# data[].attributes.headline
Breaking In: How To Run Your Own Creative Projects- Workshop 

# data[].attributes.subject
Breaking In: How To Run Your Own Creative Projects- Workshop 

# data[].attributes.body
Free workshop, Wednesday 19th November

Would substantially help with your FMP and you can also use it as evidence for Creative futures.

For Creative Futures, you must show evidence of you engaging in workshops, discussions or gaining work experience.

The level 5s are attending as it is part of their timetable

# data[].attributes.attachment_link.title
Breaking In: How To Run Your Own Creative Projects - Brewhouse Arts Centre and Café Bar

# data[].attributes.attachment_link.description
Wed 19th Nov 2025 @ 11:00 am - 4:00 pm - Got an idea you want to make real? This workshop will show you how to take a project from concept to completion.

# data[].attributes.attachment_link.title
Underwater Life, Marsa Alam, Egypt. 360 video in 8K.

# data[].attributes.body
Project Proposal outlining intentions

(10%)

LEARNING OUTCOMES 1, 2, 3 and 4

# data[].attributes.body
Things to consider when logging your exploration workshops/projects:

•What was the brief?

•How did you plan the project?

•Who was your target audience?

•What roles and responsibilities were given?

•How did you execute the project?

•How did you time manage?

•What was successful about the project?

•What needs improvement?

•How would you develop the project further?

•Would this make an interesting FMP?

•Evaluate the project as a whole - how does the project sit in the current digital era?

•Reflect and provide own opinion and state whether this has inspired you for your own ideas surrounding FMP.

•Include photo and video evidence.

•Plan ideas for future projects that link to this one - possible ideas?

# data[].attributes.headline
Questions to foster critical analysis of exploration projects for reflections

# data[].attributes.subject
Questions to foster critical analysis of exploration projects for reflections

# data[].attributes.body
1. Conceptualisation and Vision:

How did you develop the initial concept for the project?

What inspired the artistic and conceptual choices made in the project?

How did you ensure that the project aligned with your artistic vision?

2. Artistic Choices:

Can you elaborate on the aesthetic and stylistic choices made in the project?

How did you integrate different performing arts elements into the project?

What role did cultural or historical influences play in shaping the artistic direction?

3. Collaboration and Communication:

How did you facilitate effective communication and collaboration within the team?

Were there any challenges in working with others, and how were they overcome?

How did the collaborative process impact the final outcome?

4. Creative Problem-Solving:

Can you share examples of challenges faced during the project and how you addressed them creatively?

In what ways did you experiment with unconventional solutions in your project?

How did you balance creativity with practical constraints?

5. Audience Engagement:

How did you gauge and respond to audience reactions during the development process?

Were there any unexpected audience responses, and how did they influence the project?

What considerations were made to ensure the project resonated with the intended audience?

6. Cultural and Social Relevance:

How did the project address or respond to current cultural or social issues?

Were there intentional efforts to make the project culturally inclusive and diverse?

In what ways did the project contribute to conversations within the performing arts community?

7. Technical and Artistic Skill Development:

How did the project contribute to the development of your technical and artistic skills?

Were there specific challenges that pushed you to expand your skill set?

Reflect on any new techniques or technologies incorporated into the project.

8. Evaluation of Performances:

How did final performances / creations compare to the initial vision and planning?

Were there any unexpected nuances or moments during live performances that stood out?

Was there any social or cultural commentary embedded in the performance?

How did the performance engage with contemporary issues or themes?

Discuss the significance of cultural references or influences in the performance.

9. Critical Analysis:

How does your project respond to or challenge existing norms within your field?

What theoretical frameworks or academic concepts influenced your project, if any?

Reflect on any critical reviews or feedback received and its impact on your perspective.

Were there any notable insights gained during the post-performance discussions?

10. Legacy and Future Development:

In what ways do you envision your project leaving a lasting impact in the performing arts community?

How might the project inspire or influence future projects, either yours or others'?

If given the opportunity, how would you continue to develop or expand upon this project?

# data[].attributes.body
A Case study is a research technique, pick a famous practitioner in this area you are interested in and research points such as

Their history

Academic achievements and training routes

How they broke into the industry

Any challenges they faced getting into the industry, such a social economical backgrounds etc.

This needs to be Harvard Reference

# data[].attributes.body
When you interview someone you should generate a list of questions you are personally interested in finding out which could help with your career development.

You should generate approx. 10 questions to ask them and decide how you can gain this information (phone call, teams call, email etc.)

You should record the conversation if you can (make sure they know the conversation is being recorded) and have permission to use their details.

# data[].attributes.attachment_link.readable_text
What Is SWOT Analysis?

SWOT (strengths, weaknesses, opportunities, and threats) analysis is a framework used to evaluate a company's competitive position and to develop strategic planning. SWOT analysis assesses internal and external factors, as well as current and future potential.

A SWOT analysis is designed to facilitate a realistic, fact-based, data-driven look at the strengths and weaknesses of an organization, initiatives, or within its industry. The organization needs to keep the analysis accurate by avoiding pre-conceived beliefs or gray areas and instead focusing on real-life contexts. Companies should use it as a guide and not necessarily as a prescription.

Understanding SWOT Analysis

SWOT analysis is a technique for assessing the performance, competition, risk, and potential of a business, as well as part of a business such as a product line or division, an industry, or other entity.

Using internal and external data, the technique can guide businesses toward strategies more likely to be successful, and away from those in which they have been, or are likely to be, less successful. Independent SWOT analysts, investors, or competitors can also guide them on whether a company, product line, or industry might be strong or weak and why.

Components of SWOT Analysis

Every SWOT analysis will include the following four categories. Though the elements and discoveries within these categories will vary from company to company, a SWOT analysis is not complete without each of these elements:

Strengths describe what an organization excels at and what separates it from the competition: a strong brand, loyal customer base, a strong balance sheet, unique technology, and so on. For example, a hedge fund may have developed a proprietary trading strategy that returns market-beating results. It must then decide how to use those results to attract new investors.

Weaknesses

Weaknesses stop an organization from performing at its optimum level. They are areas where the business needs to improve to remain competitive: a weak brand, higher-than-average turnover, high levels of debt, an inadequate supply chain, or lack of capital.

Opportunities

Opportunities refer to favorable external factors that could give an organization a competitive advantage. For example, if a country cuts tariffs, a car manufacturer can export its cars into a new market, increasing sales and market share.

Threatsrefer to factors that have the potential to harm an organization. For example, a drought is a threat to a wheat-producing company, as it may destroy or reduce the crop yield. Other common threats include things like rising costs for materials, increasing competition, tight labor supply. and so on.

Analysts present a SWOT analysis as a square segmented into four quadrants, each dedicated to an element of SWOT. This visual arrangement provides a quick overview of the company's position. Although all the points under a particular heading may not be of equal importance, they all should represent key insights into the balance of opportunities and threats, advantages and disadvantages, and so forth.

The SWOT table is often laid out with the internal factors on the top row and the external factors on the bottom row. In addition, the items on the left side of the table are more positive/favorable aspects, while the items on the right are more concerning/negative elements.

How to Do a SWOT Analysis

A SWOT analysis can be broken into several steps with actionable items before and after analyzing the four components. In general, a SWOT analysis will involve the following steps.

Step 1: Determine Your Objective

A SWOT analysis can be broad, though more value will likely be generated if the analysis is pointed directly at an objective. For example, the objective of a SWOT analysis may focused only on whether or not to perform a new product rollout. With an objective in mind, a company will have guidance on what they hope to achieve at the end of the process. In this example, the SWOT analysis should help determine whether or not the product should be introduced.

Step 2: Gather Resources

Every SWOT analysis will vary, and a company may need different data sets to support pulling together different SWOT analysis tables. A company should begin by understanding what information it has access to, what data limitations it faces, and how reliable its external data sources are.

In addition to data, a company should understand the right combination of personnel to have involved in the analysis. Some staff may be more connected with external forces, while various staff within the manufacturing or sales departments may have a better grasp of what is going on internally. Having a broad set of perspectives is also more likely to yield diverse, value-adding contributions.

Step 3: Compile Ideas

For each of the four components of the SWOT analysis, the group of people assigned to performing the analysis should begin listing ideas within each category. Examples of questions to ask or consider for each group are in the table below.

Internal Factors

What occurs within the company serves as a great source of information for the strengths and weaknesses categories of the SWOT analysis. Examples of internal factors include financial and human resources, tangible and intangible (brand name) assets, and operational efficiencies.

Potential questions to list internal factors are:

(Strength) What are we doing well?

(Strength) What is our strongest asset?

(Weakness) What are our detractors?

(Weakness) What are our lowest-performing product lines?

External Factors

What happens outside of the company is equally as important to the success of a company as internal factors. External influences, such as monetary policies, market changes, and access to suppliers, are categories to pull from to create a list of opportunities and weaknesses.

Potential questions to list external factors are:

(Opportunity) What trends are evident in the marketplace?

(Opportunity) What demographics are we not targeting?

(Threat) How many competitors exist, and what is their market share?

(Threat) Are there new regulations that potentially could harm our operations or products?

Strengths
1. What is our competitive advantage?
2. What resources do we have?
3. What products are performing well?

Weaknesses
1. Where can we improve?
2. What products are underperforming?
3. Where are we lacking resources?

Opportunities
1. What new technology can we use?
2. Can we expand our operations?
3. What new segments can we test?

Threats
1. What regulations are changing?
2. What are competitors doing?
3. How are consumer trends changing?

Companies may consider performing this step as a "white-boarding" or "sticky note" session. The idea is there is no right or wrong answer; all participants should be encouraged to share whatever thoughts they have. These ideas can later be discarded; in the meantime, the goal should be to come up with as many items as possible to invoke creativity and inspiration in others.

Step 4: Refine Findings

With the list of ideas within each category, it is now time to clean-up the ideas. By refining the thoughts that everyone had, a company can focus on only the best ideas or largest risks to the company. This stage may require substantial debate among analysis participants, including bringing in upper management to help rank priorities.

Step 5: Develop the Strategy

Armed with the ranked list of strengths, weaknesses, opportunities, and threats, it is time to convert the SWOT analysis into a strategic plan. Members of the analysis team take the bulleted list of items within each category and create a synthesized plan that provides guidance on the original objective.

For example, the company debating whether to release a new product may have identified that it is the market leader for its existing product and there is the opportunity to expand to new markets. However, increased material costs, strained distribution lines, the need for additional staff, and unpredictable product demand may outweigh the strengths and opportunities. The analysis team develops the strategy to revisit the decision in six months in hopes of costs declining and market demand becoming more transparent.

Use a SWOT analysis to identify challenges affecting your business and opportunities that can enhance it. However, note that it is one of many techniques, not a prescription.

Benefits of SWOT Analysis

A SWOT analysis won't solve every major question a company has. However, there's a number of benefits to a SWOT analysis that make strategic decision-making easier.

A SWOT analysis makes complex problems more manageable. There may be an overwhelming amount of data to analyze and relevant points to consider when making a complex decision. In general, a SWOT analysis that has been prepared by paring down all ideas and ranking bullets by importance will aggregate a large, potentially overwhelming problem into a more digestible report.

A SWOT analysis requires external consider. Too often, a company may be tempted to only consider internal factors when making decisions. However, there are often items out of the company's control that may influence the outcome of a business decision. A SWOT analysis covers both the internal factors a company can manage and the external factors that may be more difficult to control.

A SWOT analysis can be applied to almost every business question. The analysis can relate to an organization, team, or individual. It can also analyze a full product line, changes to brand, geographical expansion, or an acquisition. The SWOT analysis is a versatile tool that has many applications.

A SWOT analysis leverages different data sources. A company will likely use internal information for strengths and weaknesses. The company will also need to gather external information relating to broad markets, competitors, or macroeconomic forces for opportunities and threats. Instead of relying on a single, potentially biased source, a good SWOT analysis compiles various angles.

A SWOT analysis may not be overly costly to prepare. Some SWOT reports do not need to be overly technical; therefore, many different staff members can contribute to its preparation without training or external consulting.

SWOT Analysis Example

In 2015, a Value Line SWOT analysis of The Coca-Cola Company noted strengths such as its globally famous brand name, vast distribution network, and opportunities in emerging markets. However, it also noted weaknesses and threats such as foreign currency fluctuations, growing public interest in "healthy" beverages, and competition from healthy beverage providers.

Its SWOT analysis prompted Value Line to pose some tough questions about Coca-Cola's strategy, but also to note that the company "will probably remain a top-tier beverage provider" that offered conservative investors "a reliable source of income and a bit of capital gains exposure."

Five years later, the Value Line SWOT analysis proved effective as Coca-Cola remains the 6th strongest brand in the world (as it was then). Coca-Cola's shares (traded under ticker symbol KO) have increased in value by over 60% during the five years after the analysis was completed.

To get a better picture of a SWOT analysis, consider the example of a fictitious organic smoothie company. To better understand how it competes within the smoothie market and what it can do better, it conducted a SWOT analysis. Through this analysis, it identified that its strengths were good sourcing of ingredients, personalized customer service, and a strong relationship with suppliers. Peering within its operations, it identified a few areas of weakness: little product diversification, high turnover rates, and outdated equipment.

Examining how the external environment affects its business, it identified opportunities in emerging technology, untapped demographics, and a culture shift towards healthy living. It also found threats, such as a winter freeze damaging crops, a global pandemic, and kinks in the supply chain. In conjunction with other planning techniques, the company used the SWOT analysis to leverage its strengths and external opportunities to eliminate threats and strengthen areas where it is weak.

What Is SWOT Analysis?

SWOT (strengths, weaknesses, opportunities, and threats) analysis is a method for identifying and analyzing internal strengths and weaknesses and external opportunities and threats that shape current and future operations and help develop strategic goals. SWOT analyses are not limited to companies. Individuals can also use SWOT analysis to engage in constructive introspection and form personal improvement goals.

What Is an Example of SWOT Analysis?

Home Depot conducted a SWOT analysis, creating a balanced list of its internal advantages and disadvantages and external factors threatening its market position and growth strategy. High-quality customer service, strong brand recognition, and positive relationships with suppliers were some of its notable strengths; whereas, a constricted supply chain, interdependence on the U.S. market, and a replicable business model were listed as its weaknesses.

Closely related to its weaknesses, Home Depot's threats were the presence of close rivals, available substitutes, and the condition of the U.S. market. It found from this study and other analysis that expanding its supply chain and global footprint would be key to its growth.

What Are the 4 Steps of SWOT Analysis?

The four steps of SWOT analysis comprise the acronym SWOT: strengths, weaknesses, opportunities, and threats. These four aspects can be broken into two analytical steps. First, a company assesses its internal capabilities and determines its strengths and weaknesses. Then, a company looks outward and evaluates external factors that impact its business. These external factors may create opportunities or threaten existing operations.

How Do You Write a Good SWOT Analysis?

Creating a SWOT analysis involves identifying and analyzing the strengths, weaknesses, opportunities, and threats of a company. It is recommended to first create a list of questions to answer for each element. The questions serve as a guide for completing the SWOT analysis and creating a balanced list. The SWOT framework can be constructed in list format, as free text, or, most commonly, as a 4-cell table, with quadrants dedicated to each element. Strengths and weaknesses are listed first, followed by opportunities and threats.

Why Is SWOT Analysis Used?

A SWOT analysis is used to strategically identify areas of improvement or competitive advantages for a company. In addition to analyzing thing that a company does well, SWOT analysis takes a look at more detrimental, negative elements of a business. Using this information, a company can make smarter decisions to preserve what it does well, capitalize on its strengths, mitigate risk regarding weaknesses, and plan for events that may adversely affect the company in the future.

The Bottom Line

A SWOT analysis is a great way to guide business-strategy meetings. It's powerful to have everyone in the room discuss the company's core strengths and weaknesses, define the opportunities and threats, and brainstorm ideas. Oftentimes, the SWOT analysis you envision before the session changes throughout to reflect factors you were unaware of and would never have captured if not for the group's input.

A company can use a SWOT for overall business strategy sessions or for a specific segment such as marketing, production, or sales. This way, you can see how the overall strategy developed from the SWOT analysis will filter down to the segments below before committing to it. You can also work in reverse with a segment-specific SWOT analysis that feeds into an overall SWOT analysis.

Although a useful planning tool, SWOT has limitations. It is one of several business planning techniques to consider and should not be used alone. Also, each point listed within the categories is not prioritized the same. SWOT does not account for the differences in weight. Therefore, a deeper analysis is needed, using another planning technique.

# data[].attributes.attachment_link.title
SWOT Analysis: How To With Table and Example

# data[].attributes.attachment_link.description
SWOT (strengths, weaknesses, opportunities, and threats) analysis is a framework used to evaluate a company's competitive position and to develop strategic planning.

# data[].attributes.body
Dance and Screen
Dance in the community
Site Specific Performance
Choreography
Dance and disabilities
Dance technique
Dance as a marketing tool
Dance and education
Social media and dance
Collaborative theatre
Dance performance
Photography and dance
Around the world
Evolution of dance
Dance and Reality TV
Talent shows 'V' Dance world
Dance industry
Franchise and dance
Dance and sport
Dance science
Dance as live art
Business
Pre-conceptions of dance and employment
Styles 'v' Stereotypes
Location - training - employment
Dance technology
Dance therapy
Immersive theatre
Virtual reality
Post Modernism
Historical Context

# data[].attributes.body
Acting for screen
Behind the scenes
Acting in education
Rise and fall of an actor
The creative actor
Acting culture
Acting and politics
Drama therapy
Actor the performer
Actors portfolio
Actor to Practitioner
Becoming a practitioner
Evolution
Theatre in education
Disability theatre
accessibility theatre
Visible theatre
Live arts
Influencers/vloggers/youtubers
Historical
Site specific
Children's theatre
Acting for stage
Post modernism
Naturalistic 'v' contemporary

# data[].attributes.attachment_link.title
Research ethics - Staffordshire University

# data[].attributes.attachment_link.description
Ethical issues must be considered as part of all staff and student research projects at Staffordshire University. Our Ethical Review Policy sets the standards and is used for the ethics approvals process.

# data[].attributes.body
Portfolio with design development, sampling and final outcome,

as well as exhibition.

(70%)

LEARNING OUTCOMES 1, 2, 3, 4, 5 and 6

# data[].attributes.body
Reflective presentation analysing process and discussing success

of the project from concept to exhibition

(20%)

LEARNING OUTCOMES 5 and 6

# data[].attributes.attachment_link.title
VR 360: Horror in the Bath | Video Experience 4K

# data[].attributes.attachment_link.readable_text
Please see the bottom of the page and the highlighted text for full explanatory notes and paraphrases.

Macbeth

ACT I SCENE I A desert place.

[Thunder and lightning. Enter three Witches]

First Witch

When shall we three meet again

When the battle's lost and won.

Third Witch

That will be ere the set of sun.

5

First Witch

Where the place?

Third Witch

There to meet with Macbeth.

Second Witch

Paddock calls.

10

[Exeunt]

Next: Macbeth, Act 1, Scene 2

Explanatory notes below for Act 1, Scene 1
From Macbeth. Ed. Thomas Marc Parrott. New York: American Book Co.
(Line numbers have been altered.)

____

Shakespeare's dramatic genius is especially to be noted in the art with which he manages his beginnings. The first scene of Macbeth strikes the keynote of the play. The desert place, the wild storm, the appearance of the witches, "the wayward rhythm" of their songs, all help to prepare us for a drama in which a human soul succumbs to the supernatural suggestions of evil and ranges itself along with the witches on the devil's side.

We hear of a battle that is even now being fought, we hear of the trysting-place of the witches at the conclusion of the fray, and last of all we hear the name of the man they are planning to meet. No sooner has the name "Macbeth" been uttered than the calls of the attendant spirits are heard and the witches hurry off. The action of the scene is over with the naming of the man against whose soul these ministers of darkness are plotting.

1. The dialogue of the witches is a sort of chant. It is thrown into a verse form, trochaic tetrameter, which Shakespeare rarely uses except for supernatural beings, witches, fairies, or the like. In order to bring out the rhyme the last syllable is dropped from the end of each line. In line 2 the rhythm is reversed and the stress falls on the second syllable of each foot. In line 8 the stressed syllable in the third foot is omitted. This forces us to pause in the middle of the line and so secures additional emphasis for the closing word, "Macbeth." We may imagine the Third Witch pausing for a moment while her sisters gather round her and then shrieking out the name of the hero in an ecstasy of devilish joy.
How to cite the explanatory notes:
Shakespeare, William.Macbeth. Ed. Thomas Marc Parrott. New York: American Book Co., 1904. Shakespeare Online. 10 Aug. 2010. < http://www.shakespeare-online.com/plays/macbeth_1_1.html >.
________

12, 13. The couplet with which the witches take their departure is a confession of their creed. All that is good, "fair," to others is evil, "foul," to them, and vice versa. This applies to both the physical and the moral world; they revel in the "fog and filthy air," and in every sort of mischief and evil-doing from killing swine to entrapping human souls.

________
The Chronology of Shakespeare's Plays
Establishing the Order of the Plays
How Many Plays Did Shakespeare Write?
Shakespeare Timeline

Shakespeare's Reputation in Elizabethan England
Words Shakespeare Invented
Quotations About William Shakespeare

Portraits of Shakespeare
Shakespeare's Boss: The Master of Revels
Top 10 Shakespeare Plays

Shakespeare's Metaphors and Similes
Shakespeare's Blank Verse
Shakespeare Timeline

Edward Alleyn (Actor)
What is Tragic Irony?
Characteristics of Elizabethan Tragedy

More Resources

More to Explore

Macbeth: The Complete Play with Commentary
The Metre of Macbeth: Blank Verse and Rhymed Lines
Macbeth Character Analysis
Figures of Speech in Macbeth

Metaphors in Macbeth (Biblical)
The Theme of Macbeth
Is Macbeth the Third Murderer?

Macbeth, Duncan and Shakespeare's Changes
King James I and Shakespeare's Sources for Macbeth
Contemporary References to King James I in Macbeth
The Royal Patent that Changed Shakespeare's Life

Soliloquy Analysis: If it were done when 'tis done (1.7.1-29)
Soliloquy Analysis: Is this a dagger (2.1.33-61)
Soliloquy Analysis: To be thus is nothing (3.1.47-71)
Soliloquy Analysis: She should have died hereafter (5.5.17-28)

Differences Between Macbeth and Lady Macbeth
Explanatory Notes for Lady Macbeth's Soliloquy (1.5)
The Psychoanalysis of Lady Macbeth (Sleepwalking Scene)
Is Lady Macbeth's Swoon Real?

_____

Did You Know? ... In Shakespeare's primary source for Macbeth, Holinshed's Chronicles, the Weird Sisters are "goddesses of destinee", but they are far more sinister in Shakespeare's version. Read on...

_____

Explanatory Notes for the Witches' Chants (4.1)
Macbeth Plot Summary (Acts 1 and 2)
Macbeth Plot Summary (Acts 3, 4 and 5)
How to Stage a Production of Macbeth (Scene Suggestions)

A Comparison of Macbeth and Hamlet
The Effect of Lady Macbeth's Death on Macbeth
The Curse of Macbeth

Shakespeare's Sources for Macbeth
Macbeth Q & A
Essay Topics on Macbeth
Aesthetic Examination Questions on Macbeth
What is Tragic Irony?

Stages of Plot Development in Macbeth
Time Analysis of the Action in Macbeth
Macbeth Study Quiz (with detailed answers)
Quotations from Macbeth (Full)
Top 10 Quotations from Macbeth

Crafting a Sympathetic Macbeth
The Moral Character of Macbeth
Origin of the Weird Sisters
Temptation, Sin, Retribution: Lecture Notes on Macbeth
Untie the winds: Exploring the Witches' Control Over Nature

Characteristics of Elizabethan Tragedy
Why Shakespeare is so Important
Shakespeare's Language
Shakespeare's Influence on Other Writers

# data[].attributes.attachment_link.keywords[]
and foul is fair macbeth teacher notes macbeth shakespeare teacher guide annotations macbeth quotable shakespeare

# data[].attributes.attachment_link.title
Macbeth Act 1 Scene 1 - Fair is foul, and foul is fair

# data[].attributes.attachment_link.description
Act 1 Scene 1 of Macbeth with detailed notes and commentary.

# data[].attributes.attachment_link.title
The Tragedy of Macbeth (2021) by Joel Coen, Clip: The Three Witches...

# data[].attributes.attachment_link.title
the opening scene of Macbeth by Orson Welles

# data[].attributes.body
For the reflection for this week, you should research and discuss the following points in detail

How the 360 can impact on the audience experience

The performance possibilities for a 360 camera

What are the pros and cons of using a 360 camera

Overall how could you use this within your FMP?

If you are interested in using the 360 camera, you should explore in detail, how this can influence your FMP. Focus the evaluation on how this can directly relate to your performance, the influence in new and emerging artist and how it fits in modern society.

# data[].attributes.body
Each week we will explore new techniques, practitioners and technology.

You will need to reflect on each workshop to start the basis of your portfolio. The reflection should include;

An element of research (practitioner, technique or theory base)

A reflection on what was explored

Discuss the impact this could have on your FMP and how you could use this.

# data[].attributes.body
What are you filming

What are everyone's roles?

Any dialogue?

Any movement?

Where are you filming?

How will you expect this to look from an audience point of view

# data[].attributes.body
•What was the brief?

•How did you plan the project?

•Who was your target audience?

•What roles and responsibilities were given?

•How did you execute the project?

•How did you time manage?

•What was successful about the project?

•What needs improvement?

•How would you develop the project further?

•Would this make an interesting FMP?

•Evaluate the project as a whole - how does the project sit in the current digital era?

•Reflect and provide own opinion and state whether this has inspired you for your own ideas surrounding FMP.

•Include photo and video evidence.

•Plan ideas for future projects that link to this one - possible ideas?

# data[].attributes.attachment_link.readable_text
The Academic Phrasebank is a general resource for academic writers. It aims to provide you with examples of some of the phraseological 'nuts and bolts' of writing organised according to the main sections of a research paper or dissertation (see the top menu ). Other phrases are listed under the more general communicative functions of academic writing (see the menu on the left). The resource should be particularly useful for writers who need to report their research work. The phrases, and the headings under which they are listed, can be used simply to assist you in thinking about the content and organisation of your own writing, or the phrases can be incorporated into your writing where this is appropriate. In most cases, a certain amount of creativity and adaptation will be necessary when a phrase is used. The items in the Academic Phrasebank are mostly content neutral and generic in nature; in using them, therefore, you are not stealing other people's ideas and this does not constitute plagiarism. For some of the entries, specific content words have been included for illustrative purposes, and these should be substituted when the phrases are used. The resource was designed primarily for academic and scientific writers who are non-native speakers of English. However, native speaker writers may still find much of the material helpful. In fact, recent data suggest that the majority of users are native speakers of English. More about Academic Phrasebank.

This site was created by John Morley.

Academic Phrasebank is the Intellectual Property of the University of Manchester.

Copyright © 2023 The University of Manchester

# data[].attributes.attachment_link.description
The Academic Phrasebank is a general resource for academic writers. It aims to provide you with examples of some of the phraseological 'nuts and bolts' of writing organised according to the main sections of a research paper or dissertation (see the top menu ).

# data[].attributes.body
Create a live art installation-

You can work as a whole or small groups

Choosing one of the following

( “time,” “control,” “memory,” “isolation,” “ritual”).

Task: create a installation-based experience using available classroom/studio materials. They must consider:

Space (how the audience moves through or engages).

Objects/props (symbolism, repetition, transformation).

Audience role (observer, participant, interrupter).

Duration/structure (how time is used—continuous, loop, set sequence).

# data[].attributes.body
Reflection & Documentation

Writes a reflective log:

What strategies did we try?

What worked / what didn’t?

How might Live Art inform my own Negotiated Major Project?

adding images/notes to their digital logbooks (aligning with module requirement for ongoing documentation).

# data[].attributes.body
Who was she?

Annie was born in 1954, Pennsylvania before beginning her work she worked as a sex worker for 22 years . She explored sexual liberation in most of her work turning it into an art form. In 1976 she debut as an sex actress in a film teenage cover girls, whilst she's not in many films she uses film as big inspiration for her work, becoming a director of her own work creating a brand of "ecosexual documentary films." Sprinkle appeared in 200 porn loops and short films and in 1981 she directed her own film called Deep inside Annie Sprinkle a documentary of Annie talking about her interests and fantisies. "The film is a mix of semi-documentary and fantasy, with Sprinkle speaking directly to the camera about her life and interests, followed by vignettes showing her sexual fantasies."

Whilst Annie's work is a controversial topic, she used her work for sex education purposes and with the nature people found her work controversial.

Deep Inside Annie Sprinkle (1981) - IMDb

Annie Sprinkle - Biography - IMDb

Technique

# data[].attributes.attachment_link.title
Deep Inside Annie Sprinkle (1981) ⭐ 6.3 | Adult

# data[].attributes.attachment_link.title
Franko B: I still love, P.A.C., Milano, 9/10/2010

# data[].attributes.body
who were they?

Steve Paxton was born in Phoenix Arizona in 1939. He was an experimental dancer/choreographer who had a background in gymnastics before moving onto live art. He was in a relationship with Lisa Nelson for several years, even creating a piece with her titled PA RT (1978).

their work?

Some examples of his works include Proxy (1961), Physical things (1966), Intravenous Lecture (1970), Goldberg Variations (1986), Material for the spine (1986-2008) and many more. He won several awards over his life, including the New York Dance and Performance Bessie Award in 1987.

their techniques

He developed two techniques called contact improvisation and material for the spine. contact improvisation is “The improvised dance form based on the communication between two moving bodies that are in physical contact and their combined relationship to the physical laws that govern their motion—gravity, momentum, inertia.” (N/A). the Material of the spine techniques focuses on things such as spinal movement and body awareness during dance. the idea is to move from the spine instead of just thinking of the limbs when doing movement or dance. The reason behind doing this is the technique should help with your agility and help ease movement.

performance examples:

it was in 1972 when contact improvisation was first used/shown in a variety of performances that Steve Paxton himself directed and choreographed. It was a two week project where he invited around 17 students and colleagues to come and attend.

any controversies?

He has no known or researchable controversies.

Reference:

Contactquarterly (no date) contact improvisation - about. Available at: https://contactquarterly.com/contact-improvisation/about/ (Accessed: 02 October 2025).

# data[].attributes.body
You are to select one of the following briefs in which to create you next creative task

You must ensure you

Select the one most relevant to what you would like to do for your FMP

Research, Research, Research

Plan, Plan and Plan

Review, adapt, change

Do not settle on your first idea you must develop as you go

Reflect and evaluate

# data[].attributes.body
You are required to create a movement piece that will be shown at the next BSDC OPEN DAY on October 11th to promote the Performing Arts Degree programme.

# data[].attributes.body
You are required to create a performance suitable to entered into the National Student Drama Festival (This years theme)

# data[].attributes.attachment_link.description
Empowering and inspiring the next generation of theatre professionals

# data[].attributes.body
You are required to create a performance suitable for the Edinburgh Fringe Festival (Upcoming theme or previous years theme if not available)

# data[].attributes.attachment_link.description
Edinburgh International Festival. Discover the best artists from opera, music, theatre & dance on the world's greatest stage. 5-28 August 2022.

# data[].attributes.body
1. Select one of the choices- You are not being given one for this task, you should decide the starting point for your project

2. You need to select a practitioner , or performance company style in which to base your performance. You must research and discuss their techniques within your portfolio

3. Research- research into previous projects of this nature, discuss and evaluate what has worked and how it can influence your project

4. Pitch- Pitch your performance idea to the correct standard (as you would with an FMP) discussing the points covered.

5. Develop the performance- This should be a trail and error, what works what doesn't. Video evidence of the development. Scripts, material, choreography etc.

6. Present the material- You will present the material next week to the group. You will present this as a Live performance

7. Group Critique- You will critique each others performance and if it met the brief.

8. Reflect- Using the reflection process discussed previously

# data[].attributes.body
Excellent knowledge and understanding of the issues and methodologies, concepts, theories and/or data and its inter-relationship with other fields of study; clear awareness of the limits of knowledge. Very good presentation of qualitative and quantitative data.

Excellent analysis displaying independent thought and strong and well-organised argument, competent application of evidence and theory to solve problems.

Highly effective communication skills appropriate to the level of study, task, audience and discipline. Extremely good demonstration of managing own learning and initiative, learning ability, qualities or skills necessary for employment.

# data[].attributes.body
1. How effectively did the performer engage the audience throughout the solo performance?

2. Did the performer demonstrate strong technical skills and mastery of their chosen performance medium?

3. How well did the performer communicate the intended emotions and themes of their piece?

4. Were there any notable moments of originality or innovation in the performance?

5. Did the performer effectively utilize stage space and movement to enhance the overall presentation?

6. How well did the performer handle any unexpected disruptions or mistakes during the performance?

7. Was the performer's physicality or movement in sync with the style, genre, or character they were portraying?

8. Did the performer effectively use vocal dynamics, tone, and articulation in their delivery?

9. Were there any moments of creative risk-taking or experimentation in the performance?

10. Was there a clear and coherent structure or narrative arc in the solo performance?

11. How effectively did the performer engage with any props, costume, or set design elements?

12. Did the performer effectively respond to and collaborate with any accompanying music, sound effects, or lighting cues?

13. How well did the performer demonstrate a connection with the material or context of the piece?

14. Did the performer exhibit a strong sense of presence and connection with the audience?

15. Was the performer's performance consistent and sustained throughout the piece?

16. Did the performer effectively convey the intentions and objectives of the character or concept they were portraying?

17. Did the performer's facial expressions and body language enhance the overall performance?

18. Were there any technical elements, like microphone or sound levels, that could be improved?

19. Did the performer demonstrate a clear understanding of pacing and rhythm within the piece?

20. Based on the performance, what areas do you think the performer should focus on improving?

# data[].attributes.body
What was the brief?

•How did you plan the project?

•Who was your target audience?

•What roles and responsibilities were given?

•How did you execute the project?

•How did you time manage?

•What was successful about the project?

•What needs improvement?

•How would you develop the project further?

•Would this make an interesting FMP?

•Evaluate the project as a whole - how does the project sit in the current digital era?

•Reflect and provide own opinion and state whether this has inspired you for your own ideas surrounding FMP.

•Include photo and video evidence.

•Plan ideas for future projects that link to this one - possible ideas?

# data[].attributes.body
Task- After smaller explorative task in the space, as a group you will create a performance using the installation provided.

You may use any performance convention to create the style, Voice over, Monologue, Movement etc.

You may choose what the space represents (Hindrance or help within the performance)

Remember you do not have to tell a story with the performance.

Be carful and be safe!

# data[].attributes.body
Beckett Quad

Use Beckett's Quad performance as directions to move around the space.

Do you need to label the space?

How can you communicate to solve this performance?

what are the challenges?

# data[].attributes.body
You must stay within the square performance area

You will be given a set of instructions, you should not share them with anyone else in the space.

You should continue to follow the instructions for the duration of the song

We will then swap instructions and go again

# data[].attributes.body
This is your final degree project. This means everything you have learnt up to this point should assist you with creating a project that is:

•To a professional standard

•Pushes your boundaries

•Is personal to you and your specialism

•Could have a wide range of performance elements or styles

•Is backed up by theory and creative exploration

# data[].attributes.headline
Set last week- Create a plan of your Final Major Project

# data[].attributes.subject
Set last week- Create a plan of your Final Major Project

# data[].attributes.body
•Write down all idea you have and elements you wish to have within your piece. Considering:

•Aim of the piece

•Themes/topic/stimulus

•Performance space and type of performance

•Participants/performers

•Target audience

•Technical requirements

•Skill set requirements and anything you need to develop for the project to be a professional standard

# data[].attributes.body
1. Plan of your ideas

2. Research into practitioners that have looked at similar topics/themes, styles of performance (UK and Internationally)

3. Create practical tasks or mini performance elements that you will showcase the first and second week back after half term.

4. Present your ideas to the group for discussion and gathering further idea surrounding areas you could research.

# data[].attributes.body
Morning-

Continue to develop you practical task or mini performance idea.

This should be linked to a practitioner in terms of similar topics/themes, styles of performance (UK and Internationally)

Afternoon-

Show back

This afternoon you will be showing back/ performing/ running the workshops

It is your project you decide on how you want this to form.

You need to take videos and pictures from today to add to your portfolio, during the development and performance stage

# data[].attributes.attachment_link.title
Research ethics - Staffordshire University

# data[].attributes.attachment_link.description
Ethical issues must be considered as part of all staff and student research projects at Staffordshire University. Our Ethical Review Policy sets the standards and is used for the ethics approvals process.

# data[].attributes.attachment_link.title
PA 03 Brewhouse Arts Center Risk Assessment

# data[].attributes.body
- Proposal form completed

Ethics form (which ever is required)

# data[].attributes.body
Full and complete portfolio (use the check list provided

# data[].attributes.body
Ethics form- which ever is required

# data[].attributes.body
What should be included at this stage-

Research around your idea – general background research

(reference everything)

Practitioners and performance groups looking at the same themes as you or the same performance styles.

What is different about your ideas?

What is happening within the industry at the moment in the

UK and internationally? Who are the big artists? Who is

being innovative and leading the way?

What new technology is emerging? Will you be exploring any of this?

# data[].attributes.headline
You will need to market the performance 9th April 20206 

# data[].attributes.subject
You will need to market the performance 9th April 20206 

# data[].attributes.body
You will need to exploring marketing your performance evening, this will be a group effort to help promote the overall performance. However you are responsible for your own performance information and logging this individually.

Areas to be covered

Name, you will need to name the overall performance evening

Logo from the name, you should create a logo for the performance

Colour scheme/ design, what aesthetic are you presenting for the performance?

Social media- create a social media presence. You should all have access to these accounts and may post your individual performances.

Advertising campaign- Creating individual blurbs, information regarding performances, timeline of events

Press release-

Informing the public about the event, this will be sent to College marketing department and really realised on their website.

# data[].attributes.body
1. Brand awareness

Brand awareness campaigns help increase a company's visibility in front of potential customers. This is possible through TV commercials, magazine ads, social media posts, billboards or many other types of advertising media.

2. Social media

Social media is a good way to get the word out about a product or service, connect with customers and build brand awareness. What works best for your target audience?

# data[].attributes.attachment_link.title
A Comprehensive Guide to Marketing Campaigns | Adobe UK

# data[].attributes.attachment_link.description
Find out how to set up, launch and measure your marketing campaigns so you can tackle your next campaign with confidence.

# data[].attributes.body
How to write a press release

# data[].attributes.body
How are we successfully moving towards this performance date?

Are you happy with the marketing material created so far?

On your proposal, what had you planned for this week?

What is your individual plan of what material you would like to create by the end of this session/ by the end of the day?

What resources will you need for the final performance?

Although this is an individual project, you can still use each other for feedback and to help create ideas.

# data[].attributes.body
Starter task:

How many weeks left before FMP Performance?

How many hours is this?

if you add 1.5 hours a week in your own time how many hours is this?

# data[].attributes.body
Break the day into smaller task.

Before - 10:30-

Before lunch -

Before 2:45-

Before home-

How are you moving into more practical based tasks?

# data[].attributes.body
Max-

Morning before lunch Research

After Lunch- Plan Film section, story board

Hattie-

Before break- Write up tasks from previous

After break- Research

After Lunch- Start choreography

Emily-

Before break- Writing reflection on previous rehearsals

After break- Choreography

Afternoon- Reflect on Choreography

Charlie- Notes on location, props and costume. planning filming schedule

Maddi

Before break- Write out spoke word

Before Lunch- Write out research/

Afternoon break- continue with spoken word and editing

Before end of day- songs and logging findings

# data[].attributes.body
Mini Pitch

Create a 1 minute mini Pitch

What have you created practically so far?

How is your portfolio looking?

Have you posted anything for marketing purposes?

What is your plan for today?

Are you on track overall?

# data[].attributes.body
- Have a one to one, where we can discuss the performance and check the portfolio.

When would you like a technical meeting with Alfie?

When would you like a group show back?

# data[].attributes.body
Help sheet

# data[].attributes.body
Completing this business plan template will help with a lot of the checklist.

# data[].attributes.body
Focus for today:

Continue to develop material for FMP, how this will be achieved?

Marketing Material

Creating a programme for the FMP, you will need to decide how this can be presented.

All in one programme?

Individual programme?

You will also need to include the following information;

Information about the creator

About the performance (influence, inspiration etc.)

Pictures from rehearsals or development

QR code to feedback sheet- you must collect audience feedback (I would recommend Microsoft forms for the feedback)

How to Create a Program for Your Production

# data[].attributes.attachment_link.readable_text
Show programs (also known as playbills) are the easiest way to share important production information with the audience. Programs are a method of acknowledging all the hard work done by the cast and crew to bring the production to life. They also make a nice souvenir for audience members after the show. Programs should be visually appealing, easy to read, and succinct, while including all the necessary personnel information and proper credits.

Programs can be as simple as a one-page flyer or as elaborate as a fully illustrated booklet. Programs can also be themed towards the production - for example, a production of Newsies might want to make their program look like a newspaper, while a production of Treasure Island might make their program look like a pirate's treasure map - or in a completely different medium entirely, such as a display board, or even a digital program that patrons can access on their cell phones.

There are online resources for creating and printing programs, such as Playbillder, but teachers and students can also create a simple program themselves by using a computer program such as Word or Publisher.

Exercise:

In this exercise, students will create a traditional printed program for their actual upcoming production or class performance, or they can create a program for a fictitious production.

The program will be printed and submitted on a minimum of one standard sheet of 8.5" x 11" paper, folded in half (front cover, inside left cover, inside right cover, back cover). Additional pages are optional. The cover and any images or photographs should be in colour. Spelling and grammar definitely count!
What to include:

Show title and graphic (for the cover)

Show dates and times

Location of performance

Production credits (playwright/book writer, lyricist, composer, and any other important credits that were indicated when you purchased the rights to the show - these credits cannot be omitted!)

Director's note and/or brief summary of the show

Cast list with actors' names and role(s)

There are many different ways of crediting the performers!

Alphabetical by actor's last name

In order of appearance

In order of speaking

In groups (for example: "Kansas," "Munchkinland," "Forest," "Oz" in The Wizard of Oz)

Size of role (I try not to use this ordering method if I can help it, as it encourages a "leads are more important than the ensemble" mindset.)

Whatever order you choose for crediting the performers, be sure to indicate this order underneath the "Cast" title, for ease of understanding.

Crew list, including all artistic staff members (producer, director, musical director, choreographer), stage management team members, assistants, designers, operators, band/orchestra members, and additional crew members

Special thanks to anyone who assisted with the production (such as rental sources, dramaturgical assistance, people or companies who donated items or services, financial sponsors, etc.)

Optional (include at least two):

Cast and crew headshots and biographies

Scene and/or song breakdown

Principal's message

Advertising spaces or "good luck/break a leg" messages from friends and family (can be sold as a fundraiser)

Additional photographs (cast, crew, performance photos)

Blank page for autographs

Advertising for an upcoming production or special event

# data[].attributes.attachment_link.title
How to Create a Program for Your Production

# data[].attributes.attachment_link.description
Show programs (also known as playbills) are the easiest way to share important production information with the audience. Programs are a method of...

# data[].attributes.body
Afternoon session- show back

Perform or demonstrate a show back to the group. We will provide feedback for each piece.

Consideration

What is it you would like feedback on? an area/ section? can you create a mini feedback template to help shape this feedback?

# data[].attributes.body
This afternoon you will present your performance to receive feedback.

you need to ensure you have suitable feedback forms or questions to help inform your portfolios.

Gemma will film the show back for your record.

3 week until the performance- what are you going to focus on?

# data[].attributes.body
Final checklist

Max show back/ feedback

Is the programme completed?

Final feedback questionnaires completed

All technical requirements completed (Tech scripts if needed also)

Timings of performance

# data[].attributes.attachment_link.title
Emily Webb Maddi Poynton Dress Rehearsal

# data[].attributes.body
Assessment 3:

Reflective presentation analysing process and discussing success of the project from concept to exhibition

(20 minutes)

(20%) (LO 5 and 6)

# data[].attributes.body
5. Revisit and evaluate objectives that have been agreed in negotiation, and make creative decisions to achieve planned outcomes, producing work of a professional standard.

6.Demonstrate and record the process of working on a professional brief, showing the development of your intentions through to the realisation of the project

# data[].attributes.body
1. What have you done? State briefly your project. What was the initial aim and how this developed into the final product. Justification of creative decisions made for development of the piece.

2. The learning: What have you learnt about: Your topic, your medium/artform, your techniques & process, the factors included in creating your final project.

3. The point (Why): What is the point of your project? Why is your project useful and how could you use it in the future? What ideas has the process given you? How could your project be developed in other ways? What other techniques could you combine with your project? How could your project support other projects within your medium of choice? How could your project benefit your own portfolio of work?

4. The success: What has been successful? How did the process make your work interesting? What strengths does your project have?

What areas need to be developed? What went wrong? What mistakes were made and how would you rectify these in the future?

5. Improvements: How can you address the areas that needed improving? What will you do differently next time? Do you need to try things in a different way? – How?

6. Audience feedback: What do others think of your final project? Do they like or dislike? Do they agree with the topic? Do they offer alternative ideas? Were they inspired? How has the audience feedback influenced future ideas for your project to be developed further?

Use the reflective questions on the padlet page as well to help develop a higher level of analysis.

# data[].attributes.body
(30%)

A 10-minute presentation analysing:

Project outcomes

Viability of your enterprise idea

Future development opportunities

Learning objective 4

Reflection

Critically review, evaluate and assess the level of commercial success across a range of influencing factors.

# data[].attributes.body
Planning and preparation

Defining the business/enterprise (what is the product)

Mission, objectives and scope

Outcomes

Income generated, units sold, number of customers, How you physically sold them.

Evidence of outcomes could be receipts, social media, feedback

Success of business

What was the cost vs profit

Identify Influencing Factors

Internal- what made you successful

Resourcefulness, Leadership, etc.

External- Competition, market trends. etc.

Likeliness of Long-Term Success

Why could this be successful long term?

barriers

Future viability/ Assessing Long-Term Potential

Could you make this into a full time business?

Financial liability to continue, Resources to continue running the business, Growing the business further, Financial Support for Growth, Financial Investment, Resources Requirement

Critically Evaluating

What Went Well? What Didn't Go Well?

Evidence this with data and information.