"The award I seek as a result of doing this programme is BA (Hons) Professional Practice in performing arts business management”
The main resaon for this title is that my proposed enquiry is to try to carry out an enquiry into a real business question associated with the business, which currently provides me with employment as an actor and teacher, and links with my wish to develop my teaching skills.
I would like to carry through an enquiry, which will be useful to my employer. It might provide a basis for a commercial business decision on developing the business in an organic way.
We are living in a time when performing arts are driven by commercial considerations. Many performing artists teach as well as perform and many productions are either killed or move forward by virtue of the box office potential.
There has been a strong return to a business model, which not only builds on the “old school” actor manager undertaking touring productions, but also linking productions to teaching projects. These are often teaching projects, which have a social dimension.
Performers need to be teacher/coaches and often need to have business skills in addition.
The enquiry I am planning is on a narrower front than the title I propose, but I want to give a broader indication in the title than referring only to the scope of my enquiry.
Although it is my aim to get as far up the ladder as possible in my career as a performer, I would also like to build my teaching experience and skills and to position myself to acquire some business skills in addition.
I hope these three “strings to my bow” will provide me with the best chance of success in my stage career”.
Wednesday 26 October 2011
Task 4c the responses from my research
I had developed a set of individually tailored questions to be answered within my own professional community beyond the programme. I have managed to gain some sufficient research from people whose idea's will be relevant to my inquiry. These are just a couple of the responses I have received, one set of answers is from a performer currently working in theatre in education and the other a primary school teacher that's school has experience of theatre companies perform.
Name: Jude de Bont
Age: 23
Occupation: Theatre in education performer.
What do you think the children get out of having a theatre company like yourself come in to the school and perform?
For many people, in today’s financial climate, the luxury of taking your children to the theatre or putting them into drama classes isn’t an option. Bringing the theatre to the children in school means a new experience for some of them. A child’s imagine is incredibly pure and needs to be stimulated, developed and encouraged. Theatre is imagination and play. For many children it gives them an outlet to express themselves when they may struggle to in other ways. It’s generally an incredibly enjoyable experience for the children and a really proud moment for those that get to take part; many of whom are the children that never get picked for anything or aren’t high achievers. It can be very inspiring and exciting but can also teach a lot through the message of our play’s story.
Do you think it is an important part of education incorporating theatre into learning?
Absolutely. Children really respond to theatre. The music, the costumes, the performance are all play, which children do naturally. Every child learns in different ways and you will find many children that find it difficult to perform in a classroom situation excel performing on a stage. Theatre is also a very disciplined environment where everyone’s full commitment and effort is integral to the outcome of the performance. There’s a great sense of everyone working together and supporting each other and this is an invaluable thing for children to experience. It’s great to see children who may be deemed as troublemakers perform wonderfully on stage. These children sometimes just need someone to believe in them, give them a sense of responsibility and let them express themselves.
What do you think could be developed and improved upon when taking a show to a school?
Preparing the schools better for our arrival. If a school or the teachers are not really on board with the show throughout the performance it can be incredibly challenging to keep the children engaged or stimulated. Many of the teachers aren’t informed beforehand of our coming or what exactly we’ll be doing and can be a bit unsupportive which makes our performance and work with the children more difficult. Timings are also a crucial thing when performing in schools. Performances at schools that are organised and prepared for us are incredibly smooth and hassle free for all.
What ethical issues have arisen whilst taking part in the show?
Today’s Britain is an incredibly multicultural country, embracing people from all over the world who practice all different religions. When I look at the children in the audience and the multicoloured faces staring back I see a sea of young faces, I don’t see a sea of different coloured faces or religious beliefs. However, we have on occasion, experienced issues with teachers who believe we have chosen children to partake in the show based on the colour of their skin or told that we need to be aware of the amount of a particular religious sect in the school and act accordingly. It’s terribly difficult in today’s society to say or do anything without being seen as politically incorrect. It’s difficult because children pick up on this negative vibe and that’s how racism and bigotry can be developed from a young age. Children are incredibly innocent and usually oblivious to there being any issue if their skin is a different colour. For example during one of my workshop sessions a little white boy pointed at a little black girl and said ‘Her face is black.’ which didn’t appear to bother any of the children. He was merely stating it as a fact, as if I hadn’t noticed. There was no malice in it. However, if an older person said such a thing they would be considered a racist.
How does taking a show to a school hall differ from taking the children to a theatre?
A theatre can be an incredibly intimidating place for a very young child. Bringing the performance to the school puts the theatre in their own environment in which they’re comfortable and safe. It means they can fully get involved and enjoy the experience on their own level instead of being more distanced from the performance, as they might be in an actual theatre space. It’s also more of a personal experience. The children are aware the show is just for them and their own friends which means they are more confident when performing knowing their peers are there supporting them and no strangers are watching.
What would you say were the pros and cons of performing at the school instead of a typical theatre setting?
Pros:
* The children are in their own environment where they are more comfortable and confident.
* The show is easily adapted to your audience’s specific needs and preferences.
* The atmosphere is more relaxed and on a level with the children.
* The show can be all about the children, they feel more included.
* You really get to know your audience on a personal level.
Cons:
* You can never guarantee you get the desired space to perform. Every school hall is different and audience sizes change, you don’t know in advance, so you have to assess and perform accordingly.
* You don’t know what the acoustics in the hall will be like until you arrive so have to adjust your singing accordingly and you’re not miked so it can be a strain on the voice, particularly in larger schools.
* You don’t have a theatre manager or crew so all the set and preparation has to be done by yourself.
* Sometimes access to your performing space within the school is awkward or is being used for another purpose and you can’t have access right away.
What have you learnt first hand about theatre in education whilst performing at the schools?
Performing at schools has made me realise how important theatre in education is and how integral it is to a child’s development. As I said before children learn in different ways and we need to continue to develop and encourage different teaching techniques to insure we stimulate a child and improve their learning. Education is not all about maths, english and science but also about personal development. Children spend the most important years of their development in schooling, and education is incredibly influencing. It is as much the environment they are educated in and the experiences they get out of things such as theatre performances that add to this development. Albert Einstein said ‘The only thing that interferes with my learning is my education.’ Children need to be encouraged and inspired, and partaking in and enjoying theatre within their school environment does just that.
Name: Kate
Occupation: Primary school teacher.
Do you think it is an important and valuable part of education incorporating theatre into learning?
Name: Jude de Bont
Age: 23
Occupation: Theatre in education performer.
What do you think the children get out of having a theatre company like yourself come in to the school and perform?
For many people, in today’s financial climate, the luxury of taking your children to the theatre or putting them into drama classes isn’t an option. Bringing the theatre to the children in school means a new experience for some of them. A child’s imagine is incredibly pure and needs to be stimulated, developed and encouraged. Theatre is imagination and play. For many children it gives them an outlet to express themselves when they may struggle to in other ways. It’s generally an incredibly enjoyable experience for the children and a really proud moment for those that get to take part; many of whom are the children that never get picked for anything or aren’t high achievers. It can be very inspiring and exciting but can also teach a lot through the message of our play’s story.
Do you think it is an important part of education incorporating theatre into learning?
Absolutely. Children really respond to theatre. The music, the costumes, the performance are all play, which children do naturally. Every child learns in different ways and you will find many children that find it difficult to perform in a classroom situation excel performing on a stage. Theatre is also a very disciplined environment where everyone’s full commitment and effort is integral to the outcome of the performance. There’s a great sense of everyone working together and supporting each other and this is an invaluable thing for children to experience. It’s great to see children who may be deemed as troublemakers perform wonderfully on stage. These children sometimes just need someone to believe in them, give them a sense of responsibility and let them express themselves.
What do you think could be developed and improved upon when taking a show to a school?
Preparing the schools better for our arrival. If a school or the teachers are not really on board with the show throughout the performance it can be incredibly challenging to keep the children engaged or stimulated. Many of the teachers aren’t informed beforehand of our coming or what exactly we’ll be doing and can be a bit unsupportive which makes our performance and work with the children more difficult. Timings are also a crucial thing when performing in schools. Performances at schools that are organised and prepared for us are incredibly smooth and hassle free for all.
What ethical issues have arisen whilst taking part in the show?
Today’s Britain is an incredibly multicultural country, embracing people from all over the world who practice all different religions. When I look at the children in the audience and the multicoloured faces staring back I see a sea of young faces, I don’t see a sea of different coloured faces or religious beliefs. However, we have on occasion, experienced issues with teachers who believe we have chosen children to partake in the show based on the colour of their skin or told that we need to be aware of the amount of a particular religious sect in the school and act accordingly. It’s terribly difficult in today’s society to say or do anything without being seen as politically incorrect. It’s difficult because children pick up on this negative vibe and that’s how racism and bigotry can be developed from a young age. Children are incredibly innocent and usually oblivious to there being any issue if their skin is a different colour. For example during one of my workshop sessions a little white boy pointed at a little black girl and said ‘Her face is black.’ which didn’t appear to bother any of the children. He was merely stating it as a fact, as if I hadn’t noticed. There was no malice in it. However, if an older person said such a thing they would be considered a racist.
How does taking a show to a school hall differ from taking the children to a theatre?
A theatre can be an incredibly intimidating place for a very young child. Bringing the performance to the school puts the theatre in their own environment in which they’re comfortable and safe. It means they can fully get involved and enjoy the experience on their own level instead of being more distanced from the performance, as they might be in an actual theatre space. It’s also more of a personal experience. The children are aware the show is just for them and their own friends which means they are more confident when performing knowing their peers are there supporting them and no strangers are watching.
What would you say were the pros and cons of performing at the school instead of a typical theatre setting?
Pros:
* The children are in their own environment where they are more comfortable and confident.
* The show is easily adapted to your audience’s specific needs and preferences.
* The atmosphere is more relaxed and on a level with the children.
* The show can be all about the children, they feel more included.
* You really get to know your audience on a personal level.
Cons:
* You can never guarantee you get the desired space to perform. Every school hall is different and audience sizes change, you don’t know in advance, so you have to assess and perform accordingly.
* You don’t know what the acoustics in the hall will be like until you arrive so have to adjust your singing accordingly and you’re not miked so it can be a strain on the voice, particularly in larger schools.
* You don’t have a theatre manager or crew so all the set and preparation has to be done by yourself.
* Sometimes access to your performing space within the school is awkward or is being used for another purpose and you can’t have access right away.
What have you learnt first hand about theatre in education whilst performing at the schools?
Performing at schools has made me realise how important theatre in education is and how integral it is to a child’s development. As I said before children learn in different ways and we need to continue to develop and encourage different teaching techniques to insure we stimulate a child and improve their learning. Education is not all about maths, english and science but also about personal development. Children spend the most important years of their development in schooling, and education is incredibly influencing. It is as much the environment they are educated in and the experiences they get out of things such as theatre performances that add to this development. Albert Einstein said ‘The only thing that interferes with my learning is my education.’ Children need to be encouraged and inspired, and partaking in and enjoying theatre within their school environment does just that.
Name: Kate
Occupation: Primary school teacher.
Do you think it is an important and valuable part of education incorporating theatre into learning?
I believe that incorporating theatre into learning is highly valuable to educating children. I have always tried to incorporate as much drama as possible into the curriculum I deliver and think that theatre is an obvious progression from this. When children have the opportunity to perform in a production, their confidence thrives and they learn that everyone has an equally important role to play.
Would you be interested in having a theatre company visit and perform at your school? If so how would you feel it would benefit the children's education?
We have had theatre companies such as Riding Lights in to school and the children has been enthused by what they have seen. We would definitely welcome theatre company visits in the future, as I believe that for children to see what the finished product can look like, gives them something to aspire to as young actors. I also think it helps them to access the creative side of their brains, to allow them to use their own imaginations to create endless possibilites, especially those who find story telling challenging.
How much is theatre encouraged in your school? And what do you currently have on your curriculum that is geared towards the creative subjects?
Performance and drama are encouraged to a large extent and we are currently working towards the Arts Mark award for schools, which requires us to prove that we are
dedicating at least 12% of our curriculum time to the arts and creative subjects. We always try to promote creativity troughout the curriculum, eg. Art through History, Drama through English.
How much would you as a school expect to pay for a performance and workshop?
Apologies but I have no idea what the going rate is for a day's workshop - between £200 - £300??
Their responses definitely gave me food for thought and possible leads to follow with developing further my inquiry. I was totally unaware of the scheme with "The Arts Mark Award" this I feel it is an excellent idea and is in place to encourage positive affects for the importance of the arts in education. It is great to see that schemes have been designed to support the arts, and that schools are taking up the offer by dedicating at least 12% of their curriculum time to the arts and creative subjects.
From my research I was interested to see how much a school was prepared to pay for a performance and workshop. The amount this particular school teacher would estimate is less than half what the going rate for this service is. With our current climate there is limited amounts of money to go around and therefore theatre in education is a cut that has been most noticeable. The general reaction from teachers and pupils from the schools is a positive one, they generally feel that theatre in education is a vital part of learning for their students. If the schools feel so strongly about theatre in education why are the government not giving the support and funding to help it continue. One school I visited put on their own show to raise enough money to pay for a theatre company to perform, this highlights the fact some schools feel it a really important part of their students education and are prepared to go out of their way to fund such an activity.
Tuesday 25 October 2011
Ken Robinson says schools kill creativity | Video on TED.com
Ken Robinson says schools kill creativity | Video on TED.com
I found this video most fitting for my argument the importance of the arts within education. It is really interesting and highlights some extremely useful points for my inquiry. In particular the hierarchical structure of subjects in education. It is a moving case for creating an education system that nurtures rather than undermines creativity.
I found this video most fitting for my argument the importance of the arts within education. It is really interesting and highlights some extremely useful points for my inquiry. In particular the hierarchical structure of subjects in education. It is a moving case for creating an education system that nurtures rather than undermines creativity.
Task 4b creating a SIG
I have just set up a special interest group on facebook named "theatre in education" so please take a look and feel free to comment and blog your thoughts. http://www.facebook.com/pages/Theatre-in-education/131061190332222 I have devised a set of questions I am going to post on the page throughout the course of the next few weeks, they are intended to stimulate conversation and opinions. I have already had a private response from a drama teacher expressing his thoughts on the importance of theatre in education. This has left me feeling confident that I will gain some feedback even if it is a limited amount. I have found people to interact with outside the course that will be equally relevant to my research. I've started off by emailing school teachers and speaking to performers currently working in theatre in education this should allow me to gain sufficient feedback to help me with my professional inquiry. I am interested in what I will find and what the general consensus will be. There will be blogs regarding their responses in the near future.
Monday 24 October 2011
Task 4b
I am considering carrying out my enquiry on the importance of theatre in education. My decision will be influenced by finding one or two other course members, who would like to do something similar so that we can form a SIG.
It seems to me that this identifying other members of the course for a “SIG” is a high priority. Will anyone who is considering choosing a business issue in the performing arts area as their enquiry project please respond so that we can exchange more detailed information about our plans.
Wednesday 19 October 2011
A development of Task 4a
I have now thought about the questions I asked myself in my last “blog”. In the light of feedback I have had from other people I am currently working with and Stephanie Thomas I have decided that I would like to enquire into the part which theatre can play in education.
I was unable to obtain the agreement of the principal of the dance school, to support my enquiry (into the market for expansion of her school into a new area). So I had to abandon that idea.
Fortunately I now have the agreement of my present employer “Image Musical Theatre Company” to support an enquiry into the contribution that theatre can provide in education.
Subject to agreement of the University and to being able to form a SIG, I want to enquire into the history, the current initiatives and the future potential contribution which performance arts and the theatre in particular can make to enhance the effectiveness of education. I may have to limit the scope of the enquiry to fit the timetable for the course.
The enquiry is directly relevant to my current job, so I hope to be able to bring some personal experience to the work.
The outcome of the enquiry is to provide an objective answer to the question –
“Can the use of performing arts be further developed to improve the process of education”.
The initial questions, which have come to mind, and which the enquiry will hopefully answer are-
* What are the traditional roles which theatre has played?
* What current approaches are available?
* How widely are they used?
* What options are available in order to enhance and develop the contribution which theatre can make?
* Who might take forward the process of developing the contribution?
* How would the process be funded?
* Can focus group meetings help to define the business model?
* Can a market survey help to define the best way to take forward the business development?
* What would be the best/most effective way to advertise the new approaches?
* Would it be possible to create ongoing links to schools as a way of spreading information about the value of the new approaches?
* What is the availability of suitable performers to teach/perform?
* What are the implications for the teaching of performing arts?
* What are the major issues and potential show stoppers?
* What are the risks to be taken into account in coming to a business decision?
I am sure that many other questions will arise along the way and the scope of the work will have to be limited by the resources available to complete the enquiry.
If I receive positive feedback on this enquiry and SIG support I can make a start on the meat of the work involved in defining and planning the enquiry.
I was unable to obtain the agreement of the principal of the dance school, to support my enquiry (into the market for expansion of her school into a new area). So I had to abandon that idea.
Fortunately I now have the agreement of my present employer “Image Musical Theatre Company” to support an enquiry into the contribution that theatre can provide in education.
Subject to agreement of the University and to being able to form a SIG, I want to enquire into the history, the current initiatives and the future potential contribution which performance arts and the theatre in particular can make to enhance the effectiveness of education. I may have to limit the scope of the enquiry to fit the timetable for the course.
The enquiry is directly relevant to my current job, so I hope to be able to bring some personal experience to the work.
The outcome of the enquiry is to provide an objective answer to the question –
“Can the use of performing arts be further developed to improve the process of education”.
The initial questions, which have come to mind, and which the enquiry will hopefully answer are-
* What are the traditional roles which theatre has played?
* What current approaches are available?
* How widely are they used?
* What options are available in order to enhance and develop the contribution which theatre can make?
* Who might take forward the process of developing the contribution?
* How would the process be funded?
* Can focus group meetings help to define the business model?
* Can a market survey help to define the best way to take forward the business development?
* What would be the best/most effective way to advertise the new approaches?
* Would it be possible to create ongoing links to schools as a way of spreading information about the value of the new approaches?
* What is the availability of suitable performers to teach/perform?
* What are the implications for the teaching of performing arts?
* What are the major issues and potential show stoppers?
* What are the risks to be taken into account in coming to a business decision?
I am sure that many other questions will arise along the way and the scope of the work will have to be limited by the resources available to complete the enquiry.
If I receive positive feedback on this enquiry and SIG support I can make a start on the meat of the work involved in defining and planning the enquiry.
Monday 10 October 2011
Task 4a
Michael Erauts typology of non-formal learning has given me a useful framework within which to think about researchable questions. I like Martyn Denscombes idea that I might try to set up questions, which forecast some outcome. But I don’t really want to spend time arguing about the meanings of non-formal or informal questions.
My inclination at this point is to plan and undertake research into a particular and real as opposed to theoretical business matter. What I have in mind is associated with the expansion of a dance business where I teach on a part time basis.
I am encouraged by the mention of a business issue in the course reader being a suitable issue for research. However some of the preliminary questions I need to answer are –
* Why am I doing this particular course?
* What aspect of performing arts do I want to concentrate my career on?
* Do I want to specialise at this early stage of my career?
* Do I want to include teaching as an aspect of my career?
* Can I find enough other members with similar projects on the course to form a SIG?
* What are my expectations of discussing these questions with other course members?
* Can I get the agreement of my dance studio, to support my research?
* Can I find a project, which can be done with the limited time and other resources I have?
* Do I possess (or can I acquire) the necessary business skills to make a success of the enquiry?
* In the normal course a real business problem would handled by a multi-disciplinary team, so can I limit the scope of my project in a way, which will give me a chance to make it a success?
I would appreciate comments from other course members who may be having similar concerns, and from university staff who might be able to guide me towards a suitable issue to enquire into.
My inclination at this point is to plan and undertake research into a particular and real as opposed to theoretical business matter. What I have in mind is associated with the expansion of a dance business where I teach on a part time basis.
I am encouraged by the mention of a business issue in the course reader being a suitable issue for research. However some of the preliminary questions I need to answer are –
* Why am I doing this particular course?
* What aspect of performing arts do I want to concentrate my career on?
* Do I want to specialise at this early stage of my career?
* Do I want to include teaching as an aspect of my career?
* Can I find enough other members with similar projects on the course to form a SIG?
* What are my expectations of discussing these questions with other course members?
* Can I get the agreement of my dance studio, to support my research?
* Can I find a project, which can be done with the limited time and other resources I have?
* Do I possess (or can I acquire) the necessary business skills to make a success of the enquiry?
* In the normal course a real business problem would handled by a multi-disciplinary team, so can I limit the scope of my project in a way, which will give me a chance to make it a success?
I would appreciate comments from other course members who may be having similar concerns, and from university staff who might be able to guide me towards a suitable issue to enquire into.
Wednesday 5 October 2011
Starting Task 4a
I am looking forward to working on this module and have started to read the relevant course reader and other suggested reading material. My circumstances have changed significantly since I completed the first module, and I am considering what issue to research.
After a fruitless year of being unable get work as a performer I was successful in obtaining a part and I am now on tour performing in a production of “The Happy Prince”. But that means I will be unable to attend the campus sessions. I will really be learning at a distance and will rely on feedback from other course members as well as university staff.
Also as a self-employed performer I am finding it difficult to identify an issue, which will satisfy the University as being suitable for the course criteria and relevant to my professional practice.
At this point in time I am very much at the beginning of understanding the Penelope Hanstein diagram in the course reader and will “blog” my thoughts when I am able to fully understand it and put my thoughts in order.
After a fruitless year of being unable get work as a performer I was successful in obtaining a part and I am now on tour performing in a production of “The Happy Prince”. But that means I will be unable to attend the campus sessions. I will really be learning at a distance and will rely on feedback from other course members as well as university staff.
Also as a self-employed performer I am finding it difficult to identify an issue, which will satisfy the University as being suitable for the course criteria and relevant to my professional practice.
At this point in time I am very much at the beginning of understanding the Penelope Hanstein diagram in the course reader and will “blog” my thoughts when I am able to fully understand it and put my thoughts in order.
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