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College Student Demographic - Decline of applications to study:

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College Student Demographic - Decline of applications to study:

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Between 2007–08 and 2016–17, the total number of students at higher education institutions increased by 0.4%, from 2.31 million to 2.32 million. Table 4, however, shows that trends in student numbers differ across different modes and levels of study. There has been a decrease (66.4%) in the number of students on other undergraduate courses while all other levels of study increased over the same period. First degree students increased by 22.3%, postgraduate research students by 20.3%, and postgraduate taught students by 7.7%.

While full-time enrolments have increased by 21.4% since 2007–08, with growth resuming after a fall in 2012–13, part-time enrolments remained broadly stable until 2009–10, after which they have fallen year on year. Part-time registrations are now 37.2% lower than in 2007–08. The decrease in other undergraduate provision over this period has been a contributing factor in the decline of part-time study; in 2007−08, other undergraduates represented 45.4% of all part-time numbers, yet in 2016−17, they accounted for 23.3%. Following the introduction of student loans for masters courses in 2016−17 however, there was an increase in postgraduate (taught) study of 4.6% compared to 2015−16. (13) (2018, Universities UK)

Due to the decline of applications and students studying at colleges and other educational facilities, we plan as a company to eventually expand and branch out to external customers in order to gain more revenue to put back into the company in order to run and provide better opportunities for those attending. If staying entirely within a college environment, we are limited to a smaller audience and smaller profit, as the statistics above support, showing less applicants and people attending courses as such.

We also understand that many aspiring students are now continuing to study within schools regarding A-Levels due to the current COVID-19 circumstances and so the market isn't as large as it was last year in comparison for the business to grow, however, it is large enough for us to sustain and progress. This will bring in viable income and profit.

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Students by subject of study, 2007–08 and 2016–17:

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Students by subject of study, 2007–08 and 2016–17:

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Although having previously noted the plan to expand the company and allowing external customers to attend due to lack of students, studying Performing Arts within the college institution (Burton and South Derbyshire College), we take into account and acknowledge how an increasing number of learners are applying for creative courses, especially Performing Arts.

Knowing this allows us to be enthusiastic about a potential larger audience and cliental within the company local. (14) (2018, Universities UK)

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Chain Reaction started life in 1993 as a project run by a community arts organisation based in the London Borough of Barking & Dagenham. Seven young female students studying Performing Arts at Barking College were chosen to write and perform a piece of theatre which aimed to provide young people with accurate information about smoking. The performance was called Chain Reaction.

The original intention was a one-off tour to schools and youth centres in Barking & Dagenham but due to the phenomenal success of the show, the group of actresses began touring the show across other London boroughs

'Essentially, we're a fun, friendly and dynamic organisation that uses theatre, media and music as a basis for educating and inspiring young people (and adults) to make positive choices about the issues that really affect them. Simple, really!'

'You’re pretty likely to find us performing in schools using our exciting original educational theatre shows and further resources to help pupils get to know the real facts about drugs. Or maybe we’ll be surrounded by excited young people whilst running free multimedia holiday workshops addressing teenage pregnancy in a disadvantaged community.

​

But equally we might be shooting a training video for a corporate client about customer service, or even performing one of our highly acclaimed adult musical comedy shows to audiences at the Edinburgh Fringe. Who knows what we’ll do next?!

​

But one thing you can be sure of is that our skilled, streetwise team will always be using theatre to ignite change in our audiences so that they can face today’s challenges head-on and have happy, healthy and successful futures. Since 1994 we've thrived to become a successful, award-winning and much-loved professional organisation that’s respected as being at the forefront of theatre in London and beyond.'

As well as this , their work is grounded in our five main aims of:

​

Tackling health and social issues

Promoting informed choice

Encouraging self-esteem

Building self-confidence

Respecting individuality

So far the company has reached over 408,000 people across the UK. They've also worked with clients and partners including; the NSPCC, the Police, Department of Health, Lloyds TSB, Criminal Justice Bureau, Fords, JP Morgan and Sainsbury’s.

In the past year, they have:

Engaged a total of 6,184 people in areas of high deprivation

Delivered 7 large scale creative projects that inspired, educated and upskilled participants

Involved 1,056 young people in intensive issue-based drama and media workshops

Informed young people on key social issues with 92% of participants learning something new

Achieved an average 95% success rate on all our key performance indicators

Toured 2 professional educational theatre projects

Worked in partnership with 36 schools and community venues in deprived areas

Their contact information is limited to a telephone number and email.

Within their workshops, they have touched upon:

Drugs and alcohol awareness

Teenage pregnancy and sexual health

Gangs and knife crime

LGBT awareness

Healthy eating

Bullying

Road Safety

Racism and discrimination

Community cohesion and discrimination

Anti-social behaviour

Aspirations and planning for a successful future

Additionally. the company can collaborate with schools and partners to:

• Devise an original high-quality theatre performance or a series of sketches to fit your aims, objectives, venue and timings

• Incorporate your key messages, facts, and statistics in the script

• Engage and entertain your audience through our mix of comedy, drama, dance and song

• Maximise audience participation and the retention of key information

• Host or MC your event or act as ‘wandering entertainers’, mixing with delegates and delivering your messages as specially devised characters

• Deliver your messages in a truly memorable way

Moreover, their workshops are tailored to their audience, specialising in:

Drama

Media

Art

Role-Play

Street dance

Music

By young people participating in these issue-based activities and working in groups with other young people, they meet theirunderlying workshops aims of:

Increasing self-esteem and self-confidence

Encouraging teamwork

Developing social skills

Promoting informed choice

Getting young people to try new activities and get involved in the arts (6) (2020, Chain Reaction Theatre)

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'Headshots can cost anywhere from £50 to over £500, but how much should you pay, and what’s the difference anyway? Michael Wharley takes a good hard look. Plus: Casting Call Pro headshot survey and the most expensive shoot in London…

The good folk at Casting Call Pro got in touch recently to share the results of a recent broad survey of members, and the headshot results were fascinating.

Best Deal vs Best Photos?

It’s no surprise that the survey revealed a desire to get the best deal for the best shots, but when members were asked how much they’d be comfortable paying for a headshot session, there were surprising results.

Roughly 30% said they’d pay up to £100. Around 30% would be pay up to £150. Some 25% would pay up to £200, while only 12% would pay £200-£300, and a tiny 5% over £300.

Or viewed another way, nearly 60% of CCP users expect to pay less than £150 for a session, and over 80% expect to pay under £200.

That’s surprising, because on the basis of my own regular market research, to get decent session time with a well-regarded, largely actors headshots-dedicated photographer, the price range is more realistically £150-£250.

What do you get for your money?

Prompted by that disparity, I thought it might be interesting to take these price distinctions apart, and see what – and who – you get for your money.

So, I looked at 50 headshot photographers, covering everyone from established ‘names’ to total newbies and here are the results (As a note, these results are shared in the spirit of fun, of course there will be exceptions and variations in such relatively arbitrary price brackets).

Under £100 – short, sharp and selective

What you’ll get: around one hour (sometimes more, sometimes less), 2-3 changes of clothes, probably indoor OR outdoor, roughly 2 retouched prints (with extras £10-20 pounds).

Who will you get: established photographer offering cheaper package for clients on a budget (e.g. Koval, Rosie Still, Me), studio-based company with a schedule to fill (Actorsonestop, Noho Talent Studios), photographer specialising in another discipline like editorial or fashion who also takes headshots (Paul Harrison, Mario Schwartz).

Watch out for: a) hidden cost of extra prints. b) At this sort of price level the photographer commonly has one studio lighting set-up or outdoor location and won’t vary, which can minimise the differences between outfits. c) Time is at a premium – may be a more conveyor-belt approach. d) Headshots are a very specific form of portraiture and photographers who don’t specialise MAY not produce industry-ready shots.

Can you get good photos? Yes, but you need to do your research carefully and don’t be seduced justby the price.

£100-£150 – a little more time but how much difference?

What you’ll get: 1-1.5 hours, sometimes 2 hours. 2-4 clothing changes,  probably indoor OR outdoor, 3-4 changes of clothes, 2-3 retouched prints (with extras £10-20 pounds).

Who will you get: established photographer with a pricing model fitting this bracket, often studio outside central London (Graham Bennett, Rosie Still), established photographer offering cheaper package for clients on a budget (David Price), studio-based or headshots/voicereel/showreel company able to offer rates on economy of scale (Eamon Kennedy, Koval)

Watch out for: Choosing a shorter package from an established photographer can mean you need to be prepared to get the most out of a session. There’s probably a reason they like to spend more time with people.

Can you get good photos? Sure, but paying this sort of money does not guarantee it – you still need to do your research.

£150-200 – in the ballpark

What you’ll get: most commonly 2 hours, 2-6 (sometimes unlimited) clothing changes, probably (but not always) indoor OR outdoor,  3-4 retouched prints (with extras £10-20 pounds).

Who will you get: Well-established, well-known photographers pitching at the middle of the price range (Pete Bartlett, Vanessa Valentine, Gemma Mount, Nicholas Dawkes, Matt Jamie), photographers  on the up (Luke Varley, Vincenzo photography, David Price, Michael Wharley)

Watch out for: This is a common price bracket for commercial studios with a shooting schedule to fill to enter the market at, so be careful your photographer knows headshot trends and techniques.

Can you get good photos? Barring disaster, your agent is almost certainly going to be comfortable with the results – there are a swathe of photographers in this price bracket, all of whom have sound reputations and produce excellent headshots. They may have been in vogue in the past or be coming into vogue, but they will almost all take great photos.

£200-300

What you’ll get: 2-5 hours (with exception of John Clark), 5+ clothing changes, probably indoor AND outdoor, 3-4 retouched prints (with extras £10-20 pounds).

Who will you get: Long-established photographers with a good industry reputation, probably a comfortable choice for many agents (John Clark, Steve Lawton, Simon Annand, Sheila Burnett, Nicholas Dawkes, Harry Rafique)

Watch out for: £200-300 most often means nearly £300, with the exception of John Clark, who only offers 1-hour sessions and charges £250

Can you get good photos? Yes. At this level, it’s ALL about the service and the time dedicated to you – you’re paying a premium for the freedom to relax into the shoot, but also the photographer’s reputation and experience.

£300+

What you’ll get: either 1 hour or 3 hours plus, 5+ clothing changes

Who will you get: Long-established photographers with a great industry reputation, probably the default choice for many agents (Nick James, Fatimah Namdar, Catherine Shakespeare Lane, Charlie Carter), portraitists and artistic photographers with a solid headshot practice (Clare Newman Williams).

Watch out for: Session time and extras can often (though not always) be reduced at this level – the extra money being a premium reflecting the photographer’s reputation and skill. So if you find it hard to relax in an hour, this isn’t necessarily the best choice for you.

Can you get good photos? Undoubtedly, but whether they are better than photos in a lower price bracket is up to you to judge. It’s your preference for their photos and a feeling that they will get the best out of you that will make you cough up the sum!

Last but not least: the prize for MOST EXPENSIVE headshot session goes to Clare Newman Williams, who charges a whopping £480 +VAT.' (2) (2011, Michael Wharley)

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Unknown. (2020). How much does headshot photography cost?. Available: https://www.bidvine.com/headshot-photography/price-guide#:~:text=On%20average%2C%20headshot%20photographers%20usually,the%20cost%20of%20professional%20headshots.. Last accessed 7th October 2020.

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Michael Wharley. (2011). Comparing London Headshot Photographers. Available: https://www.actorsguild.co.uk/comparing-london-headshot-photographers/. Last accessed 7th October 2020.

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Social enterprises are businesses that are changing the world for the better. Like traditional businesses they aim to make a profit but it’s what they do with their profits that sets them apart – reinvesting or donating them to create positive social change.  Social enterprises are in our communities and on our high streets – from coffee shops and cinemas, to pubs and leisure centres, banks and bus companies.

By selling goods and services in the open market, social enterprises create employment and reinvest their profits back into their business or the local community. This allows them to tackle social problems, improve people’s life chances, provide training and employment opportunities for those furthest from the market, support communities and help the environment.

Social enterprises exist in nearly every sector from consumer goods to healthcare, community energy to creative agencies, restaurants to facilities management. Well known examples include The Big Issue, Divine Chocolate and the Eden Project but there are over 100,000 social enterprises throughout the country contributing £60 billion to the economy and employing two million people.

They’re creating jobs and opportunities for those most marginalised from the workforce, transforming the communities they work in and making the Sustainable Development Goals a reality. It’s business for good and when they profit, society profits.

We define social enterprises as businesses that:

Your business has a clear social or environmental mission that is set out in its governing documents.

You are an independent business and earn more than half of your income through trading (or are working towards this)

You are controlled or owned in the interests of your social mission

You reinvest or give away at least half your profits or surpluses towards your social purpose

You are transparent about how you operate and the impact that you have. (3) (2020, Unknown)

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Unknown. (Unknown). What is it all about?. Available: https://www.socialenterprise.org.uk/What-is-it-all-about/. Last accessed 7th October 2020.

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'Our State of Social Enterprise Report is the most comprehensive research undertaken into the state of the sector. It shows that social enterprises in the UK are thriving, outperforming their mainstream SME counterparts in nearly every area of business: turnover growth, workforce growth, job creation, innovation, business optimism, and start-up rates. They are also taking on the challenges posed by the triple threat of economic stagnation, social division and the climate emergency.' (3) (2020, Unknown)

https://www.socialenterprise.org.uk/wp-content/uploads/2019/11/Capitalism-in-Crisis.pdf?fbclid=IwAR14qPLrKa2oVg4uDIeycEJl51zSqqbsNRPAmyl_QH9dvXMXfbs-FudUK8Y

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What kind of Social Enterprise could I be?

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What kind of Social Enterprise could I be?

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When thinking about whether my business may be considered a social enterprise, I tend to agree; due to the companies intention and social mission to produce affordable uniform, headshots (photo opportunities) and classes to enhance a performers skillset and wellbeing, this benefits our target market. When creating/earning funds, we plan and will reinvest these profits back into the business, allowing us to combat social issues, improve an individuals life chances and provide the suitable training required.

The points listed within 'What is a Social Enterprise?' will accurately represent our intentions within the progression and live running of our business.

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(7)

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SENS MREŽA (2012).

What is social entrepreneurship?. Available at: https://www.youtube.com/watch?v=1ecKK3S8DOE (Accessed: 1st October 2020).

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How much does headshot photography cost?

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How much does headshot photography cost?

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'On average, headshot photographers usually charge a rate of £100 to £150. Then, considering that most headshot photography sessions are about an hour in length, this rate generally covers the cost of professional headshots. However, this rate can vary. Factors such as session length, the photographer’s experience, the number of headshots, and the location of the photoshoot can all impact costs.

To receive a custom quote for your headshot photoshoot click below to submit a free request.

Headshot Photography Costs

UK National Minimum Costs | £100
UK National Maximum Costs | £150
UK National Average Cost | £125
Average Range | £100 - £150

Included in This Price Guide

Considerations

Type of Headshot

Number of Different Headshots

Photo Format

Price Comparison of Popular Headshot Photography Services

Time

Location

Experience

Additional Services

Hair and Makeup

Photo Editing

Summary

Considerations For Hiring a Professional Photographer Near Me

Headshot photos and professional pictures are useful in a variety of different situations whether you are in business, a model, an actor or simply looking to update your social media profiles. No matter what’s motivating you to get your headshot, it will undeniably be useful.

Type of Headshot

The type of headshot you need will primarily depend on your purpose for taking the headshot. Professional or corporate headshots, business headshots, model headshots, actor's headshots, and glamour headshots are all taken in a unique style.

Specifying which headshot you would like ensures that your photographer is able to prepare properly for your photoshoot. For example, preparing for an acting headshot can involve bringing a different backdrop, props or lighting than a corporate headshot. By clearly indicating what headshot you're looking for you ensure your photographer will be prepared for the session.

Number of Different Headshots & Headshot Poses

Depending on the purpose of your headshot photoshoot, you may need a few different types of headshots with a few different headshot poses. For instance, if you are looking to take both professional and glamour headshots the photographer will need to take two different headshot styles.

To achieve the required look for these headshots it may involve changing the background in the middle of the photoshoot, booking multiple sessions, or booking a longer photo shoot. If any of these are the case, you should expect higher rates to cover the photographer’s additional work.

Photo Format

On the Bidvine request form, you will also be able to specify which format you would like to receive your pictures in. Some of the most popular options include online proofs, physical proofs, and removable media like a USB or CD. If you would like to receive multiple formats, it’s possible that this may increase the cost. For a precise cost estimate that includes your preferred photo formats, it’s best to ask your professional directly.

Price Comparison of Popular Headshot Photography Services

Photography Service | Average Cost
Acting Headshot Photography | £150
Corporate Headshot Photography | £200
General Headshot Photography | £100
Modelling Headshot Photography | £175

Time

Generally, most headshot photography sessions are about an hour in length. If you need to book longer sessions than this, be aware that this will affect the average rate.

Do you need your photos edited quickly? In some cases, depending on their availability your photographer may be able to offer you a rush order. Keep in mind that the cost for rush orders do tend to be higher than regular photo sessions. Still, if you need those photos quickly, the peace of mind will be well worth it.

Location - Photoshoots Near Me

Where would you like your headshots to be taken? Would you prefer your photographer to take them outdoors or is indoors against a clean backdrop a better fit? Both outdoor and indoor shoots can affect headshot photography rates.

If you are planning an outdoor photoshoot at a distant location your photographer will need to cover transportation costs. However, indoor photo shoots can also influence rates. This is especially true if your photographer is renting space at a studio.

Do you live in an area where the cost of living and transportation costs are generally higher? Then expect these factors to affect your photographer’s rates.

Experience Taking Professional Headshots

In the UK, photographers aren’t required to obtain a particular certificate before they take on clients. So, they can obtain their experience from studying at a photography school, or by immediately working in the field. Their experience may even come from a combination of the two. If you are curious about how your photographer has acquired their skills, simply ask.

Keep in mind that this experience can impact rates as well. Top photographers who have been working for some time are likely to have higher rates than budding photographers. In contrast to seasoned professionals, budding photographers often charge more cost-effective rates in order to build their business.

No matter whether your professional is a seasoned pro or budding photographer, one of the best ways to determine if they are a good fit for your project is to check their reviews. If you pop over to their Bidvine profile you can see reviews that previous clients have left. These reviews can provide insight into whether the photographer is a good fit for your project.

Additional Services

Once you've found great photography companies near me, you may find that you require additional services. Booking these services will ensure your photos are picture perfect!

Hair and Makeup

Hair and Makeup can be tricky to tackle on your own. To make sure that your photos are perfectly stunning, consider hiring a hair and makeup specialist. Whether you are looking for a natural look or something a bit more bold your hair and makeup specialist has you covered.

Photo Editing

Sometimes photos just need that extra special touch to achieve the desired look. If photo retouching is something you’re interested in, it is best to let your photographer know ahead of time. That way they’ll be sure to provide you with proofs for feedback first. However, if you don’t realise until afterwards that you’d like photo editing, your photographer should still be able to make accommodations.

Be mindful that in either case, most photographers do charge an additional fee, which is often a flat rate, to retouch your photos.

Summary

If you want your professional photos to look stellar, hiring a professional headshot photographer is the way to go. With their expertise, you’ll be looking at brand new, stellar and professional photos in no time at all. So what are you waiting for? Submit free requests for headshot photographer costs today!' (1) (2020, Unknown)

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Virtual Learning Survey - Student Response (1)

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Students by subject of study and ethnicity, 2016–17:

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Students by subject of study and ethnicity, 2016–17:

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Subjects with the lowest proportions of black and minority ethnic (BME) students included veterinary science (4.9%) and agriculture and related subjects (5.8%), while the highest proportions of BME students were found in the subjects of medicine and dentistry (35.5%), law (34.1%) and business and administrative studies (32.7%). (15) (2018, Universities UK)

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HeSA Student Record - Study and Ethnicity

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Virtual Learning Survey - Student Response (2)

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Students by subject of study and gender, 2016–17:

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Students by subject of study and gender, 2016–17:

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Gender profiles varied greatly for some subjects, notably computer science (17.2% female and 82.8% male) and engineering and technology (17.6% female and 82.4% male). Subjects with the highest overall proportions of females were subjects allied to medicine (79.1%), veterinary science (77.3%) and education (76.6%). (15) (2018, Universities UK)

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Kyle Tucker is a British Actor & Personality known as Tucker, born in Derby on July 4th 1994.

Tucker has performed and presented with some well known companies such as BBC, NHS and Warner Brothers.

He is known for his debut feature length documentary The Trouble With My Dad (2016) and various other BBC3 short-form and corporate videos; playing himself.

Kyle Tucker started his acting career in 2011 and graduated from his performing arts course in 2013. He has also appeared in The Jobseekers (2013), Olivia Twist (2014), This Is England (2014/15) and Red Sky (2015).

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Jazz is an Actress, Dancer, Singer and Model. She has a varied skillset in all specialities and vast experience and knowledge of the creative industry. An example of her work is within the Bollywood industry, based in Mumbai, India. However, she has worked within many performance venues and projects, developing her ability within a plethora of styles.

Cost: Jazz has offered her time and skills to produce a workshop for the company without being payed due to nature of relationship.

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Ellie is a Birmingham-based voice and acting coach who works across the West Midlands and nationally; covering many skills and techniques including accent and dialect, vocal technique, public speaking, audition preparation and text work.

Cost per hour: £30

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Jaime Seal is an actor who trained at the Birmingham School of Acting (now the Royal Birmingham Conservatoire) and graduated in 2015. He is known for his work on Julius Caesar (2011), Olivia Twist (2014), Doctors (2018) and Slaughterhouse Rulez (2018).

He now also owns his own photography company.

Cost: £80 for half a day

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Virtual Learning Survey - Student Response (3)

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Social anxiety, general anxiety, test anxiety, or panic attacks

Family expectations or problems

Depression, lack of energy or motivation, hopelessness, being overwhelmed, low self-esteem, homesickness, loneliness

Relationship difficulties (emotional and physical aspects of intimate relationships)

Dealing with conflict or difficult people

Helping others in distress

Eating problems or body image issues

Grief from the loss of a loved one or a relationship breakup

Stress, perfectionism, procrastination, time management

Lack of confidence, assertiveness, self-esteem

Past or recent trauma, abuse (physical, sexual, emotional), sexual assault, or stalking

Sexuality or gender identity questions (16)

These issues that are common within a college student market allow us to touch upon such in workshops, tackling and offering support and guidance. An example of a competitor who creates and provides workshops based on similar topics is 'Chain Reaction' (see competitor column).

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As the Performing Arts pathway within Burton and South Derbyshire College/Fleet Street, has expanded, now teaching and qualifying students on a HNC, HNC and Top-up course, we will be also holding workshops for those and so our demographics, psychographics and general market research will cover these students too.

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(17) (2018, Ruth Bushi)

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Living costs (University Students) in the UK:

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Living costs (University Students) in the UK:

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(17) (2018, Ruth Bushi)

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Living costs for a university student in the UK

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In 1996, co-founders Helen and Carol combined their passion and extensive experience in the arts and education to create Freshwater.

Today Freshwater works with over 150,000 children a year, enriching learning through the joy of drama.

Freshwater has become one of the most respected and established drama-in-education companies in the UK, enjoying long-lasting relationships with schools.

Last year they delivered 3000 workshops across 950 schools, museums and libraries.

They are passionate about the power of the arts to provide valuable learning opportunities for children, allowing them to express themselves creatively whilst embedding subject knowledge.

Feedback from teachers shows that Freshwater consistently provides stimulating and memorable experiences of the highest quality, engaging and motivating children to learn.

This theatre company regularly recruit freelance drama workshop facilitators.

Below is a link which shows their practical exploration, although within current COVID-19 restrictions, their classes are available online.

http://www.freshwatertheatre.co.uk/editorial.php?ref=work-in-action

Their testimonials are as follows:

Curriculum Specific
Easy Booking Process
Experienced Facilitators
Interactive Learning
Observe Children's Progress
Give Your Topic the 'Wow' Factor
Meeting Your Class' Range of Needs

Freshwater Theatre Company has been delivering educational workshops, shows and storytelling sessions in schools since 1996.

As one of the largest theatre-in-education companies in the UK, they provide high quality drama workshops and shows to support topics across the entire curriculum or programme.

Their workshops encompass history, geography, science, modern foreign languages, maths, literacy, Shakespeare, creative movement, cross-curricular, and PSHE topics.

They have workshops for Early Years, KS1, KS2, and KS3. They also offer Continuing Professional Development (CPD) for teachers.

They also offer assemblies, large group sessions, shows and days.

Online workshops are marketed as shown: https://www.youtube.com/watch?v=qKaEjwi3Kqg&feature=emb_title

Their prices are as shown below:

Prices are for 1 September 2019 – August 2020.

Please note:

All costs are exclusive of VAT.

Please be aware that depending on where you are situated, we may also need to charge a small extra travel cost in order to visit you. This will be quoted to you at the time of booking.

Most of our activities are Drama Workshops for 30 children.

Drama and Dance Workshops

Duration: approx 60 minutes

One session: £123
Consecutive sessions: £120
Maximum number of children: 30
Extra children are negotiable at £4 per head

History Shows

Duration: approx 80 minutes

One show: £240
Maximum number of children: 120
Extra children are negotiable at £4 per head

NB. History shows are: Ancient Egyptian Exploration, Ancient Greek Adventure, Return of the Romans and Trapped in Tudor Times.

All other history sessions are Drama Workshops (see above).

History Days (Egyptians, Greeks, Romans)

Duration: full day

Show plus workshops: £480
Maximum number of children: 60

MFL Storytelling

Duration: approx 60 minutes

One session: £195
Maximum number of children: 120
Extra children are negotiable at £4 per head

Large Group Drama

Duration: approx 60 minutes

One session: £195
Maximum number of children: 120
Extra children are negotiable at £4 per head

KS3 Interactive MFL Performance

Duration: approx 60 minutes

One performance: £225
Maximum number of children: 120
Extra students are negotiable at £4 per head

Assemblies and Bespoke Quests
Enquire for costs

Teacher CPD

Enquire for costs

Freshwater Theatre Company (website) also offer a step-by-step booking process and various contact methods. Terms and conditions are also stated within the booking section of their site. (5) (2020, Freshwater Theatre Company)

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Freshwater Theatre Company. (2020). About Us. Available: http://www.freshwatertheatre.co.uk/about_us.php. Last accessed 17th November 2020.

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Chain Reaction Theatre. (2020). Chain Reaction Igniting Change. Available: https://www.chainreactiontheatre.co.uk/. Last accessed 17th November 2020.

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Their bespoke workshops and courses are all about creative learning. They cover all aspects of theatre and performance and are designed around students.

Enhance the curriculum with workshops on specific practitioners or styles of performance, complimenting in-school learning.

Explore productions you are going to see.

Support school productions or coursework projects with specialist coaching

​

Workshops are available in their London studios, in Stratford-Upon-Avon, or in your school as part of our Outreach programme.

Their workshops include:

Performance workshops:

Acting

Audition Masterclass

Clowning

Devising Physical Theatre

Musical Theatre

Public Speaking

Shakespeare

Storytelling

Stage Combat

English Through Drama

​

​

Practitioner workshops:

Artaud

Brecht

Grotowski

Jacques Lecoq

Stanislavsky

Talks, Seminars, Demonstrations & more:

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​Teacher Resources:

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Lesson Planning

Their most popular workshops and masterclasses cover all aspects of theatre and performance technique, including Acting, Shakespeare and Musical Theatre.

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They can tailor your workshops to the show(s) of your choice, or select one of their official West End Workshops developed in collaboration with leading West End plays and musicals.

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For something more unique, you can take a look at their specialist programmes.

Not only do they offer these workshops but they also offer private drama coaching. Whether you are a drama student looking for extra support for GCSE or A-Level drama coursework and performance projects, or a professional actor looking to advance your career, they have a range of one-to-one packages available for you.

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Areas covered may include:

Voice and Speech coaching

Acting techniques, such as character development, physicality, etc

Singing technique

Text work such as Shakespeare, Checkov, Miller, etc.

Key practitioners such as Stanislavsky, Artaud or Brecht

Drama school audition coaching

Career planning and management to help you launch or develop your career, including marketing and self-representation for actors, finding an agent, etc...

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Where and When:

Courses run online via video conferencing applications like Skype or Zoom to keep costs to a minimum. They take place at a time and date to suite you and your practitioner.

In person coaching can be arranged at your home or in one of their central London studios on request. Extra fees apply.

Prices:

They want to ensure you get the most out of the experience, so all content is tailored to you.

Your first session is 45 minutes, all subsequent sessions are 30 minutes:

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3 weeks course £55 per session

5 week course £52.50 per session

8 week course £50 per session

10 week course £45 per session

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At home or studio-based classes incur additional fees. You can also contact them for a quote.

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Practitioners:

All of their private coaching sessions are run by our team of professional practitioners including actors, directors, producers, singers, dancers and more who are all working in the business today. All are DBS checked and follow their strict safeguarding rules to ensure you get the tailored, professional advice and support you need.

Additionally, they offer specific workshops for events such as Festivals. Their festival package may include:

Drama games and storytelling sessions for younger kids

Performance workshops for older kids and young adults

Masterclasses in dance, physical theatre, and stage combat

They also offer packages such as theatre trips/tours etc.

Through collaboration they have developed unrivalled partnerships with West End productions and leading arts, travel and educational associations, enabling us to become the centre for education in London's West End.

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They have:

Developed the official education programmes for 37 West End productions

Delivered workshops to 8,000+ students a year from across the UK and around the world

Cultivated a global network of clients and partners

They work closely with West End productions, the Group and Educational Travel Trade, the education sector, with businesses, and with artists to deliver their unique programmes.

One-week drama course in July 2020.

Revised as an online course with students joining via video conferencing apps and developing original digital content wherever they are in the world.

The course included:

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Monday-Friday training with collaborative and solo projects, rehearsals and performances

Specialist masterclasses in a host of performance techniques, such as character development, verbatim theatre, text analysis, and self-taping

Work with material from Theatre Workout's West End show partners

Certificate of completion

This course was originally planned to take place in London's West End and was designed to enable students to devise a performance to share on the final day.

In light of COVID-19 restrictions, they've re-designed it with a focus on distance learning and creating recorded material.

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Dates: 20th-24th July 2020,

Times: 10:00-16:00 BST

Ages: 10-16 years

Venues: Your home, global

Fee: £225 per student

Early Bird Offer: Book before 01/07/2020 and pay just £195 per student (inc VAT)

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Course requirements:

A passion for performing

A good Wifi signal

A smart phone or digital camera capable of video recording

Be able to speak English to at least A2 exam level with Trinity (international students)

All classes will be run 10:00-16:00 GMT.

To contact the company, you can either fill an online queries form or call +44 (0)20 8144 2290. (7) (2020, Theatre Workout)

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Theatre Workout. (2020). ​Theatre Workout Education. Available: https://www.theatreworkout.com/education. Last accessed 17th November 2020.

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Acting games are such an engaging approach for drama teacher lesson plans because students open their imaginations and make creative discoveries.

So much can be learned through drama exercises that not only applies to acting technique but also personal development as a person.

Through acting games, a drama teacher can touch on many facets of acting craft including but not limited to character, ensemble, improvisation, actions, imagination, spontaneity and so much more.

Character Building Exercises

True or False

Have each one of your actors take a turn going on stage alone. They must share a story from something that has taken place in their life.  The story can be true or false.  When they are done telling their tale, the acting class must decide if they believe the story or not.

Drink The Mug

Each actor needs to drink from an imaginary mug but they must do so as they imagine a character would.  Assign your actors a character such as a Prisoner, On Duty Police Officer, a Chef, a Homeless Person.  The list can go on and on and you can also incorporate a situation that they can play in as the character.

Character Clothing

Have each actor bring in a single piece of clothing. This can be a pair of shoes, socks, hat, gloves, shirt, pants etc.  They must wear the item and walk around the room. As they walk around the room, they need to discuss in what ways the piece of clothing helps them feel like another person. You can explore this with your student as far as you like, asking questions and guiding them to be as specific as possible.

Trust Building Exercises

Sleepwalker

Have one actor blindfolded. Set up a grouping of chairs scattered around a room. The idea is to have your students take turns walking the actor blindfolded around the room, careful not to bump into anything.  The actor can be seated at random on any chair and must trust the person walking them around the room.

Lean Machine

This acting game is pretty fun as two actors must stand side by side and then lean on one another shoulder to shoulder with their legs extending out. They will form an upside down V. The trick is to trust one another to walk together while leaning on one another, shoulder to shoulder only.

Run Through The Bridge

In this exercise, line up five plus actors on one side and the same amount of actors on the other side, facing each other in parallel. They must be able to extend their arms out but still capable of touching the persons hand standing across from them. Have all your actors hold their arms outward gently touching the hand of the actor facing them.  Now, have another actor run through the bridge in the center of the line. As the actor runs through the bridge of arms and hands, the arms must raise up in time, before the actor running, touches them.  The actor must get through the line without making contact.

Ensemble Building Exercises

Special Place

For this exercise, you will ask each student to share a special place they like to be when they are alone.  Have them go up on stage and re-enact the environment for themselves. Then send another student up on stage to share in the environment with them. There cannot be any verbal communication.

One Voice

Have all your students go up on stage.  Depending on the size of your class, you may want to set up teams of three or four actors in a group. The idea is to have the group speak out as one voice only, as if they are one person. There is nothing rehearsed and all improvised. As the drama teacher, you will ask them a question about any topic and their response to your question must be answered in real time listening to one another and choosing the same words to vocalize in response together as an ensemble. This is great for listening and communication skills as well as ensemble building and trust.

Open Wide/ Close Shut

Have your actors stand in a circle facing center. The idea is to have the group open themselves up physically and wide as possible.  For instance, they will extend their arms, legs, facial expressions to their absolute limit. Then they will do the opposite when you say ‘Close Shut’. When the term Close Shut is announced the actors must sit on the floor and turn into a ball as closed off as they can with their physicality. This is also good for a warm up exercise.

Once the concept for this exercise is established individually, then relate it as a group. Set up two teams of actors, Team A and Team B. Both teams must face one another. Start Team A off as Open Wide and Team B as Close Shut.  Both teams must counter one another simultaneously. When each team has reached their fullest expression of open wide/close shut together, they must instinctually know when to switch to the opposite function. This exercise works like a seesaw. They go from open wide to close shut in opposite unison as an ensemble. (8) (2019, MB Team)

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MB Team. (2019). 9 Drama Workshop Ideas for Teaching Drama. Available: https://monologueblogger.com/9-drama-workshop-ideas-for-teaching-drama/. Last accessed 17th November 2020.

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Games & Exercises to Improve Acting Skills:

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Games & Exercises to Improve Acting Skills:

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Being an actor means having a lot of downtime when you’re off set, not on stage, and not in an acting class.

If you’re already reading acting books, making sure you’re improving your chances in the acting business, and doing everything else to progress, you can also try some exercises and games to further develop your acting skills.

The below mentioned acting exercises and games may be done by yourself, but many would be more fun doing in groups.

Most of these techniques, acting games and exercises were created by, and are still use by drama teachers and in drama schools.

The Man on a Bus Stop

This exercise is aimed to develop your imagination. Developing imagination is one of the most important components of actor’s success In order for the audience to believe your acting, it’s you who has to believe first that the life of your character is real. And to do that, you need to be able to build a small world of your character’s life in your mind.

Even just for one scene, you have to come up with answers of why you are doing, what you are doing, why is it that way, etc. That’s exactly what your imagination is for. You should work on developing your imagination as often as possible. It is useful for mastering acting skills, but also it is so much fun to live having a good imagination!

Description of the exercise: This exercise can be done both individually and in a group. If you are doing it individually, then you just need to go outside and look at passers-by, people in the queue, on a bus stop, etc. and start to make assumptions about them: profession, hobbies, marital status and anything else.

Don’t try to guess, just fantasize! If you are doing it in a group, then just take turns and do the same thing, – make assumptions about your partners.

What Were They Wearing?

This exercise is aimed at developing attention. Attention is very important for an actor as well, as you have to pay attention to every detail of other people.

Also, it is very difficult for a beginner to play an emotion or a state that he/she has never experienced. But if your attention is well developed, you can always recall the observations about the people who have experienced the desired state or emotion.

Description of the exercise: This exercise can also be done both individually and in a group. In a group: People sit in a circle and they are given 5 minutes to remember who was wearing what. It’s important to remember all the details of clothing, accessories, hairstyle, etc.

After 5 minutes, they turn, and the host of the game begins to ask questing like these: “Anna, tell me, please, what was Helen wearing?.”, “John, what was the color of Anna’s shoes?”, etc. At the end, everyone turns back and checks the answers.

If you are doing it individually, then just do it with your family members or strangers. Just close your eyes and try to remember every detail.

Mnemonics

Human memory is a tool that can be developed and trained, regardless of the initial indicators and the age at which this development begins. The idea of mnemonics is that our memory stores images and pictures very well. It allows you to convert any information to some image, so you can easily remember tables, large series of numbers, new languages, etc.

Description of the exercise: There is not much difference if the exercise is done individually or in a group. If individually, then the person simply writes down 20-30 unrelated words. If in a group, – someone asks each participant to name a few words and write them all.

Then, the words are read several times, first, it should be a slow reading with one picture – association about each of the words. Every following word, or rather its image, has to have some connections with the previous images.

For example, if you have words “plane”, “door”, “elephant”, then, the association may be an image of a plane that crushes into the door and there is an elephant sitting behind that door. At the end, you will have your first “movie” script ready to be filmed!

The Chair

It’s another exercise that is aimed to develop actor’s imagination. It is a very simple exercise, where all of the participants sit around one chair and have to come up with 40 (in total) ways of how someone can make a chair (make it of a tree, put a box, etc.).

After participants come up with 40 ideas, they choose another object and continue doing the same thing with it. If you are alone, you can always do it yourself; however, it’s much harder and can soon become a bit boring.

The “Machine” of emotions

Showing emotions on camera or on stage can be very hard for some beginners. This “Machine” of emotions is a mechanism in your imagination, composed of elements associated with the desired emotion.

Description: Take one emotion – “anger”, then take a sheet of paper and write down situations that make you angry. For example, noisy neighbours, strict parents, a lot of homework, wrong haircut, etc. Then, with every situation you need to come up with some image (noisy neighbours – speakers, strict parents – a belt, etc.).

Then, you connect together these images on the sheet of paper and at the end you will have the “machine of anger.” Do the same thing with many other emotions and when you need to act them, you can always take this “machine” and recall all of those images that make you angry, happy, irritated etc. These images will help you quickly get the desired emotion.

“Role model”

It’s good for young actors to have role models. There are so many wonderful actors nowadays, that the only thing you have to do is to open a scene from any of their movies on YouTube and start to imitate their speech, pose, gestures, voice and emotions.

It will be very hard at first, but the more you practice the better you’ll do it. Of course, it’s impossible to copy everything, but try to pay attention to all details.

The Roles

Remember in the first exercise we advised you to think of possible professions, hobbies of people on the street? Now you have to come up with ideas why the person on a bus stop or anywhere else is in his current state (think of emotions, words and gestures).

For example if you see a person who is smiling, try to think of possible reasons why he is doing it:

1. He got a new well-paid job.

2. His wife has just told him that she is pregnant.

3. He watched a very funny movie.

4. He is excited about going home.

5. He won an award.

6. He is thinking of someone he loves.

7. He has just booked a trip to Las Vegas.

The Change of Roles

This exercise is one of the easiest ways to make your acting more lively and diverse. Different roles require different intonation, gestures, emotions and energy. Once you get used to acting different roles, you can easily change the nature of your speech and the shape of the material.

In this exercise, you will be asked to try acting 5 very different from each other roles. Then you’ll be able to expand the list of such typecasting.

1. A very boring lecturer

2. Gypsy

3. Pensioner

4. Angry boss excoriate.

5. Charismatic leader

Your task is to get the first role and improvise it for 40-60, and then switch to the next one and so on. Make sure you stay in each role for at least 40 seconds to work out not only the skill of entering into the character, but also the ability to stay in it for a long time.

Once you have played all 5 characters, your partner who has been observing you all this time, evaluates you (from 1 to 10) and gives you a feedback. Together you should come up with ideas of how to improve your acting. Once you get 10 points for each role, you can choose some new ones.

Non-stop

In this task you will have to present a monologue on some topic for 3 – 5 minutes without any stops or time for preparation. You should try to avoid any pauses and your speech should sound like you’ve been preparing it for a long time.

At first choose the topics you are familiar with, then move on to the once that you hardly know anything about. This exercise will help you to develop you skills of improvisation.

Interview

It is another exercise aimed to develop your skills in improvising. Ask one of your colleagues (it would be great if it’s not your friend) to prepare a list of questions for you. The questions should be very personal and unexpected and should require a detailed answer.

Try to answer questions as fast, clear, detailer and confident as possible and also try to be very emotional and use a lot of gestures. Then, ask your interviewer for a feedback. Do the same thing a week later with another interviewer.

“Words starting with….”

When you are alone in your room and you have some free time, use this exercise as a way to develop your skills in concentrating on details.

Choose any letter “A, B, C, D, E ….” and by looking around try to find objects in your room that start with that particular letter.

You will only have 60 seconds to do that and coming up with 50 objects is a very good result, but whenever you find 100, then you are a real master of this game.

Games

It is essential for actors to cleverly use their bodies on stage and mime (a performance art involving the acting out of a story through body motions without use of speech) games are a very powerful way to improve your body language skills.

World famous games like Crocodile, Alias or Activity are aimed to teach you to use your body as a way of describing different objects, people or phrases to other people, so they can guess what it is.

These games are also so much fun to play even for those not interested in acting.

Mirror

How do children learn? They repeat what adults do! And repeating is one of the fastest and most effective ways of learning!

How can we enrich performance with different styles and extend the range of our speaking skills?

It’s very simple! Get a video of one of the speeches that you like and the style that you would like to adopt. Then, just try to say the same thing the way the speaker does. As soon as you like it the way you speak, turn to some other style and make sure to do this exercise at least 15 minutes at a time.

However, we advise you to take more than one speaker (four or five). By imitating one person, you are risking to become his/her “copycat”.

Take the best from every speaker, rethink it all – and create your own unique style.

Painting the Fence

This acting exercise is aimed at developing calisthenics of your hands. It is commonly used in theatres, where the members of the theater group all at once, or one by one, must do the following motions:

Paint an imaginary fence, as if their hand is a brush with paint

Touch an invisible wall (as if their palms and fingers are touching something);

Drag an invisible rope (for this exercise, the participants are divided into groups);

Row a boat.

Stroking an animal

This exercise should be done in a group, so take your friends and give everyone a sheet of paper with the list of animals in it (cat, elephant, hamster, dog and so on).

Each of the participants chooses an animal he/she likes and imagines holding and stoking it. The task of other participants is to guess which animal it is.

This exercise is often used in drama classes for beginners. (9)

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Unknown. (Unknown). 15 Games & Exercises to Improve Acting Skills (Taught In Drama Schools). Available: https://actinginlondon.co.uk/exercises-improve-acting-skills/. Last accessed 17th November 2020.

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Whether you’re brand new to acting or a seasoned vet, it’s crucial to the success of an actor that he or she keeps their skills sharp while also learning new techniques, methods, and approaches, and acting class is the perfect way to do just that. From beginner level courses that teach the basics to something more specialized—voice, movement, combat—there are an incredible amount of classes to choose from.

What kind of actor do I want to be? What kind of skills do I need to develop?

First things first: identify your needs. “Be honest about why you want to be an actor in the first place,” says Paul Barry, Backstage Expert and acting teacher. “Though you may claim it’s a pure artistic calling, if it’s really for fame, glamour, or to prove something to your parents, be honest about that. If you want to exorcise your demons—though acting may not be the most reliable therapy—it’s your life, your choice. Just be honest, because it will guide every decision you make.”

If you’re starting from scratch, figure out where you want to do the majority of your acting. Do you want to tread the boards? Work in front of a film camera? Musical theater? Comedy? Drama? Yes, there are general “acting” classes, but if you have an idea of what you want to focus on, that can help you choose the right class to help develop that particular set of skills. If you’re further along in your training, you may decide it’s time to tackle a facet of acting you’ve never considered before, or one that your agent recommends you add to your resume to expand the types of roles you can submit for.

Some of the most common types of classes—and ones every actor should consider at some point in their training—are:

Scene study + technique
According to Backstage Expert and acting coach Carolyn Berry, “Scene study primarily involves individual scenes or monologues from a play or film, which are assigned to the student actors. The instructor directs and teaches his/her approach using material as the vehicle. He/she might have some warm-ups or exercises, but the main focus of their instruction is the scene work.”

Auditioning
Though auditioning and performing go hand-in-hand, these classes focus on the former. Even if you’re a fantastic actor, if you’re not a good auditioner, that talent won’t ever be acknowledged. To help students nail their auditions, these classes teach script analysis, proper audition behaviour, monologue prep, and how to approach a casting panel.

On-camera (screen)
Unless otherwise specified, most classes focus on acting for the stage, which requires a very different approach than acting for the screen. An on-camera class teaches students the technicalities and nuances of acting for the medium, as well as knowing how to interact with and move for the camera, and voice level control.

Cold reading
Cold reading, the act of performing from a script or text with little-to-no rehearsal or practice, is one of the most important skills an actor can have (especially those who audition for commercials frequently). Cold reading classes teach the skills needed to quickly prepare a text—understanding the character and situation so you have more time to think about the performance, instead of interpreting the text.

Improv
As the name implies, these classes teach actors how to improvise, a crucial skill in this industry. “It is the best work for helping actors to build confidence, courage, creativity, and teaches them to trust their instincts,” says Barry. “Also, it’s helpful in teaching (anyone) to stay out of their head, listen, and respond honestly.”

Commercial
For actors interested in auditioning for commercials, this is an obvious necessity. Though they’re all filmed work, a commercial shoot is a very different experience than TV and movies—things move much faster and actors often have to improvise. Commercial classes can teach you what to expect and how to handle it.

Vocal
For anyone looking to pursue a career in musical theater, vocal classes teach actors how to properly use their voices and the technique necessary to not injure their vocal cords. That said, vocal classes can also be useful for non-singing actors, especially when it comes to handling emotional dialogue and sounds, such as shouting or screaming, without fatiguing or damaging the voice.

Body + movement
Whether it’s yoga, the Alexander Technique, or stage combat, movement classes are important when it comes to actors really knowing how to use their bodies. These types of classes will bring awareness to your limbs, how they move, and the space they take up.

What part of an acting class is most important to me?

The class you choose should obviously check off more than one box, but figuring out what one thing is an absolute non-negotiable will be helpful in narrowing down your choices. Want a class that ends in a showcase? Need a teacher who specializes in the Strasberg method? Only have so much money to spend? You get the idea. Here are the things to seriously consider in your search:

TECHNIQUE:

According to Backstage Experts and acting teachers Risa Bramon Garcia and Steve Braun, “Acting teachers are often guilty of desperately clinging to the validity of the technique they teach. When you stake your honor and your mortgage payments on one technique, you’re probably not going to be super objective about it. You may even talk smack about another technique in order to build yours up. But make no mistake. There is no one correct way to act. No technique can guarantee that you'll book work or be a brilliant actor. If a teacher tells you that her or his way is the only way, walk away lickety-split.”

That said, it’s important to know what you’re getting yourself into should you choose a class or teacher that focuses on one technique in particular. Below, you’ll find brief explanations of the most well-known acting techniques, courtesy of Jackie Apodaca, associate professor and the head of performance at Southern Oregon University, and actor KC Wright.

Stanislavski
Developed in the late 1800s and early 1900s, Stanislavki’s system advocates naturalistic behavior and believable emotions, placing an actor inside a character’s “magic if,” establishing motivation, and identifying objectives and obstacles. The technique evolved over the years, moving from personal memory-driven emotionality (“emotional memory” or “affective memory”) to more physical, active preparation (“method of physical actions”). Simply put, an actor who studies Stanislavski’s system searches for inner motives or experience to justify action and what the character seeks to achieve in a given moment.

Method
Inspired by but diverging from Stanislavsky, “Method acting” was created by Lee Strasberg, and encourages actors to magnify and intensify their connection to the material by creating their characters’ emotional experiences in their own lives.

Adler
Stella Adler studied under Stanislavski, and her “method” built on the work of Stanislavski and Strasberg. Adler’s technique differs from Strasberg’s in that it emphasizes imagination in addition to emotional recall. She famously said, “Drawing on the emotions I experienced—for example, when my mother died—to create a role is sick and schizophrenic. If that is acting, I don’t want to do it.”

Meisner
Meisner taught his students to “live truthfully under given imaginary circumstances.” His approach is an eminently practical one; his famous repetition exercise, in which two actors sit opposite each other and respond in the moment with a repeated phrase, breaks down overly structured technique and builds openness, flexibility, and listening skills.

Chekhov
Stanislavski’s star student, Chekhov pioneered a “psycho-physical” approach to acting, focusing on mind, body, and a conscious awareness of the senses.

Practical Aesthetics
This action-based acting technique was developed by playwright David Mamet and actor William H. Macy, and incorporates elements of Stanislavsky and Meisner. It involves a four-step scene analysis that simply focuses on pursuit of an action; actors are taught to focus on what is literally happening in the scene and what is desired of the other characters.

Hagen
Uta Hagen’s technique emphasizes realism and truth above all else; “substitution” (or “transference”) encourages actors to substitute their own experiences and emotional recollections for the given circumstances of a scene.

Theater Games
Viola Spolin’s unique “Theater Games” approach focuses on directorial and improvisational exercises, and teaches actors to live in the moment and respond quickly and truthfully to their present circumstances.

TEACHER:

Nothing will make or break a class faster than the teacher. Cathryn Hartt, Backstage Expert and acting coach, says, “First and foremost, you need someone you can trust so that you are willing to let go and move past your blocks. Everyone is different and you should consider that someone else might work for others but not you. It’s like falling in love. Sometimes there is no rhyme or reason—it just works. Find someone that fits. But find someone who will keep you moving out of your comfort zone.”

Does the teacher have experience as an actor?
It’s hard to teach acting without having experience as an actor. That said, “When you’re in class, your teacher should be a teacher, not an actor,” say Risa Bramon García and Steve Braun. “Yes, it is remarkably helpful if the person with whom you are studying is, or has been, a working actor. That practical, on-the-ground knowledge is invaluable. But when teachers are teaching they need to remove their acting hat. It cannot be about them: their ego, their skill, their career, whatever. You don’t pay a teacher to indulge. Teachers are there to train you. Nothing else. Anything that a teacher does in class should be in the interest of training you to be a better actor.”

Is the teacher interested in my learning/progress?
If not, this is a major red flag. Teachers who aren’t invested in the success of their students are likely only in it for the money. Similarly, any teacher who says he or she can make you a star is lying to you—no teacher can turn you into Meryl Streep. “A good teacher introduces you to exercises and a practice that allows you to discover your pre-existing talent and then express it in all its brilliant glory,” say Garcia and Braun. “You have the raw material and a good teacher helps you mine it and shape it.”

Is teacher reputation important?
You could take all the classes in the world, but if your resume is filled with training from unknown teachers, casting directors may not be confident that you have the training and skills they need. If they recognize your teacher, they likely know what kind of training you received and that confidence in the teacher can translate to confidence in you.

If you have an agent, ask for suggestions. Sometimes agents care about where you studied and who you studied with. If they have other clients who have had good experiences with a teacher, they’ll let you know.

Were you referred by another student?
A recommendation from a student who has already taken the class or studied with the teacher is a great way to really know what to expect. Ask for recommendations from actor friends who know and admire, or ask if a studio will connect you with another one of their students you can talk to.

Does the teacher have former/current students who are now successful actors?
An actor’s success isn’t based solely on his or her acting teacher, but when a teacher does have many working students, that’s a good sign. Be wary of teachers who constantly name-drop a-listers as former students—their focus should be on the “little people,” and helping them work up to that a-list status.

Are there reviews?
The internet is your best friend here. Search for reviews of specific teachers and studios, and pay attention to any themes that pop up frequently as possible pros and cons.

Will the teacher let you audit a class before committing?
Acting classes don’t come cheap, and many studios have pretty strict “no refund” policies. So before committing to a multi-week class with a hefty price tag, inquire about whether you can audit a class before committing. Sitting in on a class will give you a good sense of a teacher’s style, how the class works, and how students interact with one another. Listen to your gut here.

What kind of teaching style am I interested in/is conducive to my style of learning?
Teachers who are mean, verbally abusive, or constantly tearing down your work may think they’re doing you a favor by being harsh critics, but this will only lead to destroying your confidence and blocking your path to success. Find a teacher who can frame criticism in a constructive, helpful way, and one that you feel comfortable asking question, talking to, and soliciting feedback from. That said, any teacher who is too nice probably won’t help you grow, either. You’re wasting your money if your teacher isn’t pushing you to be better. According to Bramon and Garcia, “The type of profound progress needed to succeed as an actor is rarely achieved within one’s comfort zone. A teacher should take you to a place of discomfort and do it with nothing but deep care, respect, and your progress in mind.”

Will I be taught or directed?
There is a significant difference between being directed and being taught, so make sure the class you choose offers specific techniques you can do later on your own, or that help you translate a general direction into specific action.

Is the class so big that the teacher doesn’t even know my name? Will I be working with a scene partner?
According to Backstage Expert and acting coach Joseph Pearlman, classes should be small, like private coaching in a class setting, so you have the chance to get up and work every week on a new piece. “Do not join a class where you are forced to work with a scene partner,” he says. “When actors are required to partner up, it means the teachers can pack the class like sardines, What sucks about this imposed dynamic is the inevitability that your partner doesn’t take it seriously. Why should you be shit out of luck just because your partner wasn’t prepared?”

Will I act in every class?
This correlates directly to how large the class is. Paul Barry says to think about it this way: “Even ignoring the time required for quick changeovers between actors, or breaks to go to the bathroom or sit and absorb what you’re learning, a three-hour class of eight actors leaves a little over 20 minutes per actor each week. Twenty minutes to rehearse and perform a scene, make mistakes, receive notes, make adjustments, and (hopefully) reshoot. Now imagine how little time you’ll receive in a class of 12, 16, or 20 people….”

Is the class environment positive?
Similarly to the question regarding the teaching style that’s most conducive to your way of learning, the class environment should play a big role in your decision. If the teacher is mean or overly-critical, chances are the vibe in the room won’t be great, with students too scared to truly act and explore their potential. You want a class environment that will push you to grow and evolve as an actor.

How much will it cost?
There’s no way around the fact that acting classes are expensive, which is why making sure you’ve answered all the aforementioned questions is crucial. You don’t want to plunk down a chunk of change for a six-week class you don’t love with a teacher who isn’t actually doing anything for your craft. If you’re on a serious budget, consider taking a few less-expensive (potentially not as good) classes to get a sense of what works for you before committing to some more expensive.

But if you’re serious about a career in acting, you need to be serious about acquiring the tools you need to get there. An investment today could make all the difference in the future.

When is it time to find a new acting class?
Knowing when to walk away from an acting class is almost as important as choosing one in the first place. An acting class that’s no longer in line with your needs and that no longer serves you as an artist is a waste of time, money, and energy. Maybe you feel like you’ve learned all you can from a teacher, or the format of the class has changed and you no longer feel like you’re getting as much individualized attention...whatever the reason, there’s no point in dragging it out.

So how do you know when it’s time to try something new? According to Anthony Meindl of Anthony Meindl’s Acting Workshop, you should be in a class that’s “constantly challenging you.” Think of it like a workout: when the weight you’ve been lifting starts to feel easy, it’s time to add on. The same goes for acting class: When you start to feel safe and comfortable, find something new. You’ll never grow and evolve as an actor unless your classes are making you a little uncomfortable and pushing you to try new things. (10) (2017, Allie White)

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Allie White. (2017). How to Choose an Acting Class. Available: https://www.backstage.com/magazine/article/choose-acting-class-5715/. Last accessed 17th November 2020.

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(17) (2018, Ruth Bushi)

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Strengths and Weaknesses of Online Learning:

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Strengths and Weaknesses of Online Learning:

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Strengths of Online Learning

There are many reasons why online programs have become a popular form of distance learning in higher education today. The online environment offers unprecedented opportunities for people who would otherwise have limited access to education, as well as a new paradigm for educators in which dynamic courses of the highest quality can be developed. Here is a list of some of the major benefits of online programs:

Anywhere…

The main advantage of asynchronous online learning is that it allows students to participate in high quality learning situations when distance and schedule make on-ground learning difficult-to-impossible. Students can participate in classes from anywhere in the world, provided they have a computer and Internet connection. In addition, the online format allows physically challenged students (and teachers) more freedom to participate in class. Participants access the Virtual Classroom through their computers instead of having to “go to class” physically.

Anytime, Any Pace…

The Virtual Classroom is accessible 24 hours a day, seven days a week. Time efficiency is another strength brought by the online learning format. Asynchronous communication through online conferencing programs allows the professional juggling work, family, and study schedules to participate in class discussions. There is no question about doing the work; just do it at the times that are more convenient. Students can access their courses at any time of day or night. Further, they have continuous access to lectures, course materials, and class discussions. This is particularly convenient for those who may need to reread a lecture or take more time to reflect on some material before moving on.

Synergy

The online format allows a dynamic interaction between the instructor and students and among the students themselves. Resources and ideas are shared, and continuous synergy will be generated through the learning process. Each individual can contribute to the course discussions and comments on the work of others. The synergy that exists in the student-centered Virtual Classroom is one of the most unique and vital traits that the online learning format possesses.

High Quality Dialog

Within an online asynchronous discussion structure, the learner may reflect on comments from others before responding or moving on to the next item. This structure allows students time to articulate responses with much more depth and forethought than in a traditional face-to-face discussion situation where the participant must analyze the comment of another on the spot and formulate a response or otherwise lose the chance to contribute to the discussion.

Student Centered

Within an online discussion, the individual student responds to the course material (lectures and course books, for example) and to comments from other students. Students usually respond to those topics within the broader conversation that most clearly speak to their individual concerns. These situations result in smaller conversations taking place simultaneously within the group. While students should read all of their classmates’ contributions, they actively engage in only those parts of the dialog most relevant to their own interests. In this way, students control their own learning experience and tailor the class discussions to meet their own specific needs. Ideally, students make their own individual contributions to the course while at the same time taking away a unique mix of relevant information.

Level Playing Field

In the online environment, learners have a certain measure of anonymity. Discriminating factors such as age, dress, physical appearance, disabilities, race, and gender are largely absent. Instead, the focus of attention is clearly on the content of the discussion and the individual’s ability to respond and contribute thoughtfully and intelligently to the material at hand.

Access to Resources

It is easy to include distinguished guest experts or students from other institutions in an online class. Furthermore, today’s students have access to resources and materials that may be physically located anywhere in the world. An instructor can compile a resource section online with links to scholarly articles, institutions, and other materials relevant to the course topic for students to access for research, extension, or in depth analysis of course content material.

Creative Teaching

The literature of adult education supports the use of interactive learning environments as contributing to self-direction and critical thinking. Some educators have made great strides in applying these concepts to their on ground teaching. However, many classes still exist which are based on lectures and rote memorization of material. The nature of the semi-autonomous and self-directed world of the Virtual Classroom makes innovative and creative approaches to instruction even more important. In the online environment, the facilitator and student collaborate to create a dynamic learning experience. The realization of a shift in technology creates the hope that those who move into the new technology will also leave behind bad habits as they adopt this new paradigm of teaching. As educators transform their courses to take full advantage of the online format, they must reflect on their course objectives and teaching styles. Many of the qualities that make a successful online facilitator are also tremendously effective in the traditional classroom.

Weaknesses of Online Learning

While online programs have significant strengths and offer unprecedented accessibility to quality education, there are weaknesses inherent in the use of this medium that can pose potential threats to the success of any online program. These problems fall into six main categories:

1. Technology

Equity and Accessibility to Technology

Before any online program can hope to succeed, it must have students who are able to access the online learning environment. Lack of access, whether it be for economic or logistic reasons, will exclude otherwise eligible students from the course. This is a significant issue in rural and lower socioeconomic neighborhoods. Furthermore, speaking from an administrative point of view, if students cannot afford the technology the institution employs, they are lost as customers. As far as Internet accessibility is concerned, it is not universal, and in some areas of the United States and other countries, Internet access poses a significant cost to the user. Some users pay a fixed monthly rate for their Internet connection, while others are charged for the time they spend online. If the participants’ time online is limited by the amount of Internet access they can afford, then instruction and participation in the online program will not be equitable for all students in the course.

Computer Literacy

Both students and facilitators must possess a minimum level of computer knowledge in order to function successfully in an online environment. For example, they must be able to use a variety of search engines and be comfortable navigating on the World Wide Web, as well as be familiar with Newsgroups, FTP procedures, and email. If they do not possess these technology tools, they will not succeed in an online program; a student or faculty member who cannot function on the system will drag the entire program down.

Limitations of Technology

User friendly and reliable technology is critical to a successful online program. However, even the most sophisticated technology is not 100% reliable. Unfortunately, it is not a question of if the equipment used in an online program will fail, but when. When everything is running smoothly, technology is intended to be low profile and is used as a tool in the learning process. However, breakdowns can occur at any point along the system. For example, the server which hosts the program could crash and cut all participants off from the class; a participant may access the class through a networked computer which could go down; individual PCs can have numerous problems which could limit students’ access; finally, the Internet connection could fail, or the institution hosting the connection could become bogged down with users and either slow down or fail altogether. In situations like these, the technology is neither seamless nor reliable, and it can detract from the learning experience.

2. The Students

While an online method of education can be a highly effective alternative medium of education for the mature, self-disciplined student, it is an inappropriate learning environment for more dependent learners. Online asynchronous education gives students control over their learning experience and allows for flexibility of study schedules for non traditional students; however, this places a greater responsibility on the student. In order to successfully participate in an online program, students must be well organized, self-motivated, and possess a high degree of time management skills in order to keep up with the pace of the course. For these reasons, online education is not appropriate for younger students (i.e. elementary or secondary school age) and other students who are dependent learners and have difficulty assuming responsibilities required by the online paradigm.

3. The Facilitator

Lack of Essential Online Qualities

Successful on-ground instruction does not always translate to successful online instruction. If facilitators are not properly trained in online delivery and methodologies, the success of the online program will be compromised. An instructor must be able to communicate well in writing and in the language in which the course is offered. An online program will be weakened if its facilitators are not adequately prepared to function in the Virtual Classroom.

An online instructor must be able to compensate for lack of physical presence by creating a supportive environment in the Virtual Classroom where all students feel comfortable participating and especially where students know that their instructor is accessible. Failure to do this can alienate the class both from each other and from the instructor. However, even if a virtual professor is competent enough to create a comfortable virtual environment in which the class can operate, still the lack of physical presence at an institution can be a limitation for an online program. For the faculty as well as the participants, such things as being left out of meetings and other events that require on-site interaction could present a limiting factor in an online program.

4. The Administration and Faculty

Some environments are disruptive to the successful implementation of an online program. Administrators and/or faculty members who are uncomfortable with change and working with technology, or feel that online programs cannot offer quality education, often inhibit the process of implementation. These people represent a considerable weakness in an online program because they can inhibit its success.

Sometimes administration cannot see beyond the bottom line and look at online programs only as ways to increase revenues and are thus not committed to seeing online programs as a means of providing quality education to people who would otherwise not be able to access it. In such a case, an institution that is not aware of the importance of proper facilitator training, essential facilitator characteristics, and limitations of class size would not understand the impact that these elements can have on the success of an online program.

5. The Online Environment

Levels of Synergy

Online learning has its most promising potential in the high synergy represented by active dialog among the participants, one of the most important sources of learning in a Virtual Classroom. However, in larger classes (20 or more students), the synergy level starts to shift on the learning continuum until it eventually becomes independent study to accommodate the large class. At this point, dialog is limited as well as interaction among participants and the facilitator. The medium is not being used to its greatest potential.

What Should Not Be Taught Online

Even with recently generated excitement and enthusiasm for online programs, it is important to recognize that some subjects should not be taught online because the electronic medium does not permit the best method on instruction. Examples include: hands-on subjects such as public speaking, surgery, dental hygiene, and sports where physical movement and practice contribute to the achievement of the learning objectives. These subjects are probably best taught in a face-to-face traditional learning environment. Hybrid courses may represent a temporary solution to this problem, thus making that portion of the course more accessible to a greater number of people who would otherwise have difficulty getting to campus. However, solutions of that sort still underline the fact that online teaching cannot satisfy all educational needs and goals. Just because it may be technologically possible to simulate a physical learning experience, this does not necessarily mean that it is the best way to teach it.

6. The Curriculum

The curriculum of any online program must be carefully considered and developed in order to be successful. Many times, in an institution’s haste to develop distance education programs, the importance of the curriculum and the need for qualified professionals to develop it are overlooked. Curriculum and teaching methodology that are successful in on-ground instruction will not always translate to a successful online program where learning and instructional paradigms are quite different. Online curriculum must reflect the use of dialog among students (in the form of written communication) and group interaction and participation. Traditional classroom lectures have no place in a successful online program. Education of the highest quality can and will occur in an online program provided that the curriculum has been developed or converted to meet the needs of the online medium.

Today is a very exciting time for technology and education. Online programs offer technology-based instructional environments that expand learning opportunities and can provide top quality education through a variety of formats and modalities. With the special needs of adult learners who need or want to continue their education, online programs offer a convenient solution to conflicts with work, family, and study schedules. Institutions of higher education have found that online programs are essential in providing access to education for the populations they wish to serve. In order for an online program to be successful, the curriculum, the facilitator, the technology, and the students must be carefully considered and balanced in order to take full advantage of the strengths of this format and at the same time avoid pitfalls that could result from its weaknesses. (11)

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Unknown. (Unknown). Strengths and Weaknesses of Online Learning. Available: https://www.uis.edu/ion/resources/tutorials/online-education-overview/strengths-and-weaknesses/. Last accessed 13th November 2020.

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Coronavirus: 14 simple tips for better online teaching.

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Coronavirus: 14 simple tips for better online teaching.

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The past few days have seen increasing numbers of schools and universities across the world announce that they are moving to online-only learning. Hundreds of thousands of teachers are busy working to move their face-to-face lessons online. Designing online courses takes significant time and effort.

Right now, however, we need a simpler formula. Here are 14 quick tips to make online teaching better, from an expert in online learning.

1. Record your lectures – don’t stream them

If students are unwell or are struggling with internet access, they will miss a live streamed lecture. Record videos instead and send them to your students so that they can watch in their own time.

2. Show your face

Research has shown that lecture videos that show instructors’ faces are more effective than simple narrated slideshows. Intersperse your slides with video of yourself.

3. Keep videos short

Videos longer than 15 minutes can cause issues of slow downloading and learner distraction. If you have more to say, record two or three short videos.

4. Test out slides

Make sure you test slides on a smartphone before shooting your lectures so all text is readable on small screens. Font sizes, colours, template designs and screen ratios can be double-checked.

5. Use existing resources …

It is unrealistic to expect that you, on your own, will produce a semester’s worth of high quality videos. You can use pre-developed resources available online and provide students with clickable links.

6. … and make sure they’re open access

Using open resources helps prevent access problems for students. If any of your suggested resources are not accessible, you will receive an inbox full of student emails and eventually waste all your time troubleshooting. Spending a few extra minutes carefully searching for fully open access materials will save you a headache later.

7. Give specific instructions

When you suggest online media which runs for longer than 15 minutes, students will be put off watching. Instead, suggest the exact parts they need (eg 13:35 to 16:28) as this can even make students more curious. When you provide more than two resources, label them in the order you want students to approach them. Simple numbering, based on the level of difficulty or importance of each resource item, can be of great help for your students.

8. Provide interactive activities

Most learning management systems, such as Moodle, Edmodo and Blackboard, include a range of functions to create interactive learning activities such as quizzes. Step-by-step guides to creating them are widely available online. Use them.

9. Set reasonable expectations

When you create quizzes, you should make sure all questions can be answered by referring to the given learning resources. When you ask students to write a summary of lecture videos, you should make it clear that this is not a serious report. Making this as a mandatory assignment but a low-stakes task will produce the best outcomes and responses from students. A set of 15 quiz questions or a 300-word limit will be sufficient to engage students for 30 minutes.

10. Use auto-checking to measure attendance

If you tell students that their attendance will be measured by their participation in a quiz, it will increase compliance. However, you won’t have time to check them all, so use the automatic checking and grading features on the learning management systems.

11. Use group communication carefully

Group communication shouldn’t be used for direct teaching. Instead, set up “virtual office hours” on a video conferencing tool like Zoom. Simply log in at the appointed time and wait for students. Focus on providing social support and checking if any issues need to be addressed immediately. This can be a great way to collect student feedback on your online teaching as well. Make meetings optional and be relaxed. No need to be frustrated when no one shows up: students are still happy to know that this option is available.

12. Let students take control

You can set up online group spaces for small groups of students and ask them to support and consult with one another before sending emails to you directly. You can post a couple of questions to help students break the ice and start conversation. Encourage students to use the communication tools they prefer. Some groups will click well and some will not, but this little tip can make students feel socially supported and reduce your inbox traffic.

13. Don’t hide your feelings

Online teachers’ emotional openness is a great instructional strategy. Tell your students that it is your first time teaching online and you are learning while teaching. Explicitly ask them to help you, reassuring them that you will do your very best to support their learning as well. They will be sympathetic since they share the same emotions, and you will be set up for success.

14. Repeat

Online students do not like frequent changes in their learning style. They are happy to repeat the same structure and activities. Once you find a teaching style working for you, feel free to repeat it each week until you are back in your classroom. (12) (2020, Kyungmee Lee)

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Kyungmee Lee. (2020). Coronavirus: 14 simple tips for better online teaching. Available: https://theconversation.com/coronavirus-14-simple-tips-for-better-online-teaching-133573. Last accessed 14th November 2020.

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(17) (2018, Ruth Bushi)

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(17) (2018, Ruth Bushi)

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(17) (2018, Ruth Bushi)

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Virtual Learning Survey - Teacher Response (1)

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Within the performing arts industry especially and teaching in general right now, using resources such as Zoom and Teams is a popular trend. Due to the COVID-19 circumstances and restrictions, a lot of teaching has been moved online to ensure the safety of both students and staffs and through the delivery of classes via these networks, classes are still able to occur and those participating are advancing their technical knowledge and skills. We are following this trend closely by hosting online workshops (as well as those in person) as a company.

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P.E.W - Online (Teams) Workshop: Characterization.

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P.E.W - Online (Teams) Workshop: Characterization.

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P.E.W - Online (Teams) Workshop: Characterization.

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Universities UK (2018). PATTERNS AND TRENDS IN UK HIGHER EDUCATION 2018. London: Universities UK. p13.

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Universities UK (2018). PATTERNS AND TRENDS IN UK HIGHER EDUCATION 2018. London: Universities UK. p19.

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Universities UK (2018). PATTERNS AND TRENDS IN UK HIGHER EDUCATION 2018. London: Universities UK. p20.

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Unknown. (Unknown). Common Issues for College Students.. Available: https://ab.edu/counseling-services/common-issues-for-college-students/. Last accessed 20th November 2020.

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Ruth Bushi. (2018). Student Money Survey 2018 – Results. Available: https://www.savethestudent.org/money/student-money-survey-2018.html#earn. Last accessed 20th November 2020.

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Mulligan, Raymond A. “Social Characteristics of College Students.” American Sociological Review, vol. 18, no. 3, 1953, pp. 305–310. JSTOR, www.jstor.org/stable/2087885. Accessed 20 Nov. 2020

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Fruiht, Veronica M. Supportive Others in the Lives of College Students and Their Rele-

vance to Hope. Journal of College Student Retention, 2015, 17 (May) pp. 64–87. https://doi.org/10.1177/1521025115571104.

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Mandracchia, J. T., & Pendleton, S. Understanding College Students’ Problems: Dysfunctional Thinking, Mental Health, and Maladaptive Behavior. Journal of College Student Retention, 2015, 17 (August) pp. 226–242. https://doi.org/10.1177/1521025115578235.

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Zorotovich, J., Johnso, E. I., & Linn, R. Subjective Social Status and Positive Indicators of Well-Being Among Emerging Adult College Students. College Student Journal, 2016, 50

(Winter) pp. 624–635.

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Rubin, M., & Wright, C. L. Age Differences Explain Social Class Differences in Students’

Friendship at University: Implications for Transition and Retention. Higher Education, 2015, 70 (September) pp. 427–439. https://doi.org/10.1007/s10734-014-9844-8.

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Mayhew, Matthew J., et al. Take It Personally: Incorporating Personality Traits as Input Covariates in College Impact Research. Journal of College Student Development, 2016, 57

(October) pp. 880–885. https://doi.org/10.1353/csd.2016.0084.

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Jensen, D. H., & Jetten, J. The Importance of Developing Students’ Academic and Professional Identities in Higher Education. Journal of College Student Development, 2016, 57 (November) pp. 1027–1042. https://doi.org/10.1353/csd.2016.0097.

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Tosevski, Dusica L; Milovancevic, Milica P; Gajic, Saveta D. Personality and psychopathology of university students, Current Opinion in Psychiatry: January 2010 - Volume 23 - Issue 1 - p 48-52 doi: 10.1097/YCO.0b013e328333d625

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Social Characteristics of College Students:

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Social Characteristics of College Students:

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The culture theory of class conceives of social classes as selected cultural groupings, which give to their members a similar stock of ideas, values, feelings, attitudes, and forms of behavior. It recognizes the fact that people live, work, play, and think on different class levels. The differences between classes are not merely financial or external planes of living, but they encompass the entire range of social behavior: occupation, vocation, manner of speaking, social and sexual attitudes, musical and literary tastes, and philosophy of life. According to this theory, the culture of the lower classes obstructs the educational develop- ment of their children. The home background tends to make them critical of, or unsympathetic to, the idea of education and emphasizes the importance of going to work and contributing to the family's income at an early age. Immedi- ate financial returns are given priority over present sacrifices for possible future gains. The culture of these classes determines to a con- siderable degree definitions that are unfavorable for a higher education.' Nevertheless, a certain proportion of the children from the lower classes reaches college.2 These socially mobile students have neither acquiesced in their class status nor accepted unfavorable definitions of a higher education. They have at least one thing in common with students from the other social classes in being enrolled in institutions of higher learning. If college students from the lower socio- economic groups are atypical in their behavior, according to the culture theory of class, by attending institutions of higher learning, one wonders if they might not also deviate from their socio-economic group norm in other social characteristics.

For example, do college students from the lower socio-economic groups come from the same size families as students from the upper socio-economic groups, and do they have similar religious backgrounds? McConnell 3 reports that lower class husbands have less education than their wives, and upper class husbands have more education than their wives  (18) (1953, Mulligan, Raymond)

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In psychology or human development courses at two public universities and two community

colleges, 181 students completed a measure of hope and listed the primary people from whom they received support and the types of support they received. The results revealed that 87.6 percent nominated a supportive other. The students most frequently identified a

parent as their primary source of support; only 17 percent of the students chose someone

from campus. No difference was found between the community college and the four-year

students in the types of people identified as sources of support. Higher percentages of the

students reported non-academic forms of support, such as emotional, financial, and goal-setting support.

Hierarchical linear regression analysis demonstrated that the students who received more support also had higher levels of hope. - Department of Psychology,

University of Wisconsin, Whitewater. (19)

In undergraduate psychology courses at a large south eastern university, 277 undergraduate

students between the ages of 17 and 30 completed the Measure of Criminogenic Thinking Styles (MOCTS), the Texas Christian University Criminal Thinking Scale, and the Depression Anxiety Stress Scale. The findings showed significant relationships between criminogenic thinking and both negative affect and maladaptive behaviour. Whereas the more

generalized conception of criminogenic thinking measured by the MOCTS predicted both

negative affect and irresponsible behaviour, the CTS had an inverse relationship with negative affect. The Cognitive Immaturity subscale of MOCTS positively predicted depression, anxiety, stress, and recent engagement in irresponsible behaviour. Conversely, the Criminal

Rationalization subscale of the CTS predicted less anxiety and stress, while the Power Orientation subscale predicted higher levels of stress.

These findings suggest that college counsellors who work with students experiencing emotional difficulties may achieve positive results by focusing on the students’ patterns of immature thinking, such as overgeneralizing, labelling, excessive emotionalism, and personalizing. - Department of Psychology,

University of Southern Mississippi. (20)

In a study of whether subjective social status is related to life satisfaction and happiness,

383 college students between 18 and 24 years of age completed measures of life satisfaction,

subjective happiness, perceived social status, and parental education and income. Regression analysis revealed that both perceived family social status and individual social status, but not parental education, were significantly and positively related to life satisfaction and

subjective happiness. College counsellors should be aware that, for college students, seeing

their families and themselves as higher in society’s hierarchy is a source of satisfaction and

happiness. - Georgia Southern University. (21) (2016, Zorotovich, J., Johnso, E., I., &Linn, R.)

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Student Characteristics Study - Background:

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Student Characteristics Study - Background:

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At an Australian university, 376 first-year undergraduate students responded to an online survey asking about their social-class origins, age, and quality and quantity of actual and desired friendships at the university. Compared to the middle-class students, the working-class students reported fewer identity-relevant friends and were less worried about and open to making friends. This difference between the working-class and the

middle-class students resulted, in large part, from the fact that the working-class students tended to be older. - School of Psychology, University of Newcastle, Australia. (22) (2015, Rubin, M., Wright, C. L)

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Student Characteristics Study - Personality:

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Student Characteristics Study - Personality:

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Three samples of postsecondary students (3700 seniors enrolled in a variety of majors at research universities in the U.S., 375 undergraduate business majors in the U.S., and 211 German students tested and tracked into a five-year business program) completed the Ten Item Personality Measure and a measure of their intent to innovate. On the latter instrument, the students rated their effectiveness in identifying new opportunities, developing a strategy to take advantage of new opportunities, acquiring the resources needed to pursue new opportunities, and creating an entity to take advantage of new opportunities. Regression analysis revealed that the personality measure accounted for 13 percent of the variance in intent to innovate for the seniors, 6 percent of the variance for the business majors, and 23 percent of the variance for the German sample. These findings support the use of personality as a

covariate in the study of college impact. - Educational Administration, Ohio State University. (23) (2016, Mayhew, Matthew J)

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Student Characteristics Study - Student Development:

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Student Characteristics Study - Student Development:

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A qualitative study with 26 Danish and 11 Australian university students explored the role of professional identity (as opposed to academic identity) in students’ academic achievement. Five themes emerged from the interviews: (1) the parallel development of identity supported by learning and motivation; (2) the process of identity transition upon entering higher education; (3) fear of not developing a professional identity; (4) the affective consequences of lacking a professional identity; and (5) educators’ influence on students’. (24) (2016, Jensen, D. H., & Jetten, J)

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Personality and psychopathology of university students:

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Personality and psychopathology of university students:

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University students represent a specific population with concerns, burdens and worries that differ from other age and occupation groups. Experiences of students, although often exciting, invigorating and empowering, can also be stressful, anxiety producing and may trigger various forms of psychopathology. Students face multiple stressors such as academic overload, constant pressure to succeed, competition with peers, lack of leisure time and less time to spend with their families. Moreover, they are concerned about the future and in some parts of the world have serious financial problems.

Therefore, various forms of psychopathology are more frequently present among them than in other populations.

The health of university students has been the subject of increasing focus in recent years. Studies confirm that multiple protective and risk factors are involved in the psychological well being and distress of university students. As they belong to a vulnerable age group, students frequently come to college with already existing mental health problems. These problems can become overt at different times in their studies, sometimes during transition from undergraduate to graduate programs, or even upon graduation.

Students are regarded as the national capital and the top investment for the future. However, in the contemporary demanding and globalized world, they are no longer protected by their original mission of studying. Therefore, university education should provide a good atmosphere, cultivating a healthy personality in students and mental health promotion activities.

Numerous studies confirm that differences among individuals are influenced by various factors such as past and present life experiences, personal and professional environment as well as the ability to cope with life stressors. In relation to university students, it has been shown that their personality is affected by the economic, political, traditional and cultural background, as well as by the objective and subjective inner forces within any student as an individual.

The question is why the university students' personality is an important issue. We believe that personality is a key factor in both vulnerability and resilience. The fact is that many students are not successful. There is no doubt that, among many variables such as social, institutional and university background, psychological features are an important factor influencing their academic achievement. Furthermore, we assume that analysis of students' personality is pertinent, particularly in understanding their selection of the academic majors. Some authors advocate that personality traits of university students should be professionally assessed at the beginning of their academic studies and used for proper guidance throughout the academic years, and for counselling, if necessary, during this sensitive period. Personality types of university students contribute to interindividual differences and a mismatch between personality and career choice may take place. Therefore, a better understanding of the personality profile can help in better academic and career choice as well as in prevention of mental health problems in the future.

Mental health affects the level of personal development and any knowledge that helps psychological adjustment to university life could promote personal qualities in university students. It has been shown that neurotic students have a tendency to dislike oral examinations, whereas extroverts and agreeable individuals would be more likely to prefer them. However, other authors have reported that, regardless of their personality, students generally express dislike for oral examinations and prefer continuous assessment, the more so if they are emotionally stable.

It is well known that personality traits and characteristics of coping styles are closely correlated. In the light of the multiple stressors that students face, the question of coping styles and defence mechanisms influencing psychological health is particularly important. It has been shown that the majority of students employ rational coping styles such as problem solving, help seeking, rationalization and the use of cognitive coping skills even in the face of pressure or difficulty. Extroversion has a direct positive effect on mature coping styles, which has been directly related to comparatively good mental health. Exploring the relationship between emotions and thinking styles among university students, Zhang,  found a strong and positive correlation.

Intellectual styles as the preferred ways of processing information and dealing with tasks have a special importance for university students because they influence their academic achievement. It has been shown that legislative, hierarchical, global and liberal thinking styles, which are more creativity generating, positively contributed to students' psychosocial development, including their sense of purpose.

Mental health problems can have a profound impact on university students' functioning. At the individual level, they can affect all aspects of physical, emotional, cognitive and interpersonal functioning. They also have a negative impact on the academic performance – students with higher levels of psychological distress have higher test anxiety and lower self-efficacy. Furthermore, students with mental health problems influence many other people on campuses, including roommates, classmates, faculty members and staff.

It has been shown that students with a high degree of consciousness, public or private, have a higher tendency toward social phobia. When the public self-consciousness is too high, the difficulty in interpersonal relationships may emerge and self-esteem may decrease, leading to various mental health problems.

Some personality traits might predict psychopathology in the student population. The personality trait of shyness, for example, either alone or in combination with varying levels of sociability, has been recognized as a reliable predictor of various forms of psychopathology, including substance abuse and mood disorders. On the other hand, perfectionism, a common trait among students with high grades, might predict anxiety symptoms, whereas the accompanying loneliness adds to the incremental validity to predict depression and anxiety symptoms.

It has been widely accepted that hopelessness is the most important risk factor for suicide, but, as a marker of pessimism, it is also related to a wide range of psychopathologies. Spirituality, on the other hand, has been negatively correlated with hopelessness and positively correlated with preference for group counselling modalities.

After the Virginia Tech tragedy, when on 16 April 2007 one student murdered 32 fellow students and faculty members, eventually committing suicide, psychopathology among students became a burning issue. Such tragedies are highly complex and linked to many causal factors. It is a fact that aggression is on the rise in the modern world and that it has become a global phenomenon. The age of the student population is the age of reason, but it can also trigger the manifestation of severe personality disorders and severe mental disorders.

Mild, moderate and severe levels of stress and even burnout have been documented in university students. Family and interpersonal problems, ‘Monday morning examinations’, outside class assignments and financial concerns were identified as the most common stress triggers. Living in areas of conflict, many students worldwide experience serious traumas and develop posttraumatic stress disorder.

It has been shown that learning disabilities, self-injury incidents, eating disorders, alcohol problems, illicit drug use and sexual assaults within campuses represent the most common psychological problems among university students. About 15–20% students feel impaired by examinations. As a result of test-related anxiety, a whole spectrum of problems can occur, such as delay and dropout from studying, and even suicidal behaviour. Test anxiety may be caused by avoidant personality traits and a tendency to procrastination, but also by some severe mental health problems.

Students could be at risk for illicit substance use because of the social climate of university life such as peer pressure, change in life structure and reduced parental supervision. Cannabis and amphetamine use are most common, with a prevalence of cannabis use of 5.9–7.7% and its lifetime use of 40–49%. Although it is accepted that most students drink for social reasons, the underlying psychological problems should not be neglected. It has been shown that, among students admitted to health services for alcohol intoxication, nearly one-third had previously been seen in mental health units and many of them had symptoms of anxiety or depression prior to their most recent drinking episode.

It is widely accepted that deliberate self-harm is yet another major problem among young people and it has been identified as one of the key mental health problems affecting students. A high correlation was found between self-harm and depressed mood, difficulties of sexual identity, alcohol and illicit drug use. Students with problems in academic life, in family relationships, in anger expression, and with interpersonal insensitivity, introversion and loneliness are at higher risk of suicide.

It is well known that age and sex are factors strongly contributing to the onset of eating disorders, whereas the ‘studying stage’ represents the stage of vulnerability along a developmental continuum. As for the specific forms of behavioural patterns, it has been found that self-esteem represents the most important factor predicting the drive for thinness and body dissatisfaction of female graduate students. Of course, the idealization of beauty and eternal youth in the mass media should not be neglected either.

Attention deficit hyperactivity disorder (ADHD) might be a risk factor for poor adjustment in adult life, irrespective of the presence of full symptoms in adulthood. This disorder is closely related to the satisfaction of students with their life.

It seems that the education process of the health professions brings a considerable amount of stress (academic overload, working with cadavers, constant pressure of maintaining good grades, etc.). The psychological distress was significantly greater in the sample consisting of medical students – 76% of medical students scored above the threshold in terms of psychological distress compared with their peers. There is a tendency of medical students to diagnose themselves with diseases they are studying – ‘medical school syndrome’, also called ‘medical students’ disease’ or ‘medical studentitis'. It seems that the exposure to specific knowledge provides a framework for identifying previously neglected bodily feelings, which, in addition to the existing stress, may cause various somatic sensations, especially in narcissistic and passive–aggressive individuals. The imagined health problems can cause anxiety, influencing students' mental health in general.

Within the majority of universities, there are counselling centres with the primary aim of assisting students to define and accomplish their personal, academic and career goals. When students receive help for their psychological problems, it can have a positive impact on their personal well being and academic success.

The most common strategies that students use to cope with stress are exercising, spending time with family and friends, watching TV and drinking alcohol. It has been found that maintaining the quality and quantity of sleep is important for mental health, especially for female students, because sleep fluctuates throughout their menstrual cycle. Furthermore, the role of physical activity cannot be underestimated as a moderator of the health–illness relationship. Student athletes had significantly higher levels of self-esteem and social connectedness, as well as lower levels of depression, than nonathletes.

It is important to promote coping with stigma, because it can be one of the reasons for avoiding help seeking when mental health problems appear. It was shown that perceived stigma was higher among male, younger and more religious students as well as those coming from poor families.

Mental health professionals, particularly those working at universities, should help new students to enrol into programs that are congruent with their personalities in order to adjust academically and to have proper performance results. University administration should make an effort to alleviate stress by actions such as elimination of Monday morning examinations, expanding wireless Internet, increasing teaching by the experienced professors, improving gym facilities and so on. Some medical schools, trying to improve their students' mental and emotional well being, adopt strategies intended to lessen potentially traumatic stressors, such as encouraging students to record their emotional responses in curriculum journals.

The psychoeducation groups can be helpful to students who have difficulties in controlling and expressing anger by working on anger management and expression skills. Teaching self-esteem skills is also important because it is well known that self-esteem is central to sound mental health and prevention of various mental disorders. Furthermore, peer education is one of the most effective ways to promote mental health and prevent problems. A better student–instructor relationship was a significant contributor to school completion, especially for at-risk students. A good relationship with teachers encourages autonomy, clarifies the role expectations and helps in more engaged academic work and students' self-determination which contributes to psychological well being. Involvement of students in academic activities induces positive psychological state, physical resource, resilience and stress coping strategies.

Promoting healthy lifestyles and creating youth friendly services within campuses or universities, with special emphasis on mental health issues, along with promoting peer education and peer counselling are productive and effective means to improve students' involvement, learning and achievement. The students' environment can also be helpful in reducing sources of stress. This should include redesigning courses and timetables, particularly for the freshmen, providing more structure and direct support for the development of academic skills. Developing a more supportive learning environment in which seeking support for academic difficulties is seen as ‘normal’ is important as well as continuous online guidance for students and staff.  Further research aimed at understanding the role of personality in the development of burnout syndrome in students would help to detect those with mental health problems prior to matriculation and target interventions toward those at highest risk.

There is a need for institutional policy and national programs for mental health promotion of university students in order to prevent mental health disorders, which are frequent at this vulnerable age when a pursuit of identity is typical but when people are also burdened with a plethora of problems. Students need access to more immediate and accessible forms of information and support as well as a continuous partnership with and support from the academic staff.

University students often experience stress that can have adverse emotional, academic and health outcomes. Their personality characteristics are closely correlated to coping styles to overcome everyday life challenges. The development of successful coping behaviours is likely to reduce stress and enables students to solve problems, while maintaining psychological balance and well being. Counselling services at universities need to address problems of students' mental health and conduct active outreach campaigns. University students are jewels and the future of each nation, but they are also a vulnerable population prone to development of psychopathology. Therefore, not only mental health professionals but also society as a whole should implement pertinent programs of mental health promotion and care. (25) (2010, Tosevski, Dusica L; Milovancevic, Milica P; Gajic, Saveta D)

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What do students usually like to do after class?

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What do students usually like to do after class?

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(From my own knowledge and enjoyment of a student, as well as accounting for my peers).

- Social events such as being within nightclubs, pubs, parties
- Studying
- Practicing on a musical instrument
- Attending pathway specific class (dancing, acting etc.)
- Go to the gym
- Watch films
- Shopping
- Hobbies such as make-up application, sports etc.
- Explore/Travel

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Report summary: Social Class and Higher Education - issues affecting decisions on participation by lower social class groups.

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Report summary: Social Class and Higher Education - issues affecting decisions on participation by lower social class groups.

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This summary was published as the Department for Education and Employment’s Research Brief No.267.

Key findings

A number of issues affect the decision to enter HE study.

The main motivating factor, which encourages potential students from lower social class backgrounds to enter HE, is a belief that a higher qualification will bring improved job and career prospects, and also improved earnings and job security.

Students from lower social class backgrounds take account of a wider range of issues than their counterparts in higher social class groups when taking the decision to enter HE, and they tend to place more emphasis on the expected beneficial outcomes of HE than do students from higher social class groups.

The primary discouraging factors mentioned by the research respondents focus on employment and financial issues. The main reasons why people from lower social class groups interviewed in the research had decided against going into HE study, though qualified to get a place, were twofold: they either wanted to start employment, earn money and be independent at an earlier age (39 per cent) or they were worried about the cost of studying (28 per cent).

Concerns about the costs of study were expressed by both potential and current HE students from lower social class groups, but the majority felt that the investment was worthwhile in the long run. However, finance was just one of a range of issues of concern expressed by respondents when discussing their decisions to enter HE. Others included being able to cope with academic pressures and workload, gaining the entry qualifications, the application process itself, and personal issues such as childcare.

Many respondents felt that there was a need for more relevant and timely information concerning HE, particularly concerning student finances.

Background

Despite a major expansion in student numbers, which has enabled more people from wider backgrounds to take higher education (HE) qualifications, students from lower social class backgrounds continue to be under represented. Fewer than one in five young people from the lower social class groups (IIIm, IV and V) participate in HE, and although this proportion has been increasing, it remains well below the 45 per cent who participate from the higher social class groups (IIIn, II and I), a figure which has also been increasing rapidly over the years. Lower social class groups represent 28 per cent of the total entrants to full-time undergraduate study, a lower share than their 39 per cent in the UK population as a whole. In particular institutions and subjects, the proportion of HE students from lower social class groups can range from as low as 10 per cent to above 40 per cent.

The main reasons for the differences in participation rates by social class groups have been shown by previous research to relate to educational factors and family backgrounds, and also perceptions about costs involved and benefits of HE study. In late 1999, the Department for Education and Employment (DfEE) commissioned a research study by the Institute for Employment Studies (IES) to explore in more detail factors influencing decisions about participation in undergraduate study by people from lower social class backgrounds. This focused on groups of people who were taking, or had recently taken, decisions about whether or not to go to university, thus providing an up-to-date perspective on participation issues.

Findings

The research has shown how a great many issues can affect decisions to go on to HE study, and that there is no one overriding factor of influence for students from lower social class backgrounds (IIIm-V). However, they tend to take account of a wider range of issues than their higher social class counterparts (I-IIIn). These are:

Encouraging factors

The main encouraging factor is a belief that a higher qualification will bring improved job and career prospects, and also improved earnings and job security. But only a minority of the research respondents had a particular job or career goal in mind when deciding about HE entry, mostly seeing it as helping them to get a better job — ‘a means to an end rather than the end itself’.

Students from lower social class backgrounds tend to put more emphasis on expected beneficial outcomes of HE than do students from higher social class groups. These are also of more importance to certain groups, including those with vocational entry qualifications, some minority ethnic groups and older students.

Other factors encouraging entry to HE are a desire for self-improvement in general, and personal interest in a subject of study.

Discouraging factors

The main discouraging factors also focus on employment and financial issues. The main reasons why people from lower social class groups interviewed in the research had decided against going on to HE study, though qualified to get a place, were twofold. They either wanted to start employment, earn money and be independent at an earlier age, or they had a career or job goal in mind which did not require a degree qualification.

Affording the cost of studying and being in debt were also key reasons for not going to university. These were concerns too of current students and likely entrants (though the majority of them felt that the investment was worthwhile in the long run). Concerns about costs were wider and more complex than simply about paying fees. They were linked in to other financial concerns about borrowing and future debt, working to earn income during term-time, and not knowing enough about likely costs and income sources, but also about likely future financial outcomes of HE study.

Working during term time was seen as necessary but not welcomed, because of its likely detrimental effect on their studies. Around half of full-time students from lower social class backgrounds in the survey were currently working in term time, and this was only slightly higher than their higher social class counterparts. On average, students were working 13 to 14 hours per week.

Finance is one of a number of concerns when deciding about going to university. Others include being able to cope with academic pressures and workload; gaining the entry qualifications; the application process itself; and, for some students, personal issues such as arranging childcare. On the whole, students from lower social class groups in the survey appeared to have lower levels of confidence about their ability to succeed in HE and in taking career decisions, than did those from higher social class groups.

Influencers

Prior education and family background can influence decisions about HE entry in numerous ways. Various people have important roles to play in the decision process. In particular for lower social class potential entrants, FE college tutors could be a key group of positive ‘influencers’ on potential students, as were friends and family members with current/recent HE experience.

Information

Although plenty of information about HE seems to be available to potential entrants who are on HE qualifying courses, it is often seen as being too general and overly complex. The main gaps in information content are on the financial aspects of HE study (see below) and its likely benefits in terms of employment and financial returns.

There is a wide variation in the amount and detail of information on HE costs and funding/support that is received by potential students prior to entry. Three-quarters of the full-time students in the survey, and slightly more from lower social class backgrounds, did not feel that they had sufficient information (when deciding about going to university) about how much it was likely to cost to be a student.

Choice of institution and course

Institutions are chosen by lower social class students mainly for reasons related to both cost (mostly to do with living away/staying close to home) and personal interest in specific subjects or courses offered by them. HND and part-time courses were seen as less attractive options than degrees and full-time study.

Part-time students

Part-time students differed in many respects from their full-time counterparts in the survey, being considerably older on average, more likely to have entered with vocational or non-‘A’ level qualifications, and more likely to be taking HND than degree courses. The survey showed that:

Future employment and career-related reasons were of more importance to part-time than full-time students as factors encouraging HE entry, as were the perceived overall benefits from their investment in education.

Part-time students were more concerned about academic and financial issues, had less parental support and had more family commitments (mainly because they were older). They were more likely to rely on personal savings and earnings while studying than full-time students.

On the whole, part-time students had even less information pre-entry on the financial aspects of HE than full-time students did.

Policy Implications

The research findings suggest a number of policy implications:

The benefits of HE study should be better and more widely communicated. In particular, outcomes associated with improved employability and finance need to be given more prominence, though it is recognised that this is an area of variability across the student body, especially in the first years after graduation. For example, colleges and schools could make better use of past students’ achievements and progress through HE. This is relevant for young students, especially in pre-16 education, and also for mature students.

Mentors or ‘HE champions’ should be more widely used to help those potential students who have little contact with people who have recent HE experience. These could be former school/college students, recent graduates, or teaching/ careers staff. Current students from a wide range of backgrounds could be encouraged to visit schools and colleges in low participation neighbourhoods to discuss with potential students their hopes and fears, and explore how they can be addressed. Examples of current good practice of the use of mentors or ‘champions’ should be more widely disseminated.

More relevant and timely information on student finance is needed, as well as greater financial assistance made more accessible to those students in greatest need. Affording the costs of HE, while not by itself the single prohibitive factor, is a discouragement. The research clearly shows that more needs to be done to support potential students from low income families. In particular, they could be helped by better guidance on the financial support available and the likely net costs of different options for them, according to their different circumstances. This information should be presented in a more user-friendly way and available earlier in the decision-making process.

Research Methodology

The research was not intended to be a comprehensive survey of barriers and motivations to enter higher education, but was focused on three target groups of respondents:

Potential entrants from lower social class backgrounds, currently taking qualifications that would give them entry to an undergraduate course in 2000 or 2001. A sample of 223 students took part in focus groups at 20 colleges and schools.

Current students from lower social class backgrounds, plus a sample from higher social classes (for comparative purposes). A sample of just over 1,600 students at 14 institutions in England and Wales, who were entrants to undergraduate courses in 1999/2000, responded to a postal questionnaire survey (41 per cent response rate), and a further 20 of them took part in follow-up interviews.

Non-HE entrants from lower social class groups, aged 20/21 years. These were identified as being qualified to enter HE but had decided not to do so, and interviewed by telephone (112 in sample).

The survey analysis used a social class measure based on parental occupation of individuals (or their own if over 25 years old). These were grouped into the standard five classifications. The term ‘lower social class groups’ was used for Groups IIIm, IV and V — covering skilled manual, partly skilled and unskilled occupations. ‘Higher social class groups’ referred to Groups I, II and IIIn — professional, intermediate and skilled manual.

The study covered England and Wales, and included full-time and part-time study at undergraduate level in HE (degree, HND and DipHE courses). The fieldwork took place between March and June 2000. (26)

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Unknown. (Unknown). Report summary: Social Class and Higher Education - issues affecting decisions on participation by lower social class groups This summary was published as the Depart. Available: https://www.employment-studies.co.uk/report-summaries/report-summary-social-class-and-higher-education-issues-affecting-decisions. Last accessed 20th November 2020.

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Attitude  can alter every aspect of a person's life, including their education. Student attitudes on learning determine their ability and willingness to learn. If negative attitudes are not altered, a student is unlikely to continue his education beyond what is required. Changing students' negative attitudes towards learning is a process that involves determining the factors driving the attitude and using this information to bring about change.

Features
How do educators determine student attitudes on learning? The answer is simple: they ask them When children lack motivation, they fail to grasp the material. The response is often anger, rebellion and even physical symptoms such as anxiousness and illness. Students at this age level seem to desire a positive attitude and the motivation to learn.

Function
Once educators uncover student attitudes on learning, the challenge is using this information to shape a positive attitude. Adult students can see the future results of their learning, such as a better job and more money. Elementary students, however, are too young to see the big picture. To them, the need for drive and reward is instant. At the least, students must want to learn, be receptive and participate in the learning process to ultimately experience satisfaction from learning. A positive learning attitude requires motivation and gratification; the timing of those variables depends on the age of the student.

Effects
Student attitudes on learning, good or bad, affect their outlook toward learning throughout life. Their attitude towards learning affected not only their amount of education but their desire for education.

Benefits
Two teaching methods, Direct Teaching and Cooperative Learning, offer examples of how students are either motivated or discouraged by the teaching method.
Direct Teaching is used to instil facts and master basic skills. The instructor outlines what will be taught, teaches the material and reiterates what is learned. This form of teaching, however, can discourage creativity and participation as part of the learning process.
In contrast, the Cooperative Learning method involves teams of students working together to complete projects. However, while conducive to the over-achieving and take-charge student, it can intimidate the shy, introverted student.

Considerations
Attitude is a learned behaviour and, as such, is highly susceptible to change. The Behavioural Theory requires "positive reinforcement" or reward for good behaviour. This theory is consistent with the attitudes toward learning, especially at an elementary level. Krathwohl's Taxonomy theory states that a learning attitude is developed over time, and that past learning experiences affect future learning experiences. This is evident in adult students considering returning to school to further their education. (27) (2016, Unknown)

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Unknown. (2016). About Student Attitudes on Learning. Available: https://education.gov.gy/web/index.php/teachers/tips-for-teaching/item/2192-about-student-attitudes-on-learning#:~:text=Attitude%20can%20alter%20every%20aspect,education%20beyond%20what%20is%20require. Last accessed 20th November 2020.

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(From my own knowledge as a student, as well as accounting for my peers).

- Commitment to studies
- Setting an attainable routine
- Focusing on personal development
- Determination
- Creating goals
- Forming relationships
- Aspire to achieve their best
- Strive for perfection

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First ever report into effect of students’ religion and belief published by Advance HE:

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First ever report into effect of students’ religion and belief published by Advance HE:

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Advance HE has published a new report looking at the differences in student outcomes by their religion or belief, with a focus on attainment.
Religion and Belief in UK Higher Education is the first of its kind to examine how student outcomes may differ according to religion and belief.

Religion and belief became one of nine protected characteristics in the Equality Act 2010, yet there has been little research done into the impact of this on students since then.

This research was made possible by new requirements from the Higher Education Statistics Agency (HESA), introduced in the 2017-18 academic year, which made the return of data about student’s religion and belief mandatory. The report uses data collected from over two million HE students.

HESA statistics show around half of all students reported having a religion or belief (50.2%). The majority of these were Christian (65.5%), followed by Muslim students (17.8%).There were substantial differences in degree attainment by students’ religion or belief. Overall 76.3% of students received a first or 2:1 degree, yet only 64.9% of Muslim students received a first or 2:1.

At institutions with over 12% of students identifying as Muslim, the attainment gap was eight percentage points, compared to 19 percentage points at institutions with fewer than 3.5% of students identifying as Muslim. The figures show that men are underrepresented in UK HE; overall 57.0% of students are women.

However, the analysis found that this split was not present in all religious groups. For Hindu and Muslim students, the gender split of people attending HE was close to 50:50. In contrast, over two-thirds of students identifying as Spiritual were women. A gender attainment gap was present within all religious groups, however, with women graduating with a first or 2:1 degree in higher numbers than men.

This first-of-its-kind report fills a massive gap in research into student equality in higher education and is a positive step forward for the sector.

“With this report, institutions are now better able to take evidence-informed steps to address inequalities, target initiatives at underrepresented groups more effectively and go further down the path towards equity of student outcomes.

“Advance HE will continue to work with the sector to improve outcomes for students, regardless of their gender, religion, ethnicity or identity.” - Gary Loke, Director of Knowledge, Innovation and Delivery at Advance HE (28) (2020, Natasha Codiroli Mcmaster)

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Natasha Codiroli Mcmaster. (2020). First ever report into effect of students’ religion and belief published by Advance HE. Available: https://www.advance-he.ac.uk/news-and-views/First-ever-report-into-effect-of-students-religion-and-belief-published. Last accessed 20th November 2020.

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P.E.W - Practical Workshop: Characterization within music.

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P.E.W - Practical Workshop: Characterization within music.

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P.E.W - Practical Workshop: Make-up for Performance (Dance).

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P.E.W - Practical Workshop: Make-up for Performance (Dance).

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P.E.W - Practical Workshop: Make-up for Performance (Dance).

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P.E.W - Practical Workshop: Make-up for Performance (Dance).

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P.E.W - Practical Workshop: Make-up for Performance (Dance).

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P.E.W - Practical Workshop: Make-up for Performance (Dance).

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P.E.W - Practical Workshop: Make-up for Performance (Dance).

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P.E.W - Practical Workshop: Make-up for Performance (Dance).

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P.E.W - Practical Workshop: Make-up for Performance (Dance).

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P.E.W - Practical Workshop: Make-up for Performance (Dance).

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Social Media Promotion: Instagram Page Post.

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Social Media Promotion: Instagram Page Post.

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Social Media Promotion: Instagram Page Post.

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Social Media Promotion: Instagram Page Post.

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Social Media Promotion: Facebook Page Post.

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Social Media Promotion: Facebook Page Post.

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Social Media Promotion: Facebook Page Post.

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Social Media Promotion: Facebook Page Post.

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Reflection on producing promotional material:

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Reflection on producing promotional material:

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With respect to creating social media accounts for the company, I am confident with due to my experience having previously created business/event accounts for previous units within my studies. Additionally, within the digital era, social media is more accessible for a large range of audience.

In regards to capturing footage of practical workshops, I am also familiar with and the only consideration is if students are not allowed to be filmed/taken images of but as a company we have checked this prior to classes. Again, as suggested within the business proposal, our workshops remain in college bubbles that have been previously set with social distancing consistently carried out.

Gaining footage of live workshops and posting this online has enabled our cliental and also the public to understand and take interest in the business and what we do. The footage of workshop leader and learners gives examples of workshops we have produced and performed and how the students respond to material and more importantly, their enjoyment.

I have assessed this by students within the college and university environment approaching me regarding future workshops. Conversation between the company and our audience will be posted accordingly to this page.

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P.E.W - Workshop Response Survey (Learners).

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P.E.W - Workshop Response Survey (Learners).

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StageScreen is a part-time drama school in Burton-on-Trent for under-18s delivering professional-standard training in acting, musical theatre and film.

Its aim is to create well-rounded, happy, confident young performers. In addition our teachers will help students to develop social skills that will enrich their lives whether or not they choose a career in the performing arts.

Classes take place every Saturday morning in term time at the Burton Albion Community Hub, Grange Street, Burton-on-Trent, DE14 2ER.

Children aged four to six have their own Starlets class from 9am to 9.45am.

Youngsters aged six to 18 are taught in three age group classes and enjoy three hours of training from 10am each Saturday which consist of -

Musical Theatre:

All students will learn healthy techniques for singing and pair this with the ability to create truthful acting vocal performances.

Movement is an essential element of musical theatre, so while they do not offer traditional dance classes, their students will learn to be confident in dance technique, choreography and performance.

They will study the need for warm-ups as part of safe vocal technique as well as learning about harmonies and acting through song.

Their Musical Theatre tutor is Megan-Louise Daniels.

Film:

Students will develop a well-rounded knowledge of the skills involved in film work behind the camera as well as in front of it.

They will look at acting for screen, editing, producing, script writing, casting and directing.

They will examine the different roles and skills required to produce a finished film and how camera angles and editing tell the story.

Students will work towards a final project that will be screened in front of an invited audience of friends and family.

Their Film tutor is Tilley Bancroft.

Comedy and Drama:

Young performers will explore all types of comedic and dramatic acting techniques.

Students will study pieces from many eras and different genres.

Each class will have lessons tailored to their age range.

Across a full academic year students will have the chance to learn about stage presence and how to create believable characters.

Students will also experience working as an ensemble and learn about improvisation. They will work on monologues, duologues and group scenes from play texts and look at speaking in verse.

StageScreen students will be guided through the process of adapting and creating original pieces of theatre.

Clowning, puppetry and storytelling will also be covered.

The tutor for comedy and drama acting is Jack Broughton.

StageScreen students are enrolled in one of the following groups depending on their age:

Debut (for 6-9 year-olds)

Spotlight (for 10-13 year-olds)

Encore (for 14-18 year-olds)

Each group rotates between rooms at The Hub to spend one hour each week on Comedy and Drama acting; Film and Musical Theatre. Lessons are tailored to each age group allowing students to learn new techniques and skills while also having fun.

All tutors have professional industry experience and are fully DBS checked.

Each term  will end with a celebration event showcasing the work done by the youngsters.

In order to remain open during the current COVID-19 climate, procedures have been put in place.

In order to attend classes or workshops in person, parents must agree to complete the health questionnaire for each day that their child attends a class or workshop in person. This questionnaire confirms that no-one in their household has any of the specified symptoms or has been told to self-isolate. The questionnaire is linked from the home page of this website.

Children may supply their own PPE equipment, but it is not the responsibility of teachers to ensure it is used or worn correctly. It is not to be worn during any physical activity.

No parents will be allowed on site. Children must be dropped off and collected, by one parent only, at specified places that will be notified in writing ahead of classes and workshops. They must arrive wearing StageScreen uniform and with suitable dance shoes in a clearly-named bag.

On arrival, all students must immediately wash their hands and have their temperature taken with an infrared thermometer. Any child with a fever will be immediately isolated and their parents will be contacted to collect them.

Students will be allocated a 2m square space (or more) to use throughout their session. They will bring their shoe bag into this space to change shoes.

If sessions are longer than 45 minutes there will be a staggered break to wash hands. Breaks, use of bathrooms and a one-way system in corridors will be closely monitored to ensure that social distancing is always upheld.

Singing will only take place in small bubbles of student groups. Children will be placed side by side or back to back with three-metre-plus social distancing in place.

Any student, student’s family member, teacher or volunteer who tests positive for COVID-19 up to two weeks after an in-person event must immediately inform StageScreen management. The bubble that is affected will immediately be notified. If this happens when classes are running in term time, the affected bubble will be shut down and spaces deep-cleansed in accordance with Government guidance “COVID-19: cleaning in non-healthcare settings”.

If a student is incapable of following any of the new rules introduced as a result of COVID-19, StageScreen has the right to remove the student from classes. This will be on a case-by-case basis and no refund will be offered.

Teacher and volunteers will adhere to strict procedures regarding cleaning high contact points including (but not limited to) door handles, sinks and taps, bannisters and any equipment used in class. They will also wash their hands regularly, observe social distancing and complete the staff health questionnaire.

Rooms will be ventilated as much as possible.

Risk assessments will be regularly updated.

The company additionally hold a 5-day Summer intensive school in order to create performance which is then published to YouTube.

Prices are as follows:
Early Bird : £150.00
Standard: £170.00

StageScreen groups Debut, Spotlight and Encore (6 to 18 years) offer professional-level training for three hours per week during term time at an hourly rate of only £8.33.

However, their in place subscription fees are:

Debut, Spotlight and Encore Students - £82.00 per Calendar Month (3 hours per week during term time)

Fees for Sibling Students - £61.50 per Calendar Month (3 hours per week during term time)

Fees for Starlets Students - £20.00 per Calendar Month (45 minutes per week during term time).

The company are contactable by email, Facebook and Twitter. (29) (2020, StageScreen)

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StageScreen. (2020). Home. Available: http://stagescreen.co.uk/. Last accessed 4th December 2020.

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In their fun, engaging and energetic weekly classes, children are given both structure and freedom as they learn how to sing, dance and act. They teach students a variety of styles and routines enabling them to explore their imagination, express themselves and encourage their creativity.

While mastering their performance skills, the students also develop a range of qualities such as confidence, improved communication skills, resilience and courage. All of this prepares students for performances at the end of term in front of family and friends.

Each class is small to allow their teachers and their assistants to give each child support and attention and they can feedback progression to parents.

Main Stages classes are split in three age appropriate groups, where young people learn new skills in each of the complementary Musical Theatre disciplines of singing, dancing & drama. They nurture the shy and apprehensive, until they find their feet and voice, whilst at the same time developing and channelling those with bundles of talent, confidence and energy.

(3 hrs each week)

These workshops are held at The de Ferrers Academy - Sixth Form Centre and are priced at £336.00 per term.

Earlier stages classes run alongside the main Stagecoach schools, where young people learn skills in each of the three Musical Theatre disciplines of singing, dancing & drama, so it is an easy step when it is time to transfer to the next stage.

(90 minutes each week)

These workshops are held at The de Ferrers Academy - Sixth Form Centre and are priced at £168.00 per term.

The company are contactable by phone or website. (30) (2020, Stagecoach)

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Stagecoach. (2020). Stagecoach Burton-Upon-Trent. Available: https://www.stagecoach.co.uk/burtonupontrent#stage-3. Last accessed 4th December 2020.

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P.E.W - Workshop Response Survey (Learners) (1).

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