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CRITICALLY APPRAISING MY ROLE ON THE PRODUCTION TEAM

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CRITICALLY APPRAISING MY ROLE ON THE PRODUCTION TEAM

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To critically appraise myself I believe that it is fair to say that I got the job done that i was required to do. I was very proactive when I was given a task and I would ensure that I had it done on time and to a high quality so that people would not be waiting on me. I stayed behind very late at night to make sure that all dancers had the props that they needed to make their job easier. Finally I feel that I worked well as part of a team and went beyond my role to help other members of the production team who were struggling and needed help. If I was to re do this process I would like to try a different role and see how i would get on in different departments.

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PROVIDING POSSIBLE COSTUME OUTFITS FOR TEACHERS TO CHOSE FROM 

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PROVIDING POSSIBLE COSTUME OUTFITS FOR TEACHERS TO CHOSE FROM 

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As well as being in charge of props I also had to work with wardrobe. As the wardrobe team had a large workload I took it upon myself to help out with this role. For Julius' "Jersey Boys" he required that the boys should wear a navy or grey suit. As the wardrobe team already had many other outfits to find I decided to help by going to primary and coming back with different options that the boys could wear. Once Julius decided which one he thought would be most suitable I went back to the shop and bought the correct amount of suits needed and the correct sizes for the dancers of the piece.

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In the run up to the show day I was required to stay late at night, up to 10pm, after starting rehearsal at 9am to ensure that all props were in place, fixed and ready for the showcase. I had to bag up all streamers to ensure that they would not get broken or damaged when being driven to the venue. I also had to cover up the "audition" sign for the same reason. Finally for Chads "Move It" piece each dancer required an umbrella, goggles and hat. For this I had to get bags for each dancer and put all the requirements in to the bag with each dancers name on it to ensure that they all had what would be needed for the performance

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For our third year commercial piece we began the number by dancing on mattresses to create the theme of being in a bedroom and dreaming. After rehearsing and dancing on these some of the mattresses began to split at the side. As this was the case they needed fixing in the run up to the show. To do this I used a needle and thread to neetly sew the mattress back together. I had never sewed before this. However I learnt how to do this on the job and felt that I did a good job. When first being given the role of being in charge of props I did not think that my role was going to be important and in fact wanted a new job for the show. However I actually realised that the role of props was important in improving the quality of the show. This role required that I worked quickly to get the job done before the show to ensure that the mattress would not fall apart on stage.

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"42ND STREET" TAP PIECE PROP REQUIREMENT

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"42ND STREET" TAP PIECE PROP REQUIREMENT

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For the Tap piece Mr Needham required a sign that said "AUDITION" for the story of the piece. As this was the case he came to myself and Lauren (the props team) and told us what he required. This was the dimensions of the cardboard and how big the writing must be. We then went out and bought what was needed. Together we stencilled  the word "audition" using a ruler and pencil then painted this is black paint and rubbed out the pencil lines following this.

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PROCESS OF FIXING THE STREAMERS IN PREPARATIONS FOR THE SHOWCASE

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PROCESS OF FIXING THE STREAMERS IN PREPARATIONS FOR THE SHOWCASE

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MYSELF AND LAUREN TIDYING UP AFTER REHEARSALS TO TAKE CARE OF THE STREAMERS AND COLLECT PIECES THAT HAD FALLEN OUT 

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MYSELF AND LAUREN TIDYING UP AFTER REHEARSALS TO TAKE CARE OF THE STREAMERS AND COLLECT PIECES THAT HAD FALLEN OUT 

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For this role I was in charge of all props at all times. For Mr Needham “Hot Legs” performance the second half of the piece included choreography that required streamers. These were made out of skipping rope with shiny paper. During the rehearsals, when using the streamers the paper would often become lose and fall out of the tape that had stuck the paper to the skipping rope. These had been made by another student of Mr Neehams for a previous performance, however we were allowed to use these. Yet after every rehearsal it would be my job to collect the paper that had fallen out of the streamer and to put it in to a black bag to save it, to fix the streamers before the actual performance. I did not fix these during the rehearsal process as they would continue to come apart. However, during the week of the show I needed to fix these. To do this I went to Wilkinson’s to buy black tape to fix the streamers. I checked which streamers had lost the most paper and fixed these first. To do this I used the paper that had fallen out of the streamers previously and held it against the handle of the skipping rope and then put more black tape over the top to stick the new paper down and tighten it in place. This took a long amount of time to fix every streamer in preparation for the show.

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Broadway.com. 2016. Jersey Boys - Broadway | Story | Broadway.com. [ONLINE] Available at: http://www.broadway.com/shows/jersey-boys/story/. [Accessed 07 June 2016].

Vimeo. 2016. Hot Legs on Vimeo. [ONLINE] Available at: https://vimeo.com/169712153. [Accessed 06 June 2016].

Vimeo. 2016. The Zone Performance on Vimeo. [ONLINE] Available at: https://vimeo.com/169772529. [Accessed 07 June 2016].

Vimeo. 2016. The Zone Rehearsals on Vimeo. [ONLINE] Available at: https://vimeo.com/169711114. [Accessed 07 June 2016].

Vimeo. 2016. Jersey Boys Rehearsal Footage on Vimeo. [ONLINE] Available at: https://vimeo.com/169723498. [Accessed 07 June 2016].

Vimeo. 2016. Jersey Boys on Vimeo. [ONLINE] Available at: https://vimeo.com/169712052. [Accessed 07 June 2016].

YouTube. 2016. Tina Turner and Rod Stewart - Hot Legs - 1981 - YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=Z0_YfqmKkMQ. [Accessed 06 June 2016].

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MY ROLE AS PART OF THE PRODUCTION TEAM - PROPS

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MY ROLE AS PART OF THE PRODUCTION TEAM - PROPS

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As part of the module I was not only required to be a performer but must also be part of the production team. I was given the role of the being in charge of all props in relation to the showcase. The purpose of this section of the module was to enlighten us on the non performing aspects of creating a major production, and the roles and jobs that are involved to bring a show together.

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DEVISING OUR OWN MATERIAL - CREATING A CONTEMPORARY PIECE AS PART OF AN ENSEMBLE

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DEVISING OUR OWN MATERIAL - CREATING A CONTEMPORARY PIECE AS PART OF AN ENSEMBLE

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As part of the final major production module we were given the opportunity to devise our own piece of choreography. As we were already doing many jazz and commercial pieces we decided as a small group to create a contemporary piece to show. We thought about the different routes that we could go with this and the different styles of contemporary that we could perform. However, we decided that we wanted to make a piece that would be poignant and relevant to us as a year group. We decided to create a piece about the struggle that we have been through over the three years of training. We wanted to create something real and relevant to us, to tell our journey and relationship as a group to where we have come to. This was titled “The struggle” and spoke the truth. We stripped back everything to its roots. In the way that we chose a piece of music called “Pendulum” which has no lyrics and was just pure beats. We used our strengths as a group to use members of the cast to edit the music to put whispers on top of the instrumental. These wispers would suggest the comments that we have faced whilst being part of the third year. These included being nagged at by teachers, being told we are not good enough and being compared to other dancers. The whispers stopped mid way through the piece to suggest that we had stopped listening to these and tried to forget what other people were saying about us. But instead decided to focus on building our relationship as a group and in the end becoming together as one.

The performance started by listening to the whispers and acting like we couldn’t get the voices (what people were saying out of our head). It then went to a fighting scene where slowly we tried to escape one by one to break off from and give up. However, we then brought each other back together to build a relationship and fight the negativity as a collective, an army. In the end we became a force and broke passed the comments but showed the audience what we were capable of.

We created the storyline and choreography as a group and worked well in discussing our ideas and putting them into action. As a group we chose our own formations and cleaned our movement. The style was not pure technique but it was more raw movement. We decided on our own lighting to chose what we thought would be most effective and relative to the piece. When looking back at the final major production this was my favourite piece to perform as it felt the most real. We were portraying our own story and piece that we had built together and it felt amazing to be part of a group who were performing for the same love of dance and to show the struggle that dancers face.

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Through the rehearsal process for “Hot Legs” not only did I learn a lot about style and technique, but this number was very rewarding in helping me to improve on my pas de deux work. During this routine large sections of the choreography was pas de deux. I learnt how I should handle a female in partner work to ensure that we are both safe. I was provided with knowledge on different lifts and ways of moving with a partner. All of which have been very beneficial in gaining new transferable skills that I can use in future auditions or jobs.  I am now more aware of and comfortable with partner work and the correct ways in which this should be done.  Before the rehearsal process I was made aware that this number would require partner work which meant that I would require the strength to be able to handle a partner. I was told this much in advance to the rehearsal process. As this was the case I ensured that I started going to the gym three times a week to build the strength needed for this. By the time of the rehearsals I could tell the difference in my level of strength. This was very rewarding and made my job much easier when it came to the time of rehearsals.

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During the rehearsal process for the “Hot Legs” piece I found that Mr Needham was very keen on attention to detail from his dancers. This would include all movement being codified. Mr Needham has worked in the industry for a very long time and knows exactly what is required for dancers to be successful. As this is the case I am very keen to learn and take direction as this is ultimately preparing me for what is needed in the industry. Throughout the rehearsal process I made small mistakes such a putting my hands in the wrong place etc. These were mistakes that were very easily made and forgotten about. However, as a dancer it is very important to retain information as choreographers do not like giving the same feedback. Because of this I started making notes on my phone when being given corrections to make sure that I would not make the same mistake. This also ensure that I was progressing rather than going backwards. These notes helped me to retain the corrections given and allowed me to work on new directions given before the next rehearsals. I believe that following direction is one of my strengths as a performer. I am very keen to learn and always open to feedback and constructive criticism in order to help me to improve. I believe that this is an applaudable trait of a dancer.

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When reviewing the "Hot Legs" piece in the final major production I am very proud of my performance. I can see that I took on board the notes that I was given and made the changes that was needed in time for the performance. I feel that I look very confident as a perfomance and use a variety of facials to perform. It also shows my diversity and versatility as dancer. I feel that when beginning the course I was much more comfortable performing commercial and hip hop pieces but I now feel that I am just as confident to perform jazz routines and now show an understanding of the different qualities needed for each of these.

I also feel that I work well as part of an ensemble. I am able to dance in a codified manor as provide exactly what is asked by the choreographer. This is a skill that I have gained during the rehearsal process. Often in class you are given the opportunity to add your own individuality to choreography, however when working as a ensemble you are required as a dancer and therefore have to work together. This is a skill that is needed in the performing arts industry.

Reference:
Vimeo. 2016. Hot Legs on Vimeo. [ONLINE] Available at: https://vimeo.com/169712153. [Accessed 07 June 2016].

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This is "Hot Legs" by on Vimeo, the home for high quality videos and the people who love them.

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RESEARCH - TINA TURNER AND ROD STEWART, "HOT LEGS" PERFORMANCE 1981

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RESEARCH - TINA TURNER AND ROD STEWART, "HOT LEGS" PERFORMANCE 1981

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Here I researched the song used for the jazz number to gain a better understanding on the style and performance quality required for this piece.

Reference:

YouTube. 2016. Tina Turner and Rod Stewart - Hot Legs - 1981 - YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=Z0_YfqmKkMQ. [Accessed 07 June 2016].

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Rod Stewart & A$ AP Rocky Carpool Karaoke

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Tina Turner and Rod Stewart - Hot Legs - 1981

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Tina Turner and Rod Stewart - Hot Legs - 1981 Tina Turner Online: http://www.tina-turner.nl Tina Turner Blog: http://www.tina-turner.nl/blog Facebook Tina Turner Online: https://www.facebook.com/tinaturneronline Twitter Tina Turner Online: https://www.twitter.com/TinaTurnerNL

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"HOT LEGS" JAZZ PIECE CHOREOGRAPHED BY DAVID NEEDHAM

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"HOT LEGS" JAZZ PIECE CHOREOGRAPHED BY DAVID NEEDHAM

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David Needham, one of my jazz teachers choreographed a piece to “Hot Legs” by Tina Turner and Rod Stewards. This was a very technical piece which also required a high performance quality. I found that I picked up the choreography very well and was able to pursue the technical side to the routine. I believe that this was through the intensive training that Mr Needham provides in his regular classes. Here I picked up the technique needed for the routine and the type of choreography as this was similar to what we would be given in a regular class. However, one of the challenges that I faced as a performer is that I struggled with the style in which Mr Needham required us to perform the choreography. As this was the case I researched and watched videos of Tina Turner and Rod Stewart to get a feel for the style that was required. This helped me to understand the way in which I should perform the piece and the facials that I should use.

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Here is a short clip of the live performance of "The Zone" on the night of the final major production. When watching this back I am very proud of myself. I can see that I was able to portray the correct musicality and intricate movement clean and precise. I also showed a greater performance quality than in the rehearsal idea, which I had been working on since being given the feedback from Chad. This shows that my self directed rehearsals  deemed very useful an rewarding.

Reference:

Vimeo. 2016. The Zone Performance on Vimeo. [ONLINE] Available at: https://vimeo.com/169772529. [Accessed 07 June 2016].

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This is "The Zone Performance" by on Vimeo, the home for high quality videos and the people who love them.

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FEEDBACK FROM CHAD TAYLOR DURING THE REHEARSAL PROCESS

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FEEDBACK FROM CHAD TAYLOR DURING THE REHEARSAL PROCESS

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Chad made the group perform the routine one at a time to ensure that we was not relying on each other and would be able to do the routine solo. As I had intensively rehearsed the piece to the best of my ability and to what I understood the movement to be this was beneficial to me to see if my self directed practice had intact paid off or not. Chad only made me of the routine once and said that my movement was precise and clean and should just work more on the performance quality in the run up to the show (Taylor, 2016). I was very thankful for this feedback as when I first started at Shockout I initially struggled with muscality and timing when it came to advanced intricate routines. However from this feedback it suggests that the intensive training and personal commitment to improvement has intact paid off and shows that if you put in the hard work then results will be made.

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Chad Taylor choreographed a short hip hop piece for the showcase that would show the versatility in styles that we do at Shockout Arts. This was a very intricate piece that very much relied on hitting precise and clean shapes in a codified manor. I am particularly keen on this style of movement and I believe that this is the style that makes Shockout Arts stand out from other dance university degrees. The style is also beneficial and it enables you with transferable skills such as creating strong and clean movement which can then be passed on to other genres of dance such as jazz and contemporary.

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REHEARSAL FOOTAGE FOR "THE ZONE" (HIP HOP PIECE)

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REHEARSAL FOOTAGE FOR "THE ZONE" (HIP HOP PIECE)

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The Hip Hop piece required very intricate movement and attention to detail. As this was the case I ensured that I rehearsed the routine alone. I broke down the movement and worked on building the routine up step by step. Making sure that I was clean and precise on every part of the choreography before moving on. It was important that I was no messy or lazy as the choreography was no open to individual style. But instead required the group to be codified, clean and precise in order to make the piece look the best it could be. I downloaded the music and listened to this repeatedly to listen to the beats and lyrics to understand the musicality of the movement. As a result of this it allowed me relax in to the music more and begin to use facials when performing.

Reference:
Vimeo. 2016. The Zone Rehearsals on Vimeo. [ONLINE] Available at: https://vimeo.com/169711114. [Accessed 07 June 2016].

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This is "The Zone Rehearsals" by on Vimeo, the home for high quality videos and the people who love them.

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SELF DIRECTED PRACTICE AND PERSONAL COMMITMENT TO IMPROVEMENT

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SELF DIRECTED PRACTICE AND PERSONAL COMMITMENT TO IMPROVEMENT

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As an individual I like to spend time investing in myself to practice and rehearse routines alone, after class and in my own time. This helps me to improve before the next rehearsal. I came in to the studio on the weekends during the rehearsal period to go over the commercial routine as this was a very advanced piece with intricate movement. I spent time going over the movement and breaking it down to ensure that that I delivered the choreography clean and precise before practicing it to the music. Following this I then started working on putting my own style on the choreography. Although the movement was codified in the way we must present the same choreography as a group, Jamie explained that we must add personality to this and create our own way of expressing the routine as it was very much about feeling and emotion. Therefore, I spent time thinking about the meaning of the routines and the way in which I could add light and shade, dynamics and performance. I love to be given freedom in dancing to express myself and my own way of moving as this is what sets you a side among overs and portrays you as an artist, rather than just a dancer. By spending time doing this it made me very confident with the movement and retaining the information that I had been given. As a result, this meant that I was able to rely on myself when on stage as I was able to be dependent on myself.

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THE COMMERCIAL ROUTINE REHEARSAL PROCESS

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THE COMMERCIAL ROUTINE REHEARSAL PROCESS

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During the rehearsal process Jamie delivered the choreography much faster than he would in a regular class as he was working to get the piece done as quickly as possible due to time constraints. He relied on us as third years to be able to pick up the choreography quickly and deliver the routine to a high standard as he had been training us for three years to get to this point. I was able to pick the choreography up but found that I did not look as clean and strong as I would like and was not exactly on the music as I needed to be. As a dancer you do not want to have to hold the rehearsal process up by the choreographer needing to make sure that you have the choreography right as this could then leave a bad impression. At times I found the process tiring and strenuous due to the long period of the rehearsal. Large amounts of material were delivered, not only choreography but formations and structuring that at times could be very draining and over whelming. However, I loved what I was learning and the style of the dances. It also provided me with an insight to how professional jobs work and this made me excited for my future and to start doing more jobs like this.

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The third year commercial piece for the final production was choreographed by Jamie Luke. We were only taught this piece two weeks prior to the show. Jamie created a concept number which was about love and heart break, delving into the idea of a realistic relationship to portray the emotions faced, something that almost everyone can relate to. I found that Jamie was particularly good at explaining his chosen concept, reason for his choreography and the message that we must convey. This was beneficial as it then enlightened me about the role I must play, meaning that I could be confident when portraying the different emotions needed for the particular sections of the piece.

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SHOPPING FOR EQUIPMENT NEEDED TO FIX THE STREAMERS

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SHOPPING FOR EQUIPMENT NEEDED TO FIX THE STREAMERS

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Here is some of the rehearsal footage that was videod in the process. I am always keen to watch bak videos of rehearsals to see where I can improve. Here I can see that I am not fully in character or committing to the movement and therefore this is something that I need to invest my time working on.

Reference:
Vimeo. 2016. Jersey Boys Rehearsal Footage on Vimeo. [ONLINE] Available at: https://vimeo.com/169723498. [Accessed 07 June 2016].

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This is "Jersey Boys Rehearsal Footage" by on Vimeo, the home for high quality videos and the people who love them.

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This is a video from the final showcase of the Jersey Boys piece. I am very pleased with my performance in this piece. I can see the progression that I made from the rehearsal process, where I had little confidence and understanding of the character, to final performance where I believe that I look strong, clean and confident. I took on board all corrections that I was given by Julius and tried to show the versatility in the performance quality that I can portray.

Reference:
Vimeo. 2016. Jersey Boys on Vimeo. [ONLINE] Available at: https://vimeo.com/169712052. [Accessed 07 June 2016].

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This is "Jersey Boys" by on Vimeo, the home for high quality videos and the people who love them.

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When Julius first began to choreograph the movement on the boys, we were given the feedback that we were going too “full out” and needed to strip this back to suit the piece. I believe that I often make this mistake as I sit more comfortably in commercial and hip hop dance which can often require more full out style of dance. However, when it comes to character work and story lines there is much more to the movement. As this was the case I took on board the feedback I had been given and started to work on this in the next rehearsals. I tried to make my movement gentler and subtle to fit the character and the music.

Once doing this Julius commented that he could notice the difference and was drawn to watch me because of this (Ebreo, 2016). This is important to me as I want to a versatile dancer and not just be able to dance one style. But instead would like to be employable for all styles of dance. Because of this I try to take on board all comments given by the teachers as they know what is required for the industry.

Furthermore, when Julius had finished the piece I asked for some individual feedback in the run up to the show. He stated that I was very able to do all of the technical work required for the piece as my technical skills had increased over the years. He said that he was drawn to watch me because of my look. Finally, he suggested that I should smile more when preforming as the feel of the dance is very different to commercial and the genre of the work required a different type of facial. He added that this would make me look much more comfortable in the dance and style of movement (Ebreo, 2016). I was pleased that Julis could notice the progression in my technical skills as this is an area of dance I have struggled with. Therefore, this shows my commitment and determination to progress in this. However, I was keen to take on board the new feedback given. To improve on my performance quality I decided to make it my priority to start practicing facials in the last rehearsals to become more comfortable with this.

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At first I found the rehearsal process quite difficult as I was unsure on the character I was playing and what this required. Meaning that at times I felt quite uncomfortable. Character work is something that I particularly struggle with when I do not fully know the story of the character or role that I am portraying. As this is the case I made it my priority to research the story of Jerseys Boys after the first rehearsal to get an idea and feeling of the character and role I would be playing. I discovered that the musical follows the biography of the Four Seasons—the rise, the tough times and personal clashes, and the ultimate triumph of a group of friends whose music became symbolic of a generation. The story line gets to the heart of the relationships at the center of the group—with a special focus on front man Frankie Valli, the small kid with the big falsetto. In addition to following the quartet’s coming of age as performers, the core of the show is how an allegiance to a code of honor learned in the streets of their native New Jersey got them through a multitude of challenges: gambling debts, Mafia threats and family disasters. Jersey Boys is a glimpse at the people behind a sound that has managed to endure for over four decades in the hearts of the public. Once gaining a better understanding on the concept of the piece I now understood the character I was playing. I also took into consideration the environment that Julius had set. As this was night time in New York and named “City Lights” I tried to build a flirtatious masculine character who would flirt and tease the females (this linking to the idea of looking at the relationship of the Jersey Boys with other characters in the film). This resulted in me becoming much more confident and comfortable when dancing.

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This is the website that I used to research the story of the Jersey Boys to gain a better understanding on the musical and the character/ role that I would be portraying.

Reference: Broadway.com. 2016. Jersey Boys - Broadway | Story | Broadway.com. [ONLINE] Available at: http://www.broadway.com/shows/jersey-boys/story/. [Accessed 07 June 2016].

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Story

Jersey Boys is a musical biography of the Four Seasons-the rise, the tough times and personal clashes, and the ultimate triumph of a group of friends whose music became symbolic of a generation. Far from a mere tribute concert (though it does include numbers from the popular Four Seasons songbook), Jersey Boys gets to the heart of the relationships at the center of the group-with a special focus on frontman Frankie Valli, the small kid with the big falsetto. In addition to following the quartet's coming of age as performers, the core of the show is how an allegiance to a code of honor learned in the streets of their native New Jersey got them through a multitude of challenges: gambling debts, Mafia threats and family disasters. Jersey Boys is a glimpse at the people behind a sound that has managed to endure for over four decades in the hearts of the public.

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Jersey Boys is a musical biography of the Four Seasons-the rise, the tough times and personal clashes, and the ultimate triumph of a group of friends whose music became symbolic of a generation.

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For one of the Jazz pieces for the final major production, Julius Ebreo (one of the faculty staff at Shockout Arts, as well as a professional in the industry) chose to choreograph to a piece of music from Jersey Boys. This is a musical that I had heard about, but I had not actually watched the musical / film and I was not fully aware of the story line. Julius titled the number “City Lights” which would be set in New York at night time. The choreography included technical movement but also required an element of acting and character work.

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For the final major production, I performed six pieces. These consisted of different styles such as Jazz, Commercial and Hip Hop. Plus, a contemporary piece that we devised ourselves in a small group. It was important for me to be in many pieces of different styles to be able to be assessed in these, but also to show myself as a versatile dancer. I do not want to be restrained to a certain style of dance. During my three years of training at Shockout Arts (as well as previous training) I have gained skills and knowledge in a range of dance styles including commercial, hip hop, jazz, ballet and contemporary. These being both practical skills and theoretical knowledge. As a result of this I hope to have gained the ability to be able to perform in each of these styles.

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In preparation for the final major production showcase (and assessment) the module started with technical classes. The classes were in Jazz, Contemporary and Musical Theatre as well as intensive training in Commercial and Hip Hop to work on stamina and choreography. The purpose of these sessions were to build and improve on technique (technical skills), the ability to work as a codified team and performance quality. Similarly, it was vital to work on our stamina to help to increase our fitness levels to make the show more manageable when being in many performance pieces.

The sessions deemed very helpful when it came to the intensive showcase work and rehearsal process towards the end of the module. I realised that I had gained many skills through the previous sessions that made picking up the routines much more manageable. I had gained the knowledge and ability to pursue the technical steps/movements that were required for the routines such as different types of pirouettes (high and low level) (en dehors and en dedans), chaînés, kicks, jumps, leaps, barrel roll turn, pas de deux work etc. This meant that I did not have to struggle with the steps of the routine but instead needed to work on the style and purpose (story) of the work.

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I will use this Padlet as a medium to compile and document the process of conceptualising, creating and developing my final major performance project. During the production I had many roles. These included performing, choreographing and being part of a production / administration team. I will critically analyse my artistic and administrative journey taken, to suggest my strengths and areas for improvement. As a result, this it should help to prepare me for the life of a working professional with in the performing arts industry.

This process will allow for me to challenge myself and most importantly learn what it takes to be a successful working professional. Ultimately when graduating from the degree course I will be auditioning and looking for jobs within the industry and therefore need to be as prepared as possible. I believe that by gaining experience while I am still in full time training and education will be advantageous to gain a strong idea and knowledge prior to finishing at Shockout Arts.