to recommendation, referencing, accepted standards of behaviour in the work place e.g. 1 rule for 1 and 1 for another, boundaries, brown nosing.

4. Is a 'swing' the most important member of a company and what does it take to become a good swing? 

Life of a swing/cover: very good adopters, reflecting in action, quick brains, logical thinkers. Are they the unsung heroes? Difference between swinging on tour and in town.

5. Does knowledge increase with experience and in turn making us better dancers? 

Does this depend on what an individual takes from an experience? Can talent be taught? Think about how the best teachers aren't the best dancers but are considered experienced/knowledgable. Accepting our limitations in terms of roles and physique. How do academic vs vocational standards vary?

6. Is it better to be highly skilled in one discipline or good across the board  in today's musical theatre scene? 

Talk about limitations in budget, expectations of different employers, standards of today's training establishments and the increase in competition.


I'd love to hear people's thoughts on my questions raised so far and the topics mentioned above. Also if any fellow students have similar interests it would be great to have some more in depth discussions!