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UNIT - Creating A Character using Stanislavski

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Quiz Source: https://www.bbc.co.uk/bitesize/guides/zxn4mp3/test

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Teaching - Lesson 1 (Stanislavski Method)

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pg38 - pg46
http://portglasgow.inverclyde.sch.uk/GetAsset.aspx?id=fAAzADUAMQAyADEAfAB8AEYAYQBsAHMAZQB8AHwANQB8AA2

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Teaching (Discussion regarding Stanislavski teaching at Higher Education)

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Teaching (Discussion regarding Stanislavski teaching at Higher Education)

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During my final year of my degree, I have focused on my pathway more than the performance side of the industry by partaking in independent units and professional development. An example of this is shown above during my planned and presented online lesson in which I taught HE learners (Level 4 and 5) the Stanislavski method and increased their in-depth knowledge of the practitioner. Not only did this progress my skills to communicate effectively for learning within the specific environment, involving engagement of the students but it also gave me a chance to experiment with online teaching in which is relevant to modern day teaching, especially during current times of COVID-19 circumstances.

In addition to this, the work of independent units allowed me to progress the skills mentioned within this column and mature as both a student, teacher/leader and person with regards to work ethic and personal development. This was evident most clearly within the pandemic in which I had to turn to remote learning without the constant support of a mentor or peers.

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Speaking with Isaac Bowry (Acting Up With Victoria) - Reflection:

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Speaking with Isaac Bowry (Acting Up With Victoria) - Reflection:

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Speaking with Baylee Haywood (Acting Up With Victoria) - Reflection:

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Speaking with Baylee Haywood (Acting Up With Victoria) - Reflection:

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Speaking with Laura Fenney (Acting Up With Victoria) - Reflection:

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Speaking with Laura Fenney (Acting Up With Victoria) - Reflection:

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Speaking with Andrew Chadwick (Acting Up With Victoria) - Reflection:

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Speaking with Andrew Chadwick (Acting Up With Victoria) - Reflection:

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Speaking with Matthew Malthouse (Acting Up With Victoria) - Reflection:

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Speaking with Matthew Malthouse (Acting Up With Victoria) - Reflection:

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Speaking with Ethan Elliott (Acting Up With Victoria) - Reflection:

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Speaking with Ethan Elliott (Acting Up With Victoria) - Reflection:

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Speaking with Immy Field (Acting Up With Victoria) - Reflection:

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Speaking with Immy Field (Acting Up With Victoria) - Reflection:

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Speaking with Samantha Beesley (Acting Up With Victoria) - Reflection:

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Speaking with Samantha Beesley (Acting Up With Victoria) - Reflection:

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Speaking with Lee Maher (Acting Up With Victoria) - Reflection:

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Speaking with Lee Maher (Acting Up With Victoria) - Reflection:

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Speaking with Jazzmin Letitia (Acting Up With Victoria) - Reflection:

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Speaking with Jazzmin Letitia (Acting Up With Victoria) - Reflection:

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Speaking with Meisha Guest (Acting Up With Victoria) - Reflection:

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Speaking with Meisha Guest (Acting Up With Victoria) - Reflection:

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Speaking with Jordan Preira (Acting Up With Victoria) - Reflection:

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Speaking with Jordan Preira (Acting Up With Victoria) - Reflection:

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During the project, I have learnt about many topics and discussed such with professionals within the industry to expand my knowledge of current issues and the development of the performing arts. Not only have these aided me in gain and strengthening of knowledge, my skills as a communicator and professionalism have improved throughout and my confidence networking has grown significantly.

From this experience, I believe that the talks with both Laura Fenney and Andrew Cunningham were most beneficial due to the relevance to my chosen pathway of teaching; I also believe that this experience will prove advantageous within the classroom environment as I am confident communicating to various audiences and contributing opinion and feedback in a professional and empathetic manner.

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The job vacancies displayed above are suitable for me to explore when I have completed my PGCE as they involve teaching or teaching elements such as lecturing or tutoring. Not only would they deem beneficial with regards to experience but also income; I also ensured that the job opportunities were relatively local or within a driving distance appropriate for daily travel.

Having completed my PGCE, approaching job opportunities soon after would mean that my knowledge and placement experience is recent which would allow for me to feel comfortable instead of taking time out and not necessarily retaining the confidence to teach. Not finding work soon after completion would also mean that I would have none or a low source of income from part-time work.

Lastly, the vacancies all involve further or higher education in which I am focusing on during the qualifying of PGCE.

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Speaking with Junior Cunningham (Acting Up With Victoria):

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Speaking with Junior Cunningham (Acting Up With Victoria):

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Topic: #StandTogetherCampaign and the elimination of racism within the performing arts industry.

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Speaking with Isaac Bowry (Acting Up With Victoria):

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Speaking with Isaac Bowry (Acting Up With Victoria):

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Topic: How to balance personal and professional life within the performing arts industry.

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Speaking with Baylee Haywood (Acting Up With Victoria):

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Speaking with Baylee Haywood (Acting Up With Victoria):

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Topic: LGBTQ+ Inclusivity in the Arts.

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Speaking with Laura Fenney (Acting Up With Victoria):

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Speaking with Laura Fenney (Acting Up With Victoria):

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Topic: Online teaching within a pandemic.

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Taking on the role as not only a scriptwriter but a creator and director during this process allowed me to develop my skills as a mentor and those relevant to teaching. The overall task of this unit was to create, devise and direct performance for live showcase which not only challenged my skills as a creative but also controlling a group. Being able to control a group is key to teaching, especially within the classroom environment.

This process allowed me to develop all skills transferable and became an introduction to leadership within my pathway.

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Working at North Pole Adventure was a last minute opportunity for me; although not actually auditioning or rehearsing, members of the cast fell ill or busy when scheduled to work and so the show manager contacted me due to our previous experience working at ScreamFest together, asking me if I would like to cover those unable to work.

Upon arriving, I was handed my costume and briefed on the role (To which I played two different characters with different responsibilities on two separate days). This event was completely new to me as it involved using a mic and earpiece in order to communicate with my peers in order to ensure that timing was correct and inform them of groups and cautions. Although I had prior experiencing polishing my timing within ScreamFest, the use of technology allowed for an easier time doing so and ability to communicate. However, with benefits came disadvantages; working with this technology meant that I had to develop my ability to multi-task as I would need to listen to commands or information conveyed through my earpiece whilst performing for audiences, which originally seemed daunting but then became so instinctive to do.

Within these roles, I also updated my skills with respect to performance style. Although I had previously worked within Pantomime and Theater for children themed performance, I had never interacted live with an audience within that style. Having just completed my time at ScreamFest, the sudden change of Halloween to Christmas style acting and alteration to demographic meant having to adapt to my surroundings and the job role. Being asked last minute to fill these roles displayed my ability to adapt in situations, especially having lack of training or rehearsal.

Within this opportunity, I also developed my contacts within the industry as I began to work with a variety of performers in another paid acting job.

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I believe that ScreamFest has been my most valuable experience and achievement recently.

This opportunity challenged me both physically and mentally but allowed me to develop my skills in a professional environment, surrounded by a variety of artists.

I most importantly learnt how to reserve my energy without exerting within the duration as it would be necessary to work for hours on end to a constant flow of large audience; if you are not constantly working then risks are presented, from personal such as becoming ill from not keeping warm by remaining active, to being caught out of character by an audience member which would deduct from the overall entertaining experience. This proves advantageous in present and future performance and my pathway as I am knowledgeable of how to sustain quality performance and how professional performance should look.

Another beneficial factor that I improved during this opportunity was my timing. Timing was a huge part to play as actors timing creates tension and character in order to create a certain effect to entertain or scare an audience. It is also necessary if needing to take a break for water and then knowing when your next group will arrive at your location. This alongside my awareness space means that I can use my surroundings to create jump scares.

Understanding surroundings has allowed me to understand live theatre better which will allow me to further develop my performance skills and implement this into devising for students in my chosen pathway.

Improvisation was also a skill acquired throughout the experience as I would constantly need to characterise within my role given, interacting with audience also. This is beneficial as it allows me to think quickly on the spot both in performance and teaching as it means that I can creatively produce ideas in response to material.

With regards to the backstage element of ScreamFest, I progressed with my skills as a team member as well as my leadership. ScreamFest 2019 saw me become a more established member of the community since I was often requested to complete tasks such as running audience out of attractions in the case of actors or the tech needing a reset, or even jumping in other roles separate to my own if a performer fell ill or injured.

Additionally, most days I would voluntarily organize costume racks when those costumes had been washed as I knew the stress that show captains were facing and the lack of time whilst I had that time spare. Due to my extensive knowledge of all attractions due to my time working at the event, I knew which attractions consisted of what costumes which meant that arranging these was second nature to me.

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As shown above, you can see that I played the role of 'Lion' within the production of The Wiz.

This was a huge milestone for me as it was my first main role within a musical production and I had a huge fear of singing in front of anyone, especially an audience. Although I still am anxious to do so, this allowed me to gain confidence in my ability to do so.

A skill developed within the rehearsal process was patience; due to the running of certain scenes and the time taken to polish musical numbers, I often found myself waiting backstage until called to run my own songs/scenes and this can become tiresome. To do so without losing energy, I would often practice elements of my own performance whilst waiting, and keeping an eye on the stage itself to ensure that I wouldn't miss my cue. Doing this not only developed my focus but also allowed me to develop as a performer as I would consistently improve my own vocal ability and stage presence as mentioned in the time spare.

I believe that patience is key to my chosen career path as classes may often prove difficult due to a multitude of factors such as student behaviour, personal life, lack of sleep etc and so it is necessary for me to understand how to use this to my benefit in order to purge the best results from myself and students within both a practical or theory session.

Overall, much like One Man Two Guvnors, the rehearsal process and performance developed necessary transferable skills and valuable performance skills that will benefit me both in my chosen pathway and ability as a performer.

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This performance involved an extensive rehearsal process and final performance in which I played Rachel/Roscoe. Mukti-roling this character allowed me to showcase my variety with relevance to my ability to portray contrasting characters and this appeals to employers as I am able to be cast in a multitude of roles.

Throughout the use of multi-roling and the process of developing my skills as a performer, I also improved my transferable skills such as confidence, teamwork, time management and resilience.

Specifically as a performer, I undertook the learning of how to produce the cockney accent to fully characterise, as both a woman and a man within the piece. This skill allowed me to progress in other professional work, for example - Screamfest. Within this paid work opportunity, I was cast in roles which required a specific accent such as 'Jimbob' in Hillbilly Joes Zombie Zoo, portraying a southern American twang. I adapted the accents by both watching and listening to media containing characters with that specific accent and then repeating specific phrases until I became used to the accent and could perform so naturally and realistically.

In addition to this vocal development, I became more aware of the space around me throughout stage management. Visualised throughout the performance footage, there is several sets of scenery and cast members alongside and so I had to ensure the safety of myself and others by repeatedly rehearsing in the vicinity and being constantly aware of my surroundings. Again, with relevance to ScreamFest, I had previous experience managing performance space as I am used to working in a variety of locations, the majority being unlit, small environments that can often cause disorientation for effect for the audience. Poor space awareness can present challenges such as injury and contact with the audience. Most importantly, the scenery can be budged and risks damage.

Successful stage management will benefit me in my pathway as it enables me to teach my students the importance of being aware to ensure the risks are prevented. Additionally, I will be able to devise performance for different spaces, age groups and circumstances.

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BSDC Film (2019).

HE Acting Showcase 2019 Available: https://www.youtube.com/watch?v=I9rqjhEh3a0&t=496s Last accessed 25th March 2021.

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Unknown. (2021). Teaching Virtual Work Experience. Available: https://www.springpod.co.uk/teaching-virtual-work-experience/. Last accessed 18th March 2021.

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What you'll cover:

During this free two week virtual work experience programme you will meet a range of teachers from different sectors who will give you an overview of their experiences, both qualifying and within the industry, with opportunities for Q&A.

You will learn about some of the key roles and responsibilities of a teacher throughout this programme, including planning, lesson delivery, grading & attainment and safeguarding. The programme will also include a vital pathways module, which will direct you on what to do next, how to apply, and what institutions you should be considering for your teaching qualification. There will also be a range of quizzes and meaningful activities to spark your interest in teaching, and give you a further insight into what it really means to become a qualified teacher.

The virtual work experience programme involves around 10 hours of activity. You can complete the work over 2 weeks, meaning you can fit it around your schedule (whether that be school or college). There are live webinars to get involved in, but if you’re unable to attend these you can watch recordings on-demand.

The programme will take place between 6th and 16th April 2021. You do not need to be available full time during those dates, but you do need to be able to complete 10 hours worth of activity over the two weeks.

The agenda is:

During this two week programme you will cover the following areas:

Introduction to Teaching as an industry

Planning – including aims & objectives, differentiation, learning styles, special needs and lesson planning.

Lesson Delivery – including confidence & intonation, using interactive technology, eliminating distractions and behaviour management.

Grading & Attainment – including why we grade work, measuring attainment, using a rubric and positive reinforcement.

Safeguarding – including what safeguarding is, the 6 principles of safeguarding, safeguarding children, reporting a safeguarding issue and bullying.

Eligibility

The programme will take place between 6th and 16th April 2021. The deadline for applications is March 29th 2021 and applicants will hear if they have a place on the programme on the evening of March 31st 2021.

Students in England in years 10, 11, 12 and 13, and students in Scotland in fourth year (S4), fifth year (S5) and sixth year (S6) that attend a school or college in the UK are welcome to apply. (43)

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AGCAS. (2020). HOW TO GET THE WORK EXPERIENCE YOU NEED TO TEACH. Available: https://targetjobs.co.uk/career-sectors/teaching-and-education/468048-how-to-get-the-work-experience-you-need-to-teach#:~:text=Training%20providers%20want%20to%20know,preferably%20in%20a%20school%20en. Last accessed 18th March 2021.

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How to get the work experience you need to teach:

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How to get the work experience you need to teach:

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Jill Valentine from Sheffield Hallam University discusses the expectations of teacher training providers when it comes to school experience, in light of the challenges posed by the Covid-19 pandemic.

As a result of the Covid-19 pandemic, training providers may have changed their requirements about the amount and type of school experience you’re expected to have. It is vital therefore, that you speak to your chosen training provider(s) individually to get an up-to-date understanding of what is needed.

Training providers want to know that you have the skills and motivation to teach, and you'll usually be required to have experience of working with children of the relevant age – preferably in a school environment.

Many training providers stipulate that this experience should have been for a minimum of two weeks and prefer it to have been done in a state school – but check this with individual providers given the situation with the Covid-19 pandemic. Getting classroom experience will also help to confirm that teaching is the right career for you.

If you're not able to complete the experience quickly, don't delay sending your application, but state in the application that you have experience arranged in the near future.

How do you get work experience?

The following information details the usual recommended routes and schemes available to help secure school experience. It is worth noting that some or all of these schemes may not be operating as normal during the current Covid-19 situation. You should check regularly to see what is available, as the situation is likely to change on an ongoing basis.

Use your contacts through family and friends. You can also contact schools directly to ask for work experience or to observe classes or shadow teachers. You can check details of schools across the UK using Schools Web Directory.

Work experience in schools is popular and it may take time to arrange a placement so try to plan in advance. There are also a number of formal schemes which can help:

Get School Experience service (England only): This is a programme for final year students and graduates interested in gaining experience in the classroom. School placements of one to ten days are available in all subjects, at secondary and primary levels, to those planning to apply for teacher training courses in the current cycle.

Paid internship programme (England only): For STEM students in the penultimate year of their degree and interested in teaching maths or physics. The programme offers a four-week internship paying £300 per week in June/July. Apply directly to participating schools.

Student tutoring programmes: Some institutions offer student tutoring programmes through which you go into schools to help with classes. These programmes are often available through university careers services or students' unions.

Undergraduate Ambassadors Scheme (UAS): If you are a mathematics, science, technology or engineering undergraduate, your department may offer a classroom-based module. This would involve spending around 40 hours working in schools. There are currently participating universities in England, Scotland and Wales.

STEM ambassadors: It may also be possible for students of mathematics, science, technology or engineering to become STEM ambassadors, which involves enthusing school students about these subjects and the careers they open up.

Taster courses and open days: These are organised by schools, universities and others (such as Teach First) to provide an insight into teaching and teacher training. Taster courses tend to be targeted at shortage subjects or candidates from under-represented groups.

Paid work: You may be able to obtain paid work in schools as a cover supervisor, teaching assistant, laboratory technician or learning mentor, for example. These posts are usually advertised on local authority websites or through recruitment agencies. Some schools offer graduate assistantship schemes either as individual schools or through programmes such as Try Teaching.

Voluntary work: Most local authorities run schemes for voluntary mentors to work with pupils on a one-to-one basis. Contact your local authority for more information. Many universities work closely with local schools to encourage pupils to consider higher education.

Tips for work experience

Keep a diary of any work experience you do. This will be invaluable when it comes to writing your applications or preparing for interviews.

Write notes about anything that you experience. For example, if a lesson did not work, think about how you would do it differently.

Think about classroom control, different teaching styles and effective uses of technology. (42)

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Tracy C.Davis. (2020). Teaching Performing Arts During the Pandemic. Available: https://howlround.com/teaching-performing-arts-during-pandemic. Last accessed 12th March 2021.

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Teaching Performing Arts During the Pandemic:

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Teaching Performing Arts During the Pandemic:

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As colleges and universities send students home in the wake of COVID-19, instructors all over the world are scrambling to learn how to use online tools such as Zoom and to become more adept with all the features of course management systems, such as Canvas and Blackboard, in order to answer the mandate to teach remote synchronous courses. The timeline for doing this is short but the need is exigent. For teachers of the performing arts, seemingly insuperable challenges complicate the task: how does one teach dance and acting—quintessentially embodied forms dependent on human-to-human observation and whole-body involvement—when no one is in a room together? It is not just that teaching online means time lags, broadband fuzz, and tinny sound. How do teachers assess the aptness of a gesture when it wanders out of a laptop camera’s limited angle range? Can the proficiency of a hip roll be ascertained any way other than with a webcam’s focus on the mid-body, and does this cross a line of a student’s consent to intimacy?

Faculty at Northwestern University’s renowned theatre department have a few weeks until the postponed third term (April–June) starts. As they prepare to try mandated online teaching for the first time, they shared their preliminary insights with me. “All of [our] questions seem to center around a phenomenological study of ‘what is performance,’ ‘what is teaching,’ and ‘what is learning,’” says Roger Ellis, assistant professor of music theatre. “We as educators have an opportunity to contextualize this moment as an insurmountable interruption or as a chance to deconstruct and reify the nature of what we do.”

David Catlin, ensemble member at Chicago’s Lookingglass Theatre and head of the undergraduate acting program at Northwestern, notes that great drama is predicated on obstacles, on “characters who feel detached, distant, isolated, and alone as an uncertain world changes around them.” When students log into a synchronous digitally taught course, they gain options to curate locales other than a studio, which in Catlin’s opinion could enhance online scene work. A course could be based on gathering oral testimony about what is happening now, discussing it online, and turning it into a live performance when students return to campus. Alternately, students could focus on monologue work, and classes could incorporate guest teachers or casting agents—joining in by Zoom—to reflect and advise. Other ideas, he mentions, would be for classes to emphasize table work, actors-as-dramaturgs, storytelling skills, and developing stand-up routines.

Joel Valentín-Martínez, assistant professor and head of the dance program, acknowledges the challenges of properly guiding students—especially novice dancers—to stretch, generate warmth, and prepare to move safely when teaching online. Experienced students are better equipped to respond to verbal suggestions, yet in classes based on a mixed genre of techniques (which is the norm here) demonstration is still needed. Instructors can demonstrate on camera, as in the classroom, but can they adequately watch twenty thumbnail live feeds to ensure fidelity to form and interpretive acumen, as well as safety for bodies trying things out at home, in dorms, or heaven knows where else? (And do students scattered far and wide have suitable spaces in which to move?)

Creative composition classes for experienced dancers can embrace postmodern approaches to using found space—“rooftops, bathrooms, kitchens, outdoors, and stairways that liberate composition from the studio,” he lists—that interpret a set of verbal or written instructions for playback during meeting times. This could be a boon, but in all cases the emphasis on process, figuring out and verbalizing learning, requires mutual investment in the circumstances.

How does one teach dance and acting—quintessentially embodied forms dependent on human-to-human observation and whole-body involvement—when no one is in a room together?

Cindy Gold, professor of acting, is preparing for the last segment of a three-year sequence of acting courses that culminate in scene study of Chekhov. There is already rapport, trust, and a strong sense of ensemble in the group. In preparation for each scene, students will have to mark-up a text indicating their close analysis and hand this in for feedback from the instructor. But in contrast to teaching in a conventional classroom, this spring students will be encouraged to share their texts with each other using a tool such as Google Docs, laying open their prep process for general discussion. But what does it mean to take the next step and put the work “on its feet”? How can two students demonstrate a two-hander scene when they are in different states?

Gold, who also has a thriving career on stage and screen, notes that over the past year 50 percent of her own auditions have been online, whether for TV, stage, or film, and in or out of town. “I predict there will be more and more,” she says, so she is embracing the future by exploring the digital classroom. In scene work, Zoom can function like a split screen, the whole class watching two actors intensively observe each other. This can bring new awareness, when observed again in replays, and support Gold’s consistent message about holistic observation in partner work. She anticipates discussions about how to optimize students’ scene work, for example trying scenes as three-quarter body shots and as close-ups to hone her students’ critical eyes for conveying subtext and then discussing the options and implications with great specificity. “This can be very valuable for actors to do for a couple of months,” Gold says. “It can be an extremely interesting adventure in understanding technique like never before.”

The last class before spring break, Roger Ellis had planned to explore Mary Overlie’s Viewpoints Theory and Practice in his physically demanding course on movement for the stage. Students were used to working together, but as new strictures to cope with the pandemic unfolded in real time, Ellis opted for everyone to meet virtually. While this ensured social distancing and avoided oft-touched surfaces in a contact-oriented movement course, Ellis also turned it into a way to utilize grounding exercises centered on presence. Helping students to respond to moment is integral to Ellis’s approach:

What I find most meaningful about teaching improvisation is that it is not only a theatre technique but a life skill. Improvisation helps participants cultivate the courage it takes to remain present when one cannot control the outcome. To be an artist is to be resilient, adaptable, and flexible, while also committing to one’s holistic wellness. Although the circumstances surrounding this moment are truly dreadful, we have an opportunity as educators to turn this into a constructive teaching moment.

The fifteen students were at first skeptical of the online experiment, then embraced the opportunity. Ellis saw them “dial-up awareness of their physical-emotional landscape,” which, he notes, “brought that awareness into physical theatre exercises in composition, storytelling, point of view, and improvisation.” Anxiety melted into gleeful experimentation as the class explored what the environment afforded.

Although the circumstances are truly dreadful, we have an opportunity as educators to turn this into a constructive teaching moment.

For Ellis, this opened up a slate of interesting questions:

How can presence be embodied, transmitted, and perceived across cyberspace?

How is the observer-participant relationship complicated, deepened, limited, and/or expanded when mediated by technology?

How are actors or observers (dis)empowered in this new relationship?

How can the unexpected infusion of digital technology into traditionally analog experiences drive or inhibit innovation? How can this phenomenon blur the dividing line between mediums like film, dance, and theatre?

How can online platforms dismantle, enforce, or contextualize traditional power dynamics and hierarchies within the classroom?

How does teaching in this new context prompt new questions about surveillance, agency, gaze, intimacy, and privacy?

When classes start up again after spring break, Ellis will teach a course on musical theatre performance. But how does one teach acting through song remotely—especially when one’s approach centers on physically driven forms of exploration? And given that nuances of breath, timing, intention, and physical action between the singer and accompanist is essentially a duet, how will using recorded accompaniment alter the experience? Ellis—who draws influence from Deborah Black, who teaches Viewpoints courses online, as well as Sheri Sanders, whose Rock the Audition coursework also involves coaching singers online—says he is energized to dive headlong into such a challenge.

Teaching performing arts online is feasible when learning objectives drive decisions, but the mediating technologies must be utilized intelligently. For example, coming back to the staple of acting classes—scene work—presents opportunities for students to garner insight into how they calibrate expressiveness for screen acting. At the same time, looking intently into a laptop screen could run counter to the goal of shedding self-consciousness. “The screen is essentially a mirror,” Catlin notes, and it may be important to find a way to “veil one’s own image” through a technological or psychological toggle switch. This process might help aspiring actors accelerate their progress toward freedom from self-censorship as well as the discipline of constructive self-awareness.

These plans demonstrate that though lesson modalities need to shift, curriculum is not abandoned. Are there limits to what can be tried online? Can circus arts or partnered dance be taught this way? Maybe… not? Yet theatre training, it turns out, can thrive when obstacles are broached as opportunities. (41)

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Association for Theatre in Higher Education (2020).

Teaching Acting with Zoom. Available: Teaching Acting with Zoom - YouTube. Last accessed 12th March 2021.

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Association for Theatre in Higher Education

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PBS NewsHour (2020).

How the performing arts are adapting the pandemic landscape. Available: How the performing arts are adapting the pandemic landscape - YouTube. Last accessed 12th March 2021.

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How the performing arts are adapting the pandemic landscape:

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How the performing arts are adapting the pandemic landscape:

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How the performing arts are adapting the pandemic landscape

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NBC News (2020).

Educators Speak Out About Mental Health Toll Of Teaching Through Pandemic | NBC Nightly News. Available: Educators Speak Out About Mental Health Toll Of Teaching Through Pandemic | NBC Nightly News - YouTube. Last accessed 12th March 2021.