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Hi Everyone, I hope you find all the links above helpful for your singing skills development.

Things to be working towards....

After each session:

Reflect on your development (Strengths/improvements/targets/collaboration with others/ vocal skills) doing this will make evaluations a smoother process, as all the information will be there already to use, rather than just recalling from memory.

Research into the responsibilities of a professional 'Vocalist/Singer' in the performing arts industry. How can you you apply this to your own development?

Skills and techniques you are developing: Breath control (use of diaphragm), posture, support, enunciation, timing, pitch, projection, dynamics, blending, the difference of techniques used for a pop song vs musical theater... FULL List of skills to refer to in Docs uploaded.

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The 8 Singing Voice Types

1. Bass: lowest male voice type with a vocal range of E2-E4

2. Baritone: 2nd lowest male voice type with a vocal range of A2-A4

3. Tenor: 2nd highest male voice type with a vocal range of C3-C5

4. Countertenor: highest male voice type with a vocal range of E3-E5

5. Contralto: lowest female voice type with a vocal range of E3-E5

6. Alto: 2nd lowest female voice type with a vocal range of F3-F5

7. Mezzo Soprano: 2nd highest female voice type with a vocal range of A3-A5

8. Soprano: highest female voice type with a vocal range of C4-C6

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ABC = Always Be Creating
"Your job is to create behavior."

ABC = Always Be Choosing
The singing actor creates behavior by making choices.

ABC = Always Be Communicating
Create behaviour ~ "that communicates the dramatic event."

ABC = Always Be Changing
Songs unfold over time, and the art of singing-acting involves making choices in succession.

This requires an incisive understanding of the content and meaning of each phrase and an awareness of how it differs from the phrase(s) that came before it.
VIDEO

Here are some of the most important ways a singing actor must be specific:

Being specific to the dramatic event of the song and to each phrase or moment in that event.

Being specific to the text, the precise meanings of the words and the implications of their syntax, diction and rhetoric.

Being specific to the music, which means both scrupulous attention to the details of vocal delivery specified in the score and an awareness of the information contained in the accompaniment

Being specific in your understanding of the ways in which the present phrase is both similar to and different from its preceding phrases

Being specific not only to the meanings and feelings created by the text and the music, but also to the precise moments when changes occur, since these moments present opportunities to make corresponding adjustments in behavior.

Being specific to the other characters onstage and the environment, which requires an awareness of what's just happened and how the world of the play or musical is changing at any given moment.

Authenticity is expected of any actor in the modern era: You've got to

"BRING THE REALNESS"

Truthful expression makes it possible for your audience to relate to you as a REAL PERSON, and to UNDERSTAND & EMPATHISE with what you're singing about. Finding a way to create and express yourself truthfully within the ARTIFICIAL CONVENTIONS of song and dance is a CHALLENGE every singing actor must face.

The practice room is the ideal environment in which to explore the "Magic If." Construct an imaginary circumstance (defining who, what, where, and why) for yourself, and then see what happens when you sing a song under those imaginary circumstances.

Though truthful performance can take an infinite variety of forms, there are a few common behavioral phenomena that occur while singing that inevitably scream, "Fake":

A rigid, fixed gaze

A blank, distorted or frozen face

A tense, braced-up body

Find us some solo examples with authenticity.

Variety - an essential ingredient of all successful singing-acting.Variety is a way of beguiling the audience by mingling the familiar and the
"SPICE OF LIFE"

surprising, knowing that introducing something and unexpected is a surefire way to grab an audience's ATTENTION when it starts to .

To sing with variety, you need to recognize that each phrase offers you a unique set of opportunities to create behavior. The best singing-acting gives listeners the impression that each new phrase or moment is somehow distinct from previous moments.

Dynamic and contrast - What just happened? He was looking there, but now he's looking here!
How quickly? If you haven't made any sort of change in twenty or thirty seconds, your listener is already becoming less fully engaged.

Complement your song - sugar and spice and all things nice.\
When you learn a piece of new material, you practice it until it becomes familiar, like a habit, so that you can execute it with greater ease and less conscious attention.

Any song is more interesting when it is performed with attention to behavioral variety. Your song is enhanced, not marred, when you find opportunities to break the spell and "disrupt" the overall mood of the song with changes in focus or behavioral expression.

Let the audience be enchanted by the song, but learn to stay fully present and alert to the opportunities to avoid "going with the flow."

The capacity to create more-to sing louder, to sing higher, to be more furious or more tender, to reach farther, move faster, leap higher-
is part of the Olympic challenge of singing acting,
and you MUST train for it like an Olympian.

Often, moments of crisis are accompanied by high levels of intensity: Elphaba's song "Defying Gravity" at the end of Act I of Wicked or Valjean's decision to reveal himself ("2-4-6-0-1!") in the cart scene of Les Mis.

Lack of intensity is often a lack of strength, either physically (weak muscles and/or vocal cords) or psychologically (a weak will).

Fear: Not going "all out", afraid that something will go wrong / mistake / ridicule.

Laziness: Willing to do the work. As Patti Lupone says "Broadway ain't for sissies."

Tension: It may seem counter- intuitive, but relaxing achieves greater intensity.

Axiom 1 of the SAVI System is a declaration of purpose, that contains three important ideas:

1. The singing actor creates behavior.

2. That behavior is chosen for its ability
to communicate the dramatic event.

3. Finally, those choices are organized phrase
by phrase, because songs are made of phrases
and each phrase has its own particular role to
play in the overall journey of the song.

(Read more about Axiom 1 in Chapter 3 and more about Behavior in Chapter 7.)

The behavior you create will be most effective when it is Specific, Authentic, Varied, and Intense

How would you break this down within our class?

For Maximum SAVI, you must work on the singer as well as the song. Train like an athlete to optimize your ability to create and organize behavior."

Regime Work [see end slide]

The Best Ways to Train
The athlete is a useful model to have as you head off to the practice room to start working with your SAVI Cards. With this in mind, let's talk for a minute about the best ways to train and to practice. We've all heard the saying "Practice makes perfect," but practice is only effective when it's done deliberately. This means:

* Practicing persistently, making it a habit;

* Practicing purposefully, with specific goals in mind and a plan to challenge yourself;

* Getting frequent informed feedback, so you know how
you're doing and can correct mistakes before they become bad habits.

(Read more about Axiom 3 in Chapter 5)

Your facial expressions communicate emotions instantaneously and powerfully, often without any conscious effort or intent on your part."

So, how's your "eye language"?

93% of communication comes from body language and tone of voice.

Your Face Is Your Ace!
~by learning to use your face and your eye movements to their full advantage.

* Exercising & Toning your facial muscles

* Exploring and expanding your "vocabulary" of facial expressions

* Congruency - if none, we disregard

The quality of your singing-acting will take a big leap forward if you condition your face so that it's supple, strong, and articulate enough to express a thought or emotion. Expand your repertoire of facial expressions by imitating examples from real life.

(Read more about Axiom 4 in Chapter 8)

Do they look different? In what ways? If your face says, "I'm singing" or "I'm making a fine tone," chances are that's the only message your listeners are getting.
CAUTION:
Be on the lookout for distortions of the face during a song.
Often, those distortions are simply an indication of the effort of singing, especially when the pitches are high or loud.

Make sure you pay attention to what your face does during moments of extreme vocalism:

SUGGESTION:
Make a video recording of your face while you're singing something effortful, and a second recording of yourself speaking the text you sang.

Do your eyebrows shoot up on high notes? Do your mouth and lips make distorted, unnatural shapes for "pure" vowels? You should seek to develop both awareness and ease in your use of facial expression

Match your gaze to the phrase
~communicating your innermost thoughts if used effectively

So, how's your "eye language"? Record yourself while you're singing and pay particular attention to your eyes when you watch the results. [Self-reflect]

Do they seem glassy and blank? Does your gaze wander randomly while you sing? Do you gaze rigidly at a fixed point for a long time? Do you blink excessively or close your eyes while you sing?

Power, expressiveness and control of the eyes are all technical
skills that can be cultivated through deliberate practice.

Mobilise your eyes
Practice using your eyes alone to send each of the following messages silently:

* I'm happy to see you!
* What's wrong? Is something bothering you?
* I know what you did-you're guilty!
* I didn't do it, I'm innocent!
* This is really weird!
* Wow, you're really attractive!
* Get away, you're scaring me!
* Do you understand?
* That question you asked makes me very uncomfortable.
* I'm so proud of you!

Say the words of each phrase to yourself while looking at a partner/mirror/camera, then ask, check your feedback about how well you succeeded in conveying the message. Now practice your use of "eye language" while speaking and singing, using phrases of sung or spoken gibberish or vocal exercises while "transmitting" behavioral messages with your eyes.

Adjust your behavior at the beginning of each new musical phrase (the "ding"), and avoid distracting mid-phrase adjustments."

So, how's your "eye language"?

Working Phrase by Phrase

∆ I want to be heard,
∆ I want to be seen.
∆ I want to be noticed,
∆ Do you know what I mean?
∆ I want to be known.

Goals:
* begin a phrase impulsively; * sustain and develop that impulse with no more effort than necessary for the duration of the middle; and * release tension and effort at the end of the phrase to clear the way for the next one to begin and for the cycle to repeat.

(Read more about Axiom 6 in Chapter 6 & 14)

Moment-to-Moment is NOT Phrase-by-Phrase

Acting teacher Sanford Meisner talks about the importance of "living in the moment" and working "moment to moment." A moment is, by definition, something quite brief, almost instantaneous. A moment occurs any time we choose to open our senses and notice what's happening now, and there are an infinite number of "now's" available for us to notice. Being alert to these "now's" is a key ingredient of Authenticity, and being able to live "in the moment" means actively noticing and processing the information that floods in through our senses in real time.

In a song, however, those moments have been organized into a series of phrases to create impact. Moments are granular, but phrases are "chunks,".

A phrase, then, contains many moments: the moments that precede the initial impulse, when the phrase is imminent but not yet inevitable; the impulsive moment when you decide to begin the phrase; the ensuing moments when you are carried along by the "momentum" of your initial impulse; the moments when you are aware of something or someone responding to you; and finally, the moment when you've fulfilled your mission and there's nothing left to say.

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CapCut AI Video Editor: Smart Online Video Editing with Advanced AI Tools

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9 Self Tape Tips to make your Auditions STAND OUT | Nicole Alyse Nelson

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Official Teamly Blog - Official Teamly Blog - Your Project Management Resource

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13 Self-Evaluation Examples to Nail Your Performance Review

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Looking for great tips for writing an awesome self-evaluation? Check out these 13 self evaluation examples along with the dos & don’ts of self evaluation.

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Historical context in performance" refers to the social, political, cultural, and economic conditions that existed during the time period in which a play, dance, or other artistic work was written or set, which significantly influences how the performance is interpreted and understood by the audience; essentially, it's the background story of the time and place that shapes the meaning of the performance.

Key aspects of historical context in performance:

Social norms:

How people interacted, class structures, gender roles, and societal expectations at the time.

Political events:

Major political happenings, conflicts, or leadership that may be reflected in the performance.

Cultural values:

Dominant beliefs, customs, and artistic styles prevalent during the period.

Economic factors:

The economic situation of the society, including the status of different social classes.

Why is historical context important in performance?

Authenticity:

Understanding the historical context allows performers to accurately portray characters and situations, adding depth and realism to the performance.

Interpretation:

By considering the historical context, audiences can gain a deeper understanding of the themes and messages within a performance.

Critical analysis:

Analyzing the historical context enables a more nuanced discussion of the performance, considering how it reflects or challenges societal norms of its time.

Example:

A play set in Victorian England: To accurately portray the characters, actors would need to understand the strict social hierarchies, gender roles, and the limitations placed on women during that era.

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YEAR 1’s - Breakdown of Harmonies for “Fat bottom girls” Queen* 

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YEAR 1’s - Breakdown of Harmonies for “Fat bottom girls” Queen* 

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Revise, practice & Retain Harmonies please 🙂

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Fat Bottomed Girls Vocal Harmony Breakdown

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Be prepared.

If you are asked to present a song or monologue, prepare your piece well. Memorize your selection and practice it many times. - Knowledge of context of the play/musical and writer/composer/lyricists.

Be kind to everyone and smile.

Remember that your audition for every show begins the moment you walk in the door. You may be perfect in the audition room, but rudeness or misbehavior in the lobby will be noticed.

Be on time for your appointment. PLAN YOUR TRAVEL.

We ask that you arrive 15 minutes prior to your scheduled appointment so that all of your paperwork can be completed before you go in for your auditions. Arriving early also gives you time to relax and focus and not feel rushed.

Use your waiting time wisely.

It is great to see old friends and make new ones at an audition, but be sure to take some time to focus on your audition.

Dress appropriately.

At Stages theatre Company, we always ask that actors come dressed for movement. This means you should dress in clothes that are comfortable and will not impede your movement, but still be neat, clean and nice looking. (Please, no flip-flops, boots, high heels, wheeled shoes, etc. Sturdy shoes that stay on your feet are a must. Dance shoes are appropriate).

Introduce yourself.

When you walk into the audition room, tell us your name and the name of the piece you have prepared. This makes a good first impression.

Don’t watch the directors.

While doing your audition, do not look directly at the people you are auditioning for, unless specifically directed to do so.

Mistakes happen.

If you make a mistake, do not apologize. Remember that others may not even notice a mistake, but if you point it out to them, they will know for sure.

It’s OK to be nervous.

Don’t worry about being nervous. Just about everyone is nervous. Do your best to smile and have a good time.

Remember - They want you to succeed :)

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Cheryl Porter's 10 Minute Daily VOCAL WORKOUT (For Singing All Levels!)

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"Connecting context to character" means understanding how a character's background, environment, and surrounding circumstances (their "context") directly influence their personality, motivations, and actions within a story, essentially shaping who they are and how they react to situations.

Key points about connecting context to character:

Backstory matters:

A character's past experiences, family dynamics, and social upbringing provide crucial context to explain their current behaviors and perspectives.

Social and historical setting:

The time period, cultural norms, and societal structures where a character lives significantly impact their choices and limitations.

Internal conflict:

Context can reveal internal struggles a character faces, like personal trauma or societal expectations, which drive their motivations.

Character development:

By exploring a character's context, writers can create more nuanced and believable characters with depth and complexity.

Example:

Character:

A young woman raised in a strict religious community who is now living in a big city.

Context:

Her upbringing might lead to internal conflict as she navigates the freedoms of urban life while still grappling with the values instilled by her community.

How context affects character:

This could manifest in her behavior as being cautious, questioning her choices, or feeling conflicted about certain actions due to her past beliefs.

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Tom Wakeley – The Chicken Tikka Collection of Vocal Warm-Up Exercises (For Younger Voices)

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Tom Wakeley – The Chicken Tikka Collection of Vocal Warm-Up Exercises (For Younger Voices)

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Context is an important factor in music style, and it can affect how music is created, performed, and understood. Context can include the historical period, cultural influences, and the composer's intent.

How context affects music

Musical style

Context can affect how music is articulated, including the notes, rhythm, melodies, and pieces.

Performance

Context can affect how music is performed, such as playing jazz guitar in a concert hall in India.

Understanding

Context can affect how a piece is understood, such as how Westerners might relate organ music to being in a church.

Factors that influence context

Historical period: The time period in which the music was created

Cultural influences: The society, family, education, and growing up experiences of the composer

Composer intent: The composer's life and intentions

Societal environment: The political happenings and musical styles of the time

Contextual analysis

Contextual analysis is the examination of a musical work within its context. This approach can help to understand how a piece of music was created and how it is received.

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Moises App: The Musician’s App | Vocal Remover & much more

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The best app for practicing music. Remove vocals, separate instruments, master your tracks, and remix songs with the power of AI. Try it today!

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*PLEASE READ *

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What is the song about?
Think of the song as a one act play. Describe the story simply, eliminating the details. Simply state what happens at the beginning, what happens in the middle, and what happens at the end of the song?

Then, narrow it down to one word or phrase to characterize each section.

Beginning:

Does the song end differently than it began? (YES!) Singing a song is a journey. The character has changed in some way. Look for the contrast between the beginning and the end (even if it doesn't seem like there is one...there is!!!) and name it.

-Who is the character-
How old is the character?

What is the character's occupation?

What are the similarities and differences between you and this character (at least 2-3 aspects)?

Similarities:

Differences:

What are the polarities (qualities OPPOSITE from the character's principle qualities) in the character? Name at least one. (ie: tough gangsters might be sentimental, caring mothers can be fierce, and heroes can have weaknesses.)

-Objective-

What is the character's objective? Using a verb, Why is THE CHARACTER singing this song? What does the character want to do? (Verbs define objectives. Find a verb that is active and can perhaps raise the stakes. ie 'dazzle' instead of 'impress', 'seize' instead of 'take'.)

What is the obstacle to achieving the objective? What's in the character's way of getting what he/she wants?

-Relationships-
Who are you singing to? Describe this person in detail.

What is your relationship to the person you are singing to or about?

How is this person reacting to what you are saying?

-Moments-
Find around three significant moments.
Moments are different than defining sections. They happen on specific words or on a short phrase. One might be the climax, or something humorous, or a hidden meaning etc. Give the exact word or phrase it happens on and what the moment means to the character specifically.
FOR EXAMPLE: The climax in the song 'If I Loved you happens towards the end and is the highest note in the song, and lands on the words If I Loved You. The character might be really saying, I do love you!

1st Moment:

2nd Moment:

3rd Moment:

What is the pre-beat?
Briefly, state what happens in the scene just before the character sings.

Narrow it down to a word or phrase. Use perhaps an objective, inner gesture (ie a clenched stomach), obstacle, atmosphere, relationship, or image. It will be a word or phrase that your character could be thinking right before the song starts. Be inventive. Write it down here:
#5
Practice
FINALLY: Write helpful reminders in your music. (prebeat, moments, objective, sections, etc) Practice incorporating your discoveries into your performance by first speaking through the text as a monologue. Speak through it until it feels integrated. Now sing.

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Acting Your Song: How to Break it Down. - Erin Stewart

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These are steps I've developed inspired by a book by Joanna Merlin ( Auditioning: An Actor-Friendly Guide ). This is a book I highly recommend! I've tweaked it as I've used it more and more in the classroom and I will more than likely continue to do so.

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Please find available resources and Rep sheets available to you for reference!

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Download and print official Hal Leonard sheet music for piano, choir, violin, flute, guitar & more. Sheet Music Direct is your home for premium sheet music.

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The 8 Singing Voice Types

1. Bass: lowest male voice type with a vocal range of E2-E4

2. Baritone: 2nd lowest male voice type with a vocal range of A2-A4

3. Tenor: 2nd highest male voice type with a vocal range of C3-C5

4. Countertenor: highest male voice type with a vocal range of E3-E5

5. Contralto: lowest female voice type with a vocal range of E3-E5

6. Alto: 2nd lowest female voice type with a vocal range of F3-F5

7. Mezzo Soprano: 2nd highest female voice type with a vocal range of A3-A5

8. Soprano: highest female voice type with a vocal range of C4-C6

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Please complete This Sheet and start to build your Repertoire folders.

This should include:

Rep sheet at the front.

Sheet music of all chosen pieces "Audition ready"

Minimum of 4 contrasting songs.

(A minimum of 2 minutes no more than 4 mins in song length.)

Tape your sheet music together (*print one sided to do this) So it can fold out easily for the MD to use.

Prepare and practice your songs ready Auditions.

Resources for you to use are all on this Padlet. Have a read through and if you have any questions, please feel free to email me or comment on the above post.

walkers@bpc.ac.uk

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Drama school vs University - What's the difference?

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Drama school vs University - What's the difference?

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The cost of undergraduate training is expensive at up to £9,250 per year, along with the added cost of living, leaving many people owing up to £50,000 in student loans. So, choosing the right institute and course for you is important. So university or drama school? Here are some comparisons between the two to help with your decision.

Application process:

Applying for a university is usually done through UCAS and you will need a certain set of grades to gain a place on your chosen course. Some universities will interview candidates, but most will select based on your grades and personal statement.

Applying for a drama school is different depending on the school; it may be through direct application, UCAS Conservatoires or the main UCAS scheme. Drama schools will likely hold auditions or interviews and focus more on talent and potential than grades. Acting courses at drama schools are the most difficult courses to get into as they can attract thousands of applications for a relatively small number of places.

Contact hours:

Universities allow students to take care of their own time management, with a few lectures/classes a week along with research and writing expected to be done in your own time. There is also little to no consequence if you do not attend the contact hours as you are responsible for your own time keeping. This is great experience for self-discipline and time management.

A drama school will have a much more intensive time structure where you will spend most of your time in classes 9am - 5pm, if not longer. The contact hours set are compulsory and there is likely to be severe consequences for missing or being late for a class.
Search all theatre opportunities here
Training:

Universities will tend to offer more of a broad course that will teach a range of skills such as Theatre Arts. This will give students a good insight into different areas within the theatre that you can work in. However, due to it being so broad you won't receive the same level of detail and teaching as if you were to study only one field. However, there are a small handful of universities who do offer more specific courses.

A drama school will give in-depth and intensive training into a specific area. You will not be taught on the details of the other roles within theatre and only focus heavily on your particular field of study. Due to the small class sizes you will tend to have more one-on-one time with your tutors compared to at a university.

Showcases:

Universities often offer the chance at the end of the course for a public performance where students have a chance to showcase their talent whether on stage or offstage. However the attendance by industry professionals can be quite low at most universities. Personal invitations by a student to professionals can help boost the attendance.

Top drama schools attract a lot of industry professionals to their showcases. Many will actively look out for when the showcases are in order to go along, rather than needing to be persuaded by a personal invitation.

University AND drama school?

There are more and more opportunities at drama school to train in a postgraduate degree. Therefore, one option is to study a non-theatre related undergraduate degree at university and then go on to train in a postgraduate degree at a drama school. However, there are fewer funding opportunities and financial support for a second degree, so this option may not be readily available for everyone.
Find more theatre careers advice here
L ife experience:

Due to the range of subjects studied at universities you are more likely to come across and/or live with people who are studying different courses to you. You also may have the opportunity to work outside your contact hours and join societies and clubs that don't necessarily have a link to your course which can offer a wealth of experience. You are more likely to be more independent at university, which can be seen as a good way to set you up for life after studying.

At drama school, due to the specialist studies at the institute, you will only come across and/or live with people who also study at your school. This can be helpful as they will understand your day-to-day life and you will be going through a similar experience, however it can also be seen as a 'bubble', which is unlike life outside of drama school.

Alumni:

Take a look at what past students have gone on to do after graduating from a particular university or drama school and see what their progression has been within the industry. It can help give you an idea of how well equipped the course makes you for life after training. Do their careers match the kind that you aspire to?

Accreditation:

There are many ways for an institution and a course to be accredited for both universities and drama schools. Take a look at our blog on accreditation here.
Find theatre vacancies with The Stage Jobs here
References:
https://www.thestage.co.uk/advice/2017/university-vs-drama-school-right/https://www.thestage.co.uk/advice/2017/how-university-theatre-courses-differ-from-drama-schools/https://actinginlondon.co.uk/drama-school-vs-university-for-acting/https://www.spotlight.com/news-and-advice/tips-and-advice/drama-school-stories-a-degree-vs-drama-school-training/https://www.theguardian.com/education/2008/jul/15/highereducation.uk1 https://www.whatsonstage.com/west-end-theatre/news/becoming-an-actor-drama-school-or-university_7181.html https://university.which.co.uk/advice/student-finance/how-much-debt-will-i-actually-get-into-by-going-to-university https://www.thestage.co.uk/news/2007/competition-fiercer-for-drama-schools-than-for-oxbridge/
Published: 04 March 2019

Updated: Sept 24

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Drama schools vs universities: What's the difference? - Get into Theatre

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Read the latest advice from Get Into Theatre, including audition tips, advice on how to make a career in theatre, the different types of theatre careers and more.

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Moises App: The Musician's App | Vocal Remover & much more

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The best app for practicing music. Remove vocals, separate instruments, master your tracks, and remix songs with the power of AI. Try it today!

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09. Vocal__ Exercises__ to __Improve __Projection (Article) author MIT __Biological__ Engineering __Communication __Lab

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02. Training the Speaking Voice through Singing author Kenneth L. Sipley

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Recording Session may become available in Music block. TBC...

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Recording Session may become available in Music block. TBC...

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Please remember to be PREPARED!

Warmed up

High quality Track on USB stick in Mp3 file format.

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Performing Arts CV Examples & Guide for 2026

Creating a performing arts CV is essential for showcasing your skills and experiences in the entertainment industry. Here are some key points to consider when crafting your CV:

Highlight your most significant stage, screen, or performance pieces: Elaborate on the roles and productions that best showcase your talents and range.

Include relevant training, workshops, or masterclasses: List any special skills that can make you stand out, such as singing, dancing, or mastery of an instrument.

Use a simple and concise format: Recruiters are looking for candidates who match their ideal job profile.

Incorporate a touch of color in headers or section breaks: Ensure it doesn’t detract from readability, especially in more conservative industries.

Tailor your CV to reflect your personal brand and artistic vision: Whether you're just starting your career or looking to refresh your existing CV, this guide is designed for performers and creatives at all stages.

For more detailed guidance and examples, you can explore additional performing arts CV samples and guides to see what works for your level of experience or role.

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01. Vocal health information author Duke Voice Care Center