Unit 3

• Why is warming up for physical/vocal activity important? Consider all elements of performing arts.

Warming up is important for a multitude of different reasons. One of the main ones we focus on relates to not damaging ourselves, physically, or vocally. If we’re about to do an intense dance routine, which consists of lots of twists and turns, we want to make sure our muscles are nice and relaxed, to avoid pulling anything, or strain. Why we vocally warm up, both in acting, and in singing, is if we’re going to do a big important monologue, or sing your heart out to the audience, a voice crack may ruin the mood a tiny bit. We want to avoid strain as much as possible with our voice, to make sure we sound the best, while also keeping our vocal chords nice and healthy, so we don’t encounter some of those very awkward moments. (It happens to the best of us.)

• Give examples of exercises and tasks that you might do to warm up for physical/vocal activities. Use images/videos to support your research.

Physically warming up, you usually want to start with something to get your heart beating, and blood pumping around your body. This prevents stitches as oxygen will be pumped all around your body, and much quicker. We can do something as simple as jogging on the spot, or Jumping Jacks and High Knee kicks, to pump blood everywhere around your body.

After that, you want to move onto Joint Mobility, to avoid pulling muscles in critical, and painful areas. You can do this by rolling your shoulders, gentle stretches, and individual body movements, such as rolling your ankles, wrists and neck.

After this, I tend to move onto doing full body stretches, so twisting your waist, (you usually hear a satisfying crunch) arm circles and leg swings, just to make sure you engage every muscle type, and avoid injury and strain.

After all of this, I tend to have some fun with it and awareness exercises, to make me one with the space i'm in. You can get into different yoga positions, such as the Cobra, and relax. Calm your breathing and become zen. I then try to balance, so I am more grounded. I do this by raising one leg up and trying to stay grounded for as long as possible.

• Describe a safe environment for performing arts. Consider the rehearsal environment and performance space.

We first have to make sure there aren’t any hazards layed around the space, so we need to make sure all bags and safely tucked away to the side, lighting is adequate, as we need to know what is around us and all the floor is safe, so there’s no slippy spots from people dropping water. We also want it to feel like a safe environment, so we need to make sure everyone is polite to each other, and there’s no arguments taking place, or malicious comments being made about any other performer. We also need to make sure it’s at a suitable temperature, and it’s ventilated correctly, as this makes it more comfortable, and a healthy atmosphere, and no one is overheating.

For the Performance space, especially when we have an audience, we need to make sure the audience is well lit, specifically the stairs, as we don’t want anyone tripping up or down them. Then we have to make sure the audience is aware of the location of the fire exits, and they’re always clear from anything blocking them, or creating a trip hazard for that point. We also need to make sure backstage is well lit enough, to avoid people falling over and injuring themselves.

Having all of this lets us as performers thrive, as once we have these rules and safety procedures set out, we can focus more on performing, as opposed to worrying about safety.

• Outline what professional conduct is within rehearsals/performances. Give at least six examples and fully explain your answers.

1. Punctuality. It is extremely important to arrive on time to the rehearsals, and especially the actual performance, as it demonstrates respect for the directors, and fellow cast members. Arriving on time makes sure that rehearsals can go as smoothly as possible, as scenes won’t have to be missed from rehearsals, and it takes full advantage of everyone's time, and negates any unneeded and unwanted stress from the other performers.

2. Communication. It is extremely important to communicate to one another, about anything and everything. For example, if you think a scene could be done a different way, or you need help learning lines, or on how your character needs to act, being able to speak to fellow crew members, or the director is critical, as it can make you a lot more confident. Communication also avoids arguments, as then everyone knows what they’re meant to be doing, learning or rehearsing. It is also a very effective way to schedule meet-ups, to go through certain scenes you may be less confident in.

3. Preparedness. Being prepared during rehearsals is very important, as it can lead to others having a more stress free time while trying to go over scenes. This could be as simple as learning lines, knowing cues, lyrics to songs, or the choreography to a dance routine. Coming to rehearsals prepared, overall, makes you succeed more, as you can begin mitigating little mistakes you might have, and if you learn the lines on the final day before the performance, you don’t get that luxury of polishing everything.

4. Collaboration. Being able to have maybe a weekly discussion about what you want to achieve this week, maybe nail scenes 1-3, can really improve morale and effectiveness of the group as you all have clear plans for the group. If someone decides to not collaborate with the group on different matters, this will lead to them not having a clue on what they need to achieve. This can also be being open to others' ideas, as if you only do what you want to do, you’re missing out on everybody else’s ideas, which could be amazing. But you should always try an idea, before binning it, because it might not sound great, but in practice, it might be incredible. Or the opposite could be said. This is an especially important conduct to have for the director as well, as it could put the casts ideas into the performance, so they are more determined to work hard for the performance.

• How can an injury be prevented? What should you do if an injury occurs before rehearsals/during rehearsals?

Injury can be prevented by simply warming up before the rehearsal. We also need to make sure we have hydrated and have eaten enough, as this could lead to fatigue and decreased focus, which could lead to injury. We also need to make sure we have regular breaks, especially in more demanding rehearsals, just to avoid overdoing it.

During rehearsals, if someone is injured, we need to make sure they are safe. This can be making sure they’re conscious, bleeding, or anything which could be conceived as dangerous. Then we need to get medical attention, this could be a med kit, or someone who’s medically trained, to make sure they’re safe, and well. Depending on the injury, they could get up again, but if they do, it’s important to communicate to directors on what has happened, so we can adjust anything if needed. If the injury is more serious, it may be necessary to phone an ambulance, to make sure they’re as safe as possible. If they can get involved again, it’s important to let them rest when they need to, as overexertion won’t be good, if they’re already injured.

• Describe a typical cool down and why it’s important at the end of a movement session?

A cool down that I tend to do after a session, starts off with gentle stretching, with deep long breaths, to ensure all muscles can relax, and not cause pain in the following days. This could be stretching your arm over your head, prioritizing the arm and abdomen muscles, as they can end up becoming very sore. We also need to practice breathing exercises. Deep breathing encourages your muscles to relax and release tension around the body. It’s also important to get your heart rate back to your resting heart rate, so you can relax, as well as your body. I think it’s also needed to perform mind cooldowns. This encourages mindfulness, and lets you relax, and reflect on what you’ve achieved during the session.

A cool down is important at the end of a movement session because it prevents your muscles aching or becoming sore, while also circulating your blood a lot more evenly, and calmly. Doing this can also get rid of any discomfort you might have, like stitches, as cooling down and breathing more steadily will break down the lactic acid. Cooling down slowly also prevents a drop in blood pressure, which could result in someone feeling sick or dizzy. Relaxing and cooling down also puts you in a better mindset, ready to absorb any information you need after the day's session. Cooling down is an extremely effective way to recover physically, but also helps in well-being, as cooling down mentally can get rid of a lot of stress you might have faced during the day.

• Create some ground rules that you feel are important during dance rehearsals and performances. Consider clothing, mutual respect, the space and being ready for the lesson.

Ground rules:

Wearing appropriate clothing. Having the ability for freedom of movement is very important, while also preferably suiting the style of dance or performance we would be doing.

Respect. Showing peers, and the teacher respect increases productivity, as there doesn’t need to be any conversations about attitude or how people speak to others. Respect could be as simple as providing constructive feedback, following instructions or being nice to other people relating to their work.

Cleanliness of the Space. Having everything like bags, coats, drinks, away from the performance area, unless it’s water, then it’s aloud at the sidelines, makes it a lot easier to actually perform, as we don’t have to be dodging obstacles during rehearsal, especially in dance, since you are mostly focusing on the audience, so you don’t want to trip up on anything during rehearsal or a performance.

Team Spirit. Being able to work as a team, without many arguments, always makes life easier during rehearsals, as it keeps spirits high. Also, avoid talking, or arguing about things that aren’t related to the dance session, as this just slows rehearsal time for everyone and makes it a lot harder, as you should be focusing on the material at hand.

Unit 3, Task  2 - Harry, Kady, Joe

Progression Opportunities:

• HNC and HND Performing Arts 

• Drama school/Dance Colleges - such as LMA (Liverpool or London), Italia Conti (London), etc

• Performing arts/singing/dance/performing jobs - such as cruises, theatre companies, Disney character roles or ensemble in resorts or cruises, pantomimes, etc. These involve an audition process which is why audition prep and typically a repertoire.

• Teaching either or all three disciplines - this typically involves completing further performing arts studies and degrees and then completing a teaching degree (or a teaching top-up degree). You can often teach in local dance studios/schools or performing arts classes with just the Level 3 and a passion for the art and teaching

• Professional jobs in TV/West End/Film/etc - this can be through applying/auditioning to agents to get representation, or through open auditions - some casting agencies include Mark Jermin Management, Lime Casting Agency, BMA Artists, etc. 

Job Roles within the performing arts industry:

Performer - obviously the skills needed vary depending on which aspect, typically Musical Theatre performers are expected to be triple threats, and there are often no formal requirements for specific qualifications. There are many different routes into the industry, such as open auditions, attending performing arts colleges or universities, auditioning for agents, etc. There are more general skills which are vital for a successful performer, such as: a passion for performing, good communication, general technique, reliability and punctuality, teamwork skills, being open to new and diverse ideas, determination and resilience, stamina, the ability to learn quickly (whether it’s lines, choreo, lyrics, stage directions, etc), and much more. 

Director (film, tv, theatre) - responsibilities include reading scripts, observing and assisting rehearsals, directing actors during filming or rehearsals, selecting locations for scenes, helping select actors/performers, create a network of contacts, ensure budgets are stuck to and not exceeded, assist and support all create aspects of projects, etc. Directing jobs are complex as they involve a variety of expectations and responsibilities. Again, there are no set routes into this role, however, many directors tend to have previously studied film directing at universities as this helps gain a deeper and extended knowledge of the job and the industry. The general skills required for this job are: good communication, creative ideas and ability to think diversely, excellent time management, good attention to detail, problem solving skills, finance skills, etc.

Choreographer - A high level of dance knowledge and technique is often essential for successful choreographers. Choreographers also need to have a creative mind, so they produce more effective pieces of work - as well as having a good ear for different music, spatial awareness, deepened knowledge of dance styles, patience, stamina, understanding skills, communication skills, self discipline and determination. All these are necessary skills for a Choreographer, as without these, they couldn’t produce high quality work.

Agent - To be an agent, you need a multitude of different skills, which mostly consist of professional skills. You need: excellent communication skills, the confidence to be a strong decision maker, determination and resilience, incredible persuasion skills, so your talent gets hired, organization skills, as well as being able to concentrate.

Vocal coach- someone who helps find techniques and procedures that improve singing ability. They also help clients find personalized warm-ups to make sure they keep their vocals in good health. This job is a common job that people move into after performing arts as you can work self-employed as it doesn’t require an employer. Along with this, people will pay a lot for experienced and skilled vocal coaches. Also, vocal coaches average £31,000 annually which is a good wage but only if you are in the higher echelon of vocal coaches.