Careers in Performing Arts
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The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer
UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community. -
Estella Programme 9Page.Indd
ADAPTED AND DIRECTED BY KATE MCGREGOR PRODUCED BY THEATRE6 AND TALES RETOLD HHHHH “Brave, brilliant and unmissable” The Times (The Scottsboro Boys) HHHHH “Captivating” Windsor Express (Persuasion) DIRECTOR’S NOTES I’ve loved Dickens’ ‘Great Expectations’ for many years and always found myself entranced and intrigued by Miss Havisham and her adopted daughter Estella. Estella is often described as a mystery to those around her - cold, lonely and unfeeling. However, when you consider her childhood and immediate role models, it’s no wonder she has struggled to establish her own identity. Throughout the novel, Estella is kept away from the truth of her life by Pip, Jaggers and Miss Havisham and this just didn’t seem fair to me. Therefore, I wanted to write a version that put the women of ‘Great Expectations’ unapologetically front and centre. 'Estella' is about giving Estella, Molly and Miss Havisham their time in the spotlight and in doing so, releasing them from the fate of being forever underwritten and universally misunderstood. At Theatre6 we work predominantly with live actor- musicianship and this approach has been the perfect vehicle to help unlock Estella’s secrets and lay her truth bare. It’s been really exciting to fill in the gaps of Estella’s life and give her new agency. We hope that this adaptation celebrates the fascinating narratives of so many women in Victorian literature and establishes a new legacy for classic popular fiction. KATE MCGREGOR - DIRECTOR CAST Afia Abusham - Estella Afia Abusham completed her Acting training at the Stella Adler Studio of Acting in New York City. -
BBC Norman Beaton Fellowship 2012
BBC NORMAN BEATON FELLOWSHIP 2018 Terms and Conditions 1. BBC Norman Beaton Fellowship ("the NBF") is organised by the British Broadcasting Corporation ("the BBC"). 2. The BBC NBF 2018 event is not open to any employee of the BBC or a BBC Group company, close relative of a BBC or BBC Group company employee, or an employee of a partner organisation 3. For Applicants to be accepted, Applicants must be a member of the acting profession and must be eligible to work in the United Kingdom for the duration of the contract (Saturday 21st July 2018 to Friday 21st December 2018). They must be at least 18 years old on or before the Saturday 21st July 2018. There is no upper age limit. 4. Applicants must fully complete a registration form on arrival at the NBF workshop, indicating their recent professional work as an actor and providing the name of a verifiable referee. Applicants failing to provide the name of a referee will not progress further. 5. This information will be collected and held by the BBC for the purposes of administering the BBC Norman Beaton Fellowship 2018. Application forms of shortlisted candidates will be shared with the external judges at the Semi-Final and Final. CDs of the Finalists’ auditions may also be circulated internally within the BBC Radio Drama production departments for casting purposes for possible BBC productions. Your personal information will not be shared with any other external third parties. Your personal information will be processed in line with the requirements of the Data Protection legislation and all personal information except your name will be deleted 12 months after the Fellowship award ends, or any other production that you are selected for ends. -
Student Guide to Drama Education 2016–17
STUDENT GUIDE TO DRAMA EDUCATION 2016–17 622315 ISBN 9781910622315 781910 9> SGDE1617-OL_001_Covers B01.indd 1 03/08/2016 16:33:12 SGDE2016 ONLINE.indd 2 04/08/2016 10:45:31 Student Guide to Drama Education 2016–17 Welcome to the Student Guide real-life graduates’ experiences on four very different to Drama Education. This guide courses. is designed to answer many of the questions you might have Don’t forget while going through the scary in approaching the daunting application process, though, that it’s important to task of applying to study or continue enjoying theatre as well, both practically train in drama. and as an audience member: we offer advice on both in this guide. Finally, with some extracts and We look at the logistical issues some essentials lists, we advise on how to stack your of choosing between university, drama school or shelves with really useful books to help you through alternative forms of training, and how to pay for your your applications, training, and the early stages of courses once you embark on them. The majority your career. of students wish to apply to acting courses, and therefore we have a three-page feature on the all- Break a leg! important task of choosing audition monologues and delivering them well. However, there are many other Sarah Lambie varied courses for those interested in pursuing drama Editor careers, which is why we begin with a roundup of Performance Contents Learn by watching 45 Learn by doing it yourself: Setting up a theatre company 48 Education & Administration Performance listing -
An Overview of Higher Level Qualifications in Music, Dance and Speech and Drama Subjects
An overview of higher level qualifications in music, dance and speech and drama subjects Prepared by Rachael Meech February 2016 Contents Section 1: Executive Summary Page 3 Section 2: Introduction Page 4 Section 3: What are “higher level” qualifications? Page 5 Section 4: Types of qualifications Page 7 Section 5: Why do we need different types of qualifications Page 18 at higher levels? Section 6: National benchmarks for higher level qualifications Page 20 Section 7: Conclusion Page 26 Bibliography Page 28 Report for CDET 2 Section 1: Executive Summary This report investigates the range and types of qualifications available at higher levels in the performing arts sector, focussing on the subjects of music, dance and speech and drama. The report outlines qualifications available at levels 4-8 of the Regulated Qualifications Framework, levels 7-12 of the Scottish Credit and Qualifications Framework and those available in the Further and Higher Education Qualifications framework. Section 3 of the report defines what higher level qualifications are and where they are located in the various frameworks. Section 4 of the report investigates types of qualifications including undergraduate and post- graduate degree courses offered by universities, conservatoires and affiliated providers, vocational training offered by vocational schools, other regulated1 higher level qualifications and higher level qualifications offered by graded examination awarding organisations. Section 5 of the report examines the need for the range of qualifications on offer and the reasons why a diverse provision is available. Section 6 outlines the various national benchmarks that exist for higher level qualifications including those governing undergraduate degree courses, National Occupational Standards, requirements for teaching qualifications and specific sector based initiatives. -
Why the Dramatic Arts?
THE CLOTHWORKERS’ FOUNDATION EVALUATION OF THE PROACTIVE DRAMATIC ARTS GRANTS INITIATIVE Executive summary Executive Summary The Clothworkers’ Foundation (TCF) aims to make ‘“game-changing’” interventions by providing opportunities for people who experience disadvantage. It set up the Dramatic Arts Initiative with the intention to address some of the issues challenging the success of the UK theatre industry. The Initiative rose out of a conviction that young individuals are empowered through the arts and that those who are talented can benefit from inspirational teachers and life enhancing experiences. Thus, it is important to invest in the talent pipeline so that talented young individuals have the best opportunity possible to enter the business. Disadvantage and lack of opportunity pose the greatest threat to the talent pipeline in important sectors of the UK economy such as the creative and cultural industries, especially through the current marginalisation of creative subjects by the education system which is potentially damaging the career and life opportunities of young people, and threatening the continuing success of one of the UK’s most innovative and productive industry sectors. The Dramatic Arts Initiative ran from 2014 to 2018 across two strands. The Bursary strand supported 25 individuals to study with RADA, LAMDA and the NYT or to further their studies and creative careers through the SOLT Laurence Olivier Awards. The second strand, the Regional Theatre Awards, provided five regional theatres across England with £150,000 each over five years to develop new work, young talent and community relationships, in line with the Foundation’s broader purposes. Delivering successfully This evaluation and impact assessment demonstrate how the Dramatic Arts Initiative was successful in meeting the original objectives of The Clothworkers’ Foundation. -
Stage Management Association
STAGE MANAGEMENT ASSOCIATION This Career Guide has been written, compiled and edited by members of the Stage Management Association . We are indebted to Marian Spon for the cartoons. © Stage Management Association, 2009 First edition prepared by the Stage Management Association with the help and advice of the Association of British Theatre Technicians and British Actors’ Equity Association. First edition published 1991 (0 9517441 0 0) Second (revised) edition published 1997 (0 9517441 1 9) Third (revised) edition published 2005 Fourth (revised) edition published 2009 Fifth (revised) edition published 2014 Stage Management Association 89 Borough High Street London SE1 1NL www.stagemanagementassociation.co.uk 020 7403 7999 Company Limited by Guarantee (England and Wales) Reg No 3819176 1 Stage Management – a Career Guide Contents Introduction 3 The Stage Management Team 4 Career Structure 10 What do you do now? 10 Training 11 Drama Schools 12 A Career as a Stage Manager 14 Getting a job 15 Television and Trade Shows 16 Organisations you should know about 17 Resources Listing 19 2 Stage Management as a Career 1. Introduction This is essentially a “people management” job. A Stage Manager must have the temperament and ability to get along with people in both the artistic and technical sides of theatre, and to understand what they do. It is part of the attraction of the work that each new job will introduce new and different challenges. However, the work is never glamorous, often involving long hours and fairly boring, repetitive tasks as well as being physically demanding. During the initial rehearsal period, the stage management team is responsible for: Marking out the set on the floor of the rehearsal room with coloured mark-up tape, based on the designer’s ground plan. -
Rated One of the UK's Top Drama Schools for Student Satisfaction.*
Rated one of the UK’s top drama schools for student satisfaction.* bruford.ac.uk From Sketchbook to Stage, Collaboration Guides Everything We Do “It was great collaborating with the other courses to put on real shows as it really demonstrated how the collaborative process works and how, as a designer, it’s really important to make practical decisions as well as creative ones.” Liz Essex, Crowd Costume Assistant on Spectre and 2011 BA (Hons) Theatre Design Graduate /rosebrufordcollege @rosebruford / 3 bruford.ac.uk We Train Like a Conservatoire and Imagine Think Like a University Yourself Here You will be trained as a creative artist Rose Bruford College of Theatre and Rose Bruford College is a wonderful As London’s International Drama and practitioner who can use reflective Performance is London’s International institution. It has heart, courage School, there is a place for everyone practice and research as tools to Drama School - A creative global and talent. at Rose Bruford College. become an independent thinker community. prepared for the world of work. As a world-leading college for the Become a part of the team here and You will be offered excellent and diverse study of theatre and performance, you’ll find yourself among some of the The teaching, learning and training ethos professional vocational training within Rose Bruford College has a fantastic most talented and capable students at Rose Bruford College places emphasis a university environment where teaching, reputation of innovation and excellence, in the industry. Be ready to let Bruford on artistry, collaboration, community, learning and research are linked both nationally and internationally. -
TEF Submission 157.06 KB
Name of Provider: Royal Central School of Speech and Drama UKPRN: 10007816 TEF Year Two provider submission Provider Context The Royal Central School of Speech and Drama (hereinafter ‘Central’, or ‘the School’) is a small and specialist higher education institution that stands at the forefront of training and research in the theatre and performance arts. Placing students at the centre of its work, Central develops practitioners and researchers who shape the future of theatre and performance across the UK and beyond. This is achieved in a conservatoire environment that is vocationally focussed, industry aligned and intensely practical. We train students to high-level industry standards in specialist technical theatre practices and identify, inspire and equip cultural leaders to develop the future of the theatre industries. By creating new challenges in our training environments, and establishing ourselves as a world-leading centre for research excellence in performance, we foster a climate of creativity, artistry and innovation that prepares students not only for jobs, but for professional careers. Recognition of the School’s world-leading teaching and graduate impact was conferred on Central by HEFCE in 2016 as a result of its review of institution-specific targeted allocations (ISTA); the review panel comprised a number of international experts, and led to the School being awarded the highest possible allocation of institution-specific funding. Academic strategy and philosophy Central is committed to: maintaining our distinctive ethos -
Artist Development and Training in the Royal Shakespeare Company a Vision for Change in British Theatre Culture
Artist Development and Training in the Royal Shakespeare Company A Vision for Change in British Theatre Culture Volume I Lyn Darnley A thesis submitted to the Faculty of Arts of Royal Holloway College, University of London for the degree of PhD Department of Drama and Theatre Arts Royal Holloway College University of London Egham TW20 OEX March 2013 Declaration of Authorship I, Lyn Darnley, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________________ Date: ________________________________ Contents Volume I Page Abstract ......................................................................................................... 1 Introduction ................................................................................................... 2 Chapter One: The Royal Shakespeare Company and Training .............. 16 Chapter Two: Training and the Shakespeare Memorial Theatre ............. 38 Chapter Three: Cicely Berry....................................................................... 72 Chapter Four: Training and Ensemble under Adrian Noble .................. 104 Chapter Five: The Pilot Programme December 2003 ............................. 140 Chapter Six: Training for the Comedies Ensemble – 2005 ................... 192 Chapter Seven: The Complete Works Festival 2006-2007 ..................... 234 Chapter Eight: Achievements, Challenges and Moving Forwards ....... 277 Bibliography ............................................................................................. -
A Case for Curriculum Extension in UK Vocational Actor Training Ian Wilkie*
London Review of Education Volume 13, Number 1, Spring 2015 “Too many actors and too few jobs”: A case for curriculum extension in UK vocational actor training Ian Wilkie* UCL Institute of Education, University College London This article questions the current situation for vocational acting training (VAT) in the UK. It aims to provide an update on the report into burgeoning provision of acting training (and the attempt to address subsequent high rates of actor unemployment) that was originally undertaken by the Calouste Gulbenkian Foundation (CGF, 1975) in their publication entitled Going on the Stage. The article will suggest that the continued proliferation of VAT offered at tertiary level, allied to the dearth of career opportunities for graduates, means that the current training offer is not entirely fit for purpose. It will further propose that VAT requires a widening of the curriculum offer in order to provide meaningful vocational workplace readiness for course graduates at a time when, as Malcolm Sinclair, president of the British actors’ union, Equity, acknowledges, ‘there are too many actors and too few jobs’ (in Clark, 2014a: 17). To address the question of VAT and employability in the UK, this article will reconsider the three questions initially posed in Going on the Stage (CGF, 1975: 7). These were: why is drama training necessary, to what extent do the present arrangements fall short of the ideal, and what should VAT entail? By re-posing these questions, this article will present the contemporary context of VAT, review the status of progression rates into employment, and propose a case for curriculum extension in light of the findings. -
Papers-Teaching-Demonstrations-Athens-2019
PAPERS - TEACHING DEMONSTRATIONS Prof. Sergei Tcherkasski, Ph.D., D.Sc. Head of Acting Studio Russian State Institute of Performing Arts Wednesday 17th July Keynote speech 100 years of the Stanislavsky System and Modern Actor Training Film Stanislavsky and Yoga Duration – 44 min, with English subtitles This documentary film presents theater director and acting teacher Sergei Tcherkasski (Head of Actor Studio at the St. Petersburg State Theatre Arts Academy) in conversation about yoga in actor training with leading world theatre practitioners – directors Anatoly Vasiliev, Luk Perceval, playwright Ivan Viripaev, artistic director of St. Petersburg Molodeghnyi Theatre Semen Spivak, as well as Archimandrite Isidor, Grotowski’s researcher Natella Bashindgiagian, and young actors. .Film includes rare archival footage and photo stills as well as stunning views of Moscow Art Theatre and Stanislavsky’s House. It is based on Tcherkasski’s award-winning books “Acting: Stanislavsky-Boleslavsky-Strasberg” and “Stanislavsky and Yoga” and was premiered at the Russian National TV Channel CULTURE in Nov 2016. Sergei Tcherkasski is Professor of Acting and Directing, Head of Acting Studio at the Russian State Institute of Performing Arts (St. Petersburg State Theatre Arts Academy, est. 1779). He is a director, teacher and theatre researcher and holds Ph.D. and D.Sc. (Theatre Arts). He was formerly Artistic Director of the Pushkin Drama Theatre in Krasnoyarsk and was teaching and directed productions all over the world, including the Komisarjevsky Drama Theatre, Liteinii Theatre (St. Petersburg) and RADA (London), NIDA (Sydney), National Theatre (Bucharest). His books include Stanislavsky and Yoga (Routledge, 2016, also in three other languages); Sulimov’s School of Directing (2013); and multi-awarded Acting: Stanislavsky – Boleslavsky – Strasberg (National Prize for Best Theatre Book’2016, International Stanislavsky Award’2017).