Literature

Here we have 2 articles which interview 2 of theatres leading producers. What is a producer and what do they actually do? "Whatever the job involves and whatever it's called - producing, creating, facilitating, enabling, realising - theatre can't happen without it." (Baggaley, L. 2008. Online for The Guardian). Therefore, it seems imperative to look toward these practitioners for input on my inquiry topic. 

Cameron Mackintosh: "I have been successful beyond anyone's wildest dreams" By Dominic Cavendish, 2014. The Telegraph. (http://www.telegraph.co.uk/culture/theatre/10842020/Cameron-Mackintosh-I-have-been-successful-beyond-anyones-wildest-dreams.html)

Credits: Miss Saigon, Les Mis, Mary Poppins, Cats, Phantom of the Opera

This article claims that Sir Cameron Mackintosh is "the most successful producer in the history of the stage musical" as he becomes the first Briton in show business to reach 1 billion in worth and join people like Richard Branson on the super-rich list. Does profitability of a show therefore make it successful? 

Mackintosh owns seven theatres and presides over several musical hits, including the worlds longest-running musical - Les Miserables. Does that therefore mean that longevity equals success? 

Ultimately, it is the audiences who bring in the money and thus keep the show open for longer. I feel this stresses how important it is for a show to connect with and entertain its audiences. It suggests to me that the audiences who come and see the show are the ones determining whether the show is a 'creative success' or not. It is important to meet our audiences needs and interests and consider our relationships with them, in addition to the ones at work/on stage. 

"I'm forensic in every detail, in every department. The real originality comes from everyone else but I seem to have a talent for going 'that doesn't work - why not try that?' I'm good at making other people go the extra yard."

The above quote from Sir Mackintosh, I feel, demonstrates how important both interdisciplinary skills and leadership roles are in the creative process of a production and its success. 

"This particular cycle is over. What it needs is a new Cameron Mackintosh to come up and work with a younger generation, do it their own way and find a new audience."

Michael Harrison: "It's a big job. I don't have any hobbies. Producing is all I do." By Mark Shenton, 2016. The Stage. (https://www.thestage.co.uk/features/interviews/2016/michael-harrison-big-job-dont-hobbies-producing/)

Credits: Qdos Pantomimes Ltd, The Bodyguard, Annie, Funny Girl, Beautiful, Young Frankenstein, Gypsy

From the title of this article we understand that being a producer must take a lot of commitment and dedication. Micheal says that good theatre producers know how to "juggle plenty of balls simultaneously" and "know the nuts and bolts of putting on a show." Therefore, great managerial skills and organisational skills are essential, as well as a general understanding of each element and discipline that goes into putting on a show.

Pantomime is where Michael's love of theatre and producing experience began. He talks about tradition as well as the "introduction of stars beyond that panto legacy". He believes that panto  should "address its local audience directly" and says former colleague and actor, Gerard Kelly, believes it is "a celebration of local culture." Is theatre about bringing people together? Both on and off the stage? This links in with the Norwegian principle of Dugnad as discussed in other literature where performances consider its audience; making it relevant and relatable to their culture and community. Whilst remaining true to traditions, modern pantomimes also adhere to current interests and keeps up to date with today's media stars in order to draw in new audiences and have relevance to today's society. 

Micheal talks about the importance of marketing and external factors that can affect the success of a production such as: timing, season, and location. Marketing is about "finding and keeping customers" (businesscasestudies.co.uk). Our audiences are our customers in theatre which implies that we rely on them to become and remain successful as a show. It suggests that the relationship we form with them is paramount. 

Action planning!

So after sending a general curtesy email to the company via our company manager, informing everyone about my inquiry; I then sent out specific emails to participants with consent forms attached.  I chose to use a formal approach initially but have been liaising with participants about time/logistics via face to face communication at work and social media. I think this creates a better rapport and more relaxed atmosphere going into the interview and practical demonstrations.

I've created a timetable as shown below to help me visualise what days/times are available for executing activities. It also enables me to note down any anomalies to our working schedule such as reherarsals and things like double show days. I find this method more adaptable than a gantt chart with our ever changing circumstances. This week for example I already had activities scheduled; however due to venue restrictions increasing work load, these have been postponed. 

Skype session with Paula!

Friday 24th February

Module 3: Part 7

Skype session: "The Professional Inquiry"

Participants:

Lauren Hoskins

Laura Jayne

Victoria Vickers

It was really interesting chatting to the girls about their inquiry topics and discovering how different they all were. We looked at the different 'stages' from reader 7 and all stated where abouts we thought we were in the process. Personally, I'm definitely within stage 2 i.e. reviewing literature and gaining permissions from participants for the research activities.

We also discussed anything that has happened already since module 2 that could be integrated in the 'critical reflection'. I've recently discovered that my working environment and situation will be changing during module 3. This has increased the importance of scheduling and reduced the amount of time I originally thought I would have for carrying out activities. Although my work load has increased and it all seems rather overwhelming at the moment, it will be interesting for my studies having potential for comparisons and patterns within my research. Paula reminded us to look to our tutors and SIG's for support should we need!

Paula asked: "What is your definition of a professional inquiry?"

We verbally brain-stormed some ideas as well as looking at the relevant slide in the power point:

A current, ever going project 

Taking an area of interest or unknown to get a greater understanding 

Looking into factors of the work place that are outside of our control

An independent, live project

Something which informs our thinking using experience 

A way of finding meanings and developing our knowledge

Using practice and experience to give context to arts based research

Paula talked about a lady called Rachel Edwards and how she brought her idea of 'Sweeney Todd' to the stage. We likened this story to a professional inquiry in the sense that you use a "small platform to expose something, create an impact and thus provide the opportunity for it to lead to other things" (Vickers, V. 2017)

We briefly discussed the use of video recording. Now that I am getting consent from chosen participants, I plan to research back stage vlogs and documentaries to help me figure out how best to position and use the camera during practical demonstrations.

Literature

"Local open-aired performances in Norway as Interdisciplinary Theatre." By Jon Nygaard, 2001. Theatre Research International, Vol 26, No. 2. P 172-180. International Federation for Theatre Research: UK.

Jon Nygaard is a professor of theatre studies, director of research, editor and author. The aim of this particular piece of work is to attempt to "understand, explain and describe the productions - and their attraction - as examples of interdisciplinary theatre."

"The interdisciplinary nature of these is founded on the principle of Dugnad" which is.....

"A Norwegian term for voluntary work done as a community or collective. The tradition of Dugnad can be traced back to the 14th and 15th centuries." 

(Online at www.theforeigner.no 2014)

These performances bring together local, amateur actors from rural communities. They are annual productions celebrating local traditions, history, and expressing the local cultural disciplines. They attract large audiences because of the interdisciplinary element i.e. The successful fusion of skills from such varied sources which are then simultaneously performed. Not only that but the shows traditionally contain local, well-known figures such as the mayor - as well as family and friends. I believe this suggests how important interdisciplinary work is within theatre for it to draw in its audiences and thus become successful.

We can link the above to modern day theatre, Pantomimes in particular, where local celebrities, jokes and place names etc are used in order to connect with its audience and surrounding communities. Pantomimes are also a seasonal and traditional family way of celebrating 'Christmas', the biggest national holiday of the year. It is common for pantomime companies to source local dance schools in order to supply the juvenile dancers for the production as well, showcasing the local talent of young children. 

"Successful interdisciplinarity of open-aired productions is not based however on artistic decisions. It is first and foremost, a result of the principle of organisation." (I.e. Dugnad.)

The above suggests that management of the various skills and the structure of productions are what's most important. It leads me to believe that my chosen inquiry will benefit future practice by assisting in career development and by preparing me for and giving me a better background knowledge for increased responsibility.

'Dugnad' in relation to open-aired theatre performances suggests that they are especially strong in smaller communities. Although they are small and participants lack theatrical experience, the productions produced within them have strength, dimension and durability with them being performed year after year. 

It probes a further question for inquiry: 

"Is interdisciplinary theatre most successful when a company has enhanced skills/knowledge or when a company have greater positive, working relationships?"

The principle of Dugnad traces back to Norwegian culture and voluntary work within the community. It was essential to "cooperate in order to survive amongst scattered and isolated populations." Voluntary service is taken for granted in Norway, "if you do not participate, you are not accepted in community." (P. 177) Therefore, is cooperating and participating with others at work key to having successful relationships and thus interdisciplinary theatre?

"Successful productions occur in smaller communities or start as small, local productions. It has proved almost impossible to establish productions which survive over time in larger cities." I find this statement particularly interesting having worked both in the West End and on tour in regional theatres. Today, productions often do a season in a regional theatre with the hope that they will then move into London. The very first job I did was 'Loserville'. We performed it for two months in Leeds at the West Yorkshire Playhouse and then it transferred into London afterwards. The current production of 'Half a sixpence' which is currently playing the West End and receiving rave reviews, originated at the Chichester Festival Theatre. Some productions however start off small and don't go any father, depending on intentions and the success of it in front of smaller and less knowing  audiences. 

Jon states how interdisciplinary theatre in this instance is dependant on a professional director that understands everyone's individual, professional discipline and has them contribute to their full potential. It implies that working with what you've got makes the performance unique, and that a successful director is one that gets the best out of people. I auditioned for one particular director and when I walked through the door he gave me a seat and initiated general conversation. I'd never experienced this before but it was a great way to relax into the audition. It was so nice to have them show an interest in me as a person and it was a great way for them to unveil what we may be like to work with. 

Reading this literature has given me a different perspective to my inquiry. I was looking at the interdisciplinary skills an individual should possess within a production, such as myself. This however suggests that the overall performance itself is interdisciplinary - through the combination of individuals and their unique knowledge and disciplines. To achieve this successfully, structuring and managing the process is key. Therefore, the importance of speaking with my director/company manager is paramount within my inquiry. 

Module 2 Feedback!

As we begin module 3 'Professional Inquiry', we are required to go through the feedback received from the previous module 'Professional Inquiry Proposal'. This enables us to highlight any questions or concerns, identify areas for improvement or clarity and make amendments to the plan or ideas. It is also useful to hear what you've done well on and can continue to do so moving forward.

"Three questions for effective feedback"

(Harvard Business Review)

1. What should I stop doing?
2. What should I keep doing?
3. What should I start doing?

Feedback from my tutor

"It might also be good to talk with your company manger and perhaps a fellow performer"

The company manager may have a good insight toward the relationship element of my inquiry as he/she is responsible for maintaining a happy company and establishing ground rules and behaviour amongst colleagues in the work place. I agree that it would be good to reflect and discuss findings with a fellow performer. It may prove interesting to see how opinions compare from the same point of view and working position within a company.

"While you did indicate who you wanted to interview, in the proposal you could have been more explicit about listing this in the text"

I think it would be good to use this point to remind myself of clarity in general. During the first coffee shop Skype it was mentioned how we shouldn't assume people know what we're talking about and how everything must be fully explained and spoken about in detail.

"You now need to go to literature that bring out the ideas from musical theatre, theatre, and performing/acting/stagecraft sources to bring out the ‘magic’ of the theatre. You can use theatre practitioners as well who have written about their craft and their production teams."

In addition to sourcing literature on the inquiry topic and ideas, I must continue to find literature that is relevant and specific to theatre practice/practitioners in order to connect the ideas to my own work. 

"Continue to put critical commentary on your blog http://meganlouch.blogspot.co.uk and review your work with your tutor as you go forward"

Putting critical reflections and commentaries on my blog will help share thinking, ideas and make sense of the literature/work. Having regular communication and tutorials is essential in order to keep on the right track and check that the literature sourced is of relevance to the topic.

"Get in touch to discuss any additional ethical steps you may need to take"

As suggested in reader 7, I have found a copy of 'Access, ethics and project planning' from literary source 'Video in Qualitative Research'. Because I plan to collate video journals of practical demonstrations, I need to make sure I have covered and considered every ethical angle for carrying out this sort of activity. After reading this and going over my ethical forms from module 2, I will then contact my tutor should I need to make any amends. 

Professional Artefact ideas

I have created a quick poll using Survey Monkey which consists of 2 simple questions. This is to get ideas for my professional artefact and how to go about presenting it. I feel it is beneficial to find out first-hand what both my professional and academic audiences would like to see and are most used to seeing in the workplace. Similarly to my chosen research methods, I want the artefact to be appropriate, relatable and interesting for my intended audiences. Therefore, I have used the work's Watsapp group in order to share the poll as well as my module 3 Facebook page. It's worth noting that I have amended the settings to ensure anonymity of results.

Please click on the following link in order to complete the survey: https://www.surveymonkey.co.uk/r/9BH5YQ9

Reader 7

Going through the handbook and relevant readers prior to commencing the module, really helps me to understand what is required for that module and sets me in the right direction for beginning my studies. It also helps to highlight any areas that need more clarification or seem more difficult.

I thought it would be beneficial to blog about any useful tips I found in the handbook and in reader 7 for myself and my fellow module 3 students - in the hope that we can remain calm, collected and feel prepared moving forward into the inquiry.

Module 3 Handbook (2016) Middlesex University. P. 16

I found this image particularly useful in order to break down the upcoming tasks and activities. As seen in step 5, the breakdown of assessment requirements for Module 3 made things much clearer in my head as well.

PART 1: CRITICAL REVIEW

• Introduction
• Evaluation of inquiry process
• Analysis of the findings
• Critical reflection 
• Bibliography and appendices

PART 2: PROFESSIONAL ARTEFACT

I started to brainstorm ideas for this and looked at ones suggested in the reader:

• Poster
• DVD
• Film
• Notebook
• Scrapbook
• Recipe boook
• Comic book
• Learning tool
• Script
• Performance 

What would my professional audience like to see and relate to?

PART 3: ORAL PRESENTATION

• Power point (10 mins): 1. Intro 2. Evaluation of process 3. Main findings 4. Critical reflection 
• Question and answer (10 mins)

READER 7 HIGHLIGHTS

The purpose of a literature review:

1. To distinguish what has been done from what needs to be done 
2. Is to discover important variables relevant to the he topic
3. To gain new perspectives 
4. Identify relationships between ideas and practice 
5. Establishing context behind the topic
6. Rationalise the significance of the inquiry
7. Enhance and acquire subject vocabulary 
8. Understand structure of subject
9. Relating ideas and theory to applications 
10. Identify main methodologies and research techniques that have been used
11. Place research in historical context to show state of the art development 

(Hart 1998. P.27)

Action planning!

S: Strengths

W: Weaknesses

O: Opportunities 

T: Threats

Gantt Chart: "a chart in which a series of horizontal lines shows the amount of work done in certain periods of time, in relation to the amount planned for those periods." (Google)

As recommended by the reader, I researched Kent University's web page on action planning. The image below describes the stages really clearly and more detail can be found online.

Presenting data and analysis 

SITUATIONAL ANALYSIS uses social sciences to find explanations for situations (Popper 1960). In other words, looking at how people influence situations and examining the logical outcome to explain situations and further actions to be taken. 

When analysing our findings (i.e. data, literature and experience) we need to form CRITICAL ARGUMENTS and consider the following:

• How do they relate to the inquiry topic and thus practice?
• What does it indicate about your inquiry questions?
• What implications/benefits/impact did it have on professional practice?
• Did your chosen data collection tools provide the evidence you needed?
• What do I understand more about in the work place as a result?
• Possible further inquiry topics or questions?

When presenting qualitatiative data in the form of summaries with quotations. It is imperative to use:

VERBATIM   INDENTING   HARVARD CITATION   ANONYMITY (e.g. R3)

Professional audience and career implications?

How does the inquiry link to existing work or fit into the next steps of your career path? 

Research what options and paths there are.

"I'm hoping that my inquiry will increase understanding of interdisciplinary skills to optimise collaboration and team work within a theatre production. I also hope that this will impact positively on working relationships and sustain a happy working environment for companies. 

Communicating with other departments and observing their work may also highlight other interests that I didn't know I had. It may open my eyes to movement across departments as I develop my practice and become more experienced."

My responsibilities as a researcher... (Reader 7, 2016. Middlesex University. p. 21)

• INFORM participants from the get go
• Ensure they are COMFORTABLE and CONTROL their own involvement 
• State PURPOSE of project
• Mention the OBJECTIVES and intended use with the information 
• Offer FEEDBACK on interpretations of their words to ensure ACCURACY 
• Will I send DRAFTS of transcripts and COPIES of project?
• PROTECT and INVOLVE participants in best way possible
• PLAN an outline of intentions and make it readily available 
• Produce regular PROGRESS REPORTS
• Adhere to TIMINGS
• Avoid being DECEPTIVE 
• Consider IMPACT of each part of the process
• Return any materials in GOOD ORDER and on time
• Show APPRECIATION 
• Think about LANGUAGE in interactions/writings (consider age/gender/race etc)

We can apply some of these responsibilities to our practice and relationships: I had two friends wanting to watch the show in a venue where we were completely sold out. I spoke to the sound team and asked permission for my friends to sit on the sound desk. I was extremely thankful when they agreed and made sure I knew exactly what time and where they needed to be - this so that the sound departments pre-show set up was not affected in any way and so it wasn't am inconvenience for them. The day after i brought in a box of chocolates for them to enjoy, just to show a little gesture of appreciation and thanks for accommodating my friends. 

Advice for the Oral Presentation... (Reader 7, 2016. Middlesex University. P. 24)

1. Rehearse what you want to say and communicate important parts of inquiry 
2. Review examples on blogs and try yours out with SIGs
3. Don't overload slides with text
4. 1 minute per slide of talking
5. Show a sample of your artefact

REMEMBER! "It is a celebration of what you have learned!"

• Give details of inquiry using literature to explain ideas. 
• Clarify anything people want to know more about.
• Explain outcomes and benefits.
• Add important elements from your inquiry.

 

La La Land: what did you think?

"Mia, an aspiring actress, serves lattes to movie stars in between auditions and Sebastian, a jazz musician, scrapes by playing cocktail party gigs in dingy bars, but as success mounts they are faced with decisions that begin to fray the fragile fabric of their love affair, and the dreams they worked so hard to maintain in each other threaten to rip them apart."

Eirini 2016 Online at: IMDb

Emma Stone and Ryan Gosling in La La Land (Dale Robinette, Lionsgate). Online at: LA times 

So a film about aspiring artists, getting knock back after knock back but still trying to pursue their dreams.  Story of our lives right? There was so much talk about this film at work and in the media with its endless nominations that I had to go and see it. I actually went  to watch it on my birthday; dragging my boyfriend, brother and parents along (musicals aren't really their thing unless I'm in something!) 

"It's amazing!" 

"Meg, you'll love it!"

Well I came out thinking it was pretty long for starters, but not really knowing how I felt about it. I mean, I completely admire Emma Stone who plays Mia as an actress and I liked the concept of the movie. I suppose the songs were relatively catchy, something I feel is imperative for a successful musical. However, I just expected more I guess?

For me, the modern day setting with the traditional movie subtitles didn't really work. If they're trying to capture today's generation with song and dance then I think they should've been consistent in keeping it modern. I imagine the flying scene was for comedy value but it just felt a little tacky. 

As a dancer, I was hugely disappointed in the 'big' numbers and the skill set of Emma and Ryan. I just felt it lacked anything spectacular and was really quite basic. Due to the simplicity, I believe it should have at least been executed beautifully but the lines and the clarity of steps were average. I'm sure you'll hear a lot of performers in our industry saying how the film makers could have easily found amazing 'triple threats' for the roles but I do understand that nowadays, these well known names are required to draw in audiences. It's the same in my practice and in many musical theatre productions. If we want to keep the industry alive and people interested in musicals, celebrity names help to attract media, speculation and the general paying public. 

I asked myself the purpose of this movie. Is it a love story first and foremost? Is it to get musicals back out there? To inspire today's generation to dance and sing? If the answer to all these questions are yes, which I believe they are, then on reflection it's not a bad movie and I actually feel it's great for our industry as a whole. To have a musical receive so many oscar nominations and draw so much attention is phenomenal and can only be a good thing!

I would love to discuss and hear other people's opinions on this movie!

Watching this movie got a colleague and I chatting about old school musicals like 'Singing in the Rain' and the greats that are Fred Astaire and Ginger Rogers. We spoke about how incredible they were at all 3 disciplines and maybe that is why I expected so much from 'La La Land', because I'm comparing it to the sheer talent I was inspired by and grew up with. Unfortunately, with the ever advancing technology and such strong impact of media, I think our generation perhaps expect so much from a movie in regards to special effects and celebrity names. Here's a little clip of Fred and Ginger for you to enjoy. Appreciate the simplicity of the setting and the raw talent, as well as live musicians. Now that's what I call amazing....

Monday 6th February

First coffee shop chat of the new module.

Leader: Adesola Akinleye

Participants: Alyshia Waite M2, Megan Louch M3

It was great to get to know Alyshia a little bit and talk about her background in classical ballet and as a freelance dancer.

The first task of the term, particularly for me moving into module 3, is responding to feedback so we both said what we thought our own may be.....

Megan: "Think about the quality of the work rather than the quantity. Rather than trying to cover everything, perhaps try and focus on the in depth writing of important points."

Alyshia: "Don't assume people know what you're talking about. Make sure you explain everything and talk about points in detail."

A main topic of discussion was LITERATURE because it is something we can source and review beforehand, continually or alongside other activities. 

Adesola gave some great advice on the purpose of reviewing literature...

"It is to gain new perspectives and for your ideas to make sense in a bigger context. It is not a review like you would review a show. It is about finding chunks of themes." She likened the process to coming out of a tube station and finding your exit which it really connected with. "You have to see how your ideas fit into those that already exist and put them on the map."

Alyshia who is going into module 2 said how, for her, reviewing literature can help to "discover more about the topics of interest" and "provide links to other topics that haven't been thought about."

For me going into module 3, it is not about finding evidence to either support or contradict my ideas, it is about gaining some structure and context to the inquiry.

                   CHAT VS DISCUSSION GROUP

The 'coffee shop' chats are going to renamed this term as discussion groups, in the hope of increasing attendance and value of the sessions. I believe they are extremely valuable because it is an opportunity to talk to students across modules; either to remind you of previous activity or get advice on upcoming work. It also helps us to reconnect in the early stages of a new module and ease back into our studies and the difficulty that can be distance learning. Group chats are a great way to consider other people's feedback and experiences as well as your own. 

A question Adesola asked us and one which I think is good one to think about as we move in to the next module:

How do you prepare for your work?

Both Alyshia and I spoke about having specific notebooks and pens and Adesola likes to have a designated work space. I work best in the mornings and often head to a local coffee shop on tour. Alyshia has her 'pocket sized' materials for whilst travelling, how do you like to work?