Presentation - Essay Research Preparation Task - 'Role of the Actor'

List of Contents

Definition of an Actor

Skills and Techniques

Methods of Line Learning

Types of Acting

Aims and Goals

Responsibilities of an Actor

Evidence of Rehearsal - Miscellaneous Sessions

 10th September - Act 2, Scene 1 Staging

25th September - ''Show Tags''

Take It Like A Man

Chip On My Shoulder

Legally Blonde (remix)

Ohmigod You Guys

What You Want 

So Much Better

22nd October - Singing 'There, Right There!' (Including another instance of my filling in for other roles.)

15th November - Staging the Finale

19th November - Staging 'Legally Blonde (remix)'

Performance Planner - What I Did During Shows

Act One

Scene 1 - Ohmigod you guys

-Singing chorus vocals backstage

-Friday only: Shop Assistant role onstage (cue is alteration in music and set change entrance to the shop)

-Friday only: SR wing holding box of candles for Delta Nus to take and leave

-Standby with water for Elle after quick change

Scene 2 - Restaurant (Including Serious)

-No activity required

Scene 3 - What You Want

-Check all Delta Nus have their magazine props

-Standby with water for Elle after quick change (x2)

-Singing chorus vocals backstage

-Check Winthrop has Elle's headshot prop

-Thursday Only: help Margot with quick change into cheerleader outfit

Scene 4 - Harvard Variations

-Make sure all ensemble (+Emmett) have props they need (inc. folders, laptops etc.)

-Singing chorus vocals backstage

-Standby with water for Elle after quick change (this happens a lot... but I volunteered!)

-On-Night: 'Bruiser loves glee' - entrance cue - do not leave the stage

Scene 5 - Blood In The Water

-Singing chorus vocals backstage

-On-Night: end of song - exit cue

-No other activity required

Scene 6 - Hallway (Inc. Positive)

-Standby with water for Elle (and Vivienne on off-night)

-On-Night: 'Your law career is not over' - entrance cue

-Singing chorus vocals backstage

-Preset champagne glasses in SR wing (Scene 8)

Scene 7 - Hair Affair (Inc. Ireland and Ireland (reprise)

-Off-Night: Standby with water for Vivienne

-On-Night: 'Tell me something I don't know' - entrance cue

-Off-Night: Prepare Vivienne's quick change in SR wing (black dress, wine bottle)

-On-Night: 'See you there' - exit cue

-Off-Night: Complete quick change during Ireland (Reprise)

-On-Night: I have the quick change

-Singing accompaniment line for Ireland

Scene 8 - Party

-This is the scene I directed!

-Standby with water for Elle (and Vivienne on off-night) after their quick changes

-Start of music underscore - entrance cue

-Cue ensemble entrance to scene SR

-On-Night: '...three doors down from justice souter' - exit and quick re-entrance cue

-On-Night: 'she is!' - exit cue, pushed off by ensemble

Scene 8 (continued) - Chip On My Shoulder

-Off-Night: Help Vivienne with slower change (beige trousers, black jumper, purple cardigan)

-On-Night: I have the slower change (grey trousers, black jumper)

-Off-Night: Tidy and prepare Vivienne's costume area

-Standby with water for Elle after quick change

-Check Emmett has antler costume piece and present prop

-Check Warner has ring prop for following scene

-'Daughter of Delta Nu' - cue SR set change (bringing on Harvard benches)

-On Night: Use the above as entrance cue

-On-Night: 'I'm one step ahead of you' - exit cue

-Singing chorus vocals backstage (as well as a small section onstage on On-Night)

Scene 9 - Trailer Park into So Much Better

-Standby with water for Elle (and Vivienne Off-Night)

-Check Elle has phone prop

-Cue Aaron Schultz entrance SL

-On-Night: 'Was that law?' - entrance cue

-Singing chorus vocals (On-Night - onstage; Off-Night - backstage)

Interval

-On-Night: Change into brown dress and black blazer

-Off-Night: Help Vivienne with slower change (grey dress and black blazer)

-Tidy away Act 1 props 

-Double check champagne glasses preset after use in Scene 8 (three on each side of the stage)

-Water for everyone! Fill up people's bottles if needed

-Check all cardio ensemble have resistance band props

-Check all lawyers have clipboard prop (notebook for Elle)

-Check Callahan has remote props

-Off-Night: Change into Salon Folk costume (flowery dress, brown boots - if not done so already)

Act Two

Scene 1 - Whipped Into Shape

-Singing chorus vocals backstage

-On-Night: 'Whipped Into Sh-' - entrance cue

-On-Night: 'To the jail' - exit cue

-Off-Night: Standby with water for Elle, Vivienne, Enid, Emmett, Warner 

-On-Night: '...you've got visitors' - entrance cue

-On-Night: 'Get out of here, all of you - guard!' - exit cue

-On-Night: 'You gotta take care of me, Elle, you swore!' - entrance cue

-On-Night: 'I'd rather not see ratty corduroy or legally blonde for the rest of the day' - exit cue

-Take clipboard props and put them away

Scene 2 - Take It Like A Man

-Standby with water for Elle and Emmett before entrance

-Singing chorus vocals backstage

-Distribute flag props for There, Right There

-Place Judge's gavel on set piece

Scene 3 - Hair Affair (inc. Bend and Snap)

-Standby with water for Elle (usually too quick a turnaround)

-Singing chorus vocals backstage

-Finalise ensemble props (flags) for There Right There

-Check ensemble with benches are ready for set change

-Check Paulette has phone prop

Scene 4 - Courtroom (inc. There, Right There!)

-Standby with water for Elle and Enid (and Vivienne Off-Night)

-Check Elle has phone prop

-On-Night: Start of scene - entrance cue

-Singing chorus vocals (On-Night - on stage; Off-Night - backstage)

-Off-Night: During song, move window set pieces (1xSL, 1xSR) and door set piece (1xSL) out of cubby hole, but not blocking walkway

-Check wigs have been preset in shower cubicle

-On-Night: End of scene - exit cue

Scene 5 - Callahan's Office (inc. Legally Blonde)

-On-Night: Start of scene - entrance cue

-Off-Night: Bring on SL window set piece

-Off-Night: Prepare costume change for Vivienne (pink jumper, red skirt, red headband)

-On-Night: 'Everyone else get a good night's rest etc.' - exit cue

-On-Night: 'I've learned so much' - entrance cue 

-On-Night: 'Warner, shut up' - exit cue

-Off-Night: Help Vivienne with change

-Off-Night: water for Vivienne and Enid

-Check magazine props are preset on Hair Affair hairdryer chair set pieces

Scene 6 - Hair Affair (inc. Legally Blonde (remix))

-Bring on hairdryer chair set piece SR (always On-Night, Off-Night x1)

-Off-Night: Standby with water for Elle after quick change

-On-Night: solo time!!

-Off-Night: 'And you look great in dark blue' - enter as Salon Folk ensemble

-'Then come with me...' - exit cue SL 

-Check Kyle has present prop

-Off-Night: Take Vivienne's violin and give to stagehand to put away

-Off-Night: Standby with water for Vivienne and Enid

-On-Night: 'Back in the game' - entrance cue

-On-Night: End of scene - exit cue 

-Off-Night: Check ensemble are ready with benches for set change

Scene 7 - Courtroom (inc. Scene of the Crime)

-Standby with water for Elle, Vivienne (Off-Night) and Enid (if she needs it)

-On-Night: Start of scene - entrance cue

-Off-Night: Tidying away stray props

-Singing chorus vocals (On-Night - onstage; Off-Night - backstage)

-Off-Night: Prepare graduation gowns and hats for Vivienne and Enid

-On-Night: Start of Find My Way - exit cue

Scene 7 (continued) - Find My Way (Finale) and Bows

-On-Night: Change into graduation gown and hat 

-On-Night: Finish change - entrance cue

-Singing chorus vocals (On-Night - onstage; Off-Night - backstage)

-Off-Night: Ensemble bow - entrance cue

-On-Night: Paulette and Kyle bow - entrance cue

-Off-Night: Dancers bow - exit cue

-On-Night: End of show - exit cue

And that's a wrap!

Tuesday 10th December + Thursday 12th December - MY 'ON-NIGHT' SHOW DAYS

Overview

Here we have it! After many months of preparation, it all comes down to the three performances to a public audience in my character. We performed two shows on the Tuesday (Matinee and Evening), and one show on the Thursday (Evening only.) From here, I will be detailing the schedule, as well as any prevalent errors and how we dealt with them; the majority of my reflection on these performances will arise in my Final Evaluation blog.

Tuesday Itinerary Pre-Matinee

8:00 - Come into school for help with hair and make-up

8:30 - Must be in with hair and make-up done

8:50 - Sat in the hall/auditorium for register

9:00-9:30 - Vocal warm-up, notes, and mics on & tested

9:30 - 10:40 Snag:

-Harvard Variations into Blood in The Water - scene change

-Chip on My Shoulder, including all scene changes

-Take it Like A Man - quick change into Kyle Gets Bandaged (I was not involved in this snag, so I spent the time in rest before the shows ahead, as well as making sure I had everything ready backstage in terms of costume/props)

-Act 2 scene 7 into the bows, with all scene changes

10:50 - Break

11:10 - All in the hall for final notes etc.

12:30 - Cast can get food from the lunch (please do this before 12:50), into full costume, hair, etc.

1:15 - Mic check on stage

Additional Comments

This show ran rather smoothly; the snags covered beforehand were crucial as these were the weakest areas or the ones that would previously have caused minor stalls. Moreover, it was the first time I would test the logistics of my show plan (as well as being able to make any changes or adjustments to it), because this would be the first time there would be no cast members sat in the auditorium when waiting for their entrance cue. This was a prime opportunity to experience a proper performance environment, as well as making use of my leadership responsibilities to keep everything and everyone organised backstage. This is something that became easier with each show, as each cast member grew in familiarity with the setup and running of the show during an actual public performance.

Post-Matinee Itinerary

This was more subject to flexibility, as there were a few hours in which there was no scheduled activity. Aside from a cast meal at around 5:00 to fuel us for the upcoming show, there was a lot of spare time in which we needed to organise ourselves. Personally, I spent a portion of this time unwinding with my closer cast members; we would sit in a quiet space together and just be as we would normally (they are my friends, after all!) Then, when the time for 'curtain up' drew nearer (although we didn't have curtains...), there would be a Mic Check onstage (usually 6:00), followed by a cast warmup (both physical and vocal; usually 6:30). After this, I would spend time thoroughly ensuring all props and costume - not just for myself, but for others, too - were in the correct place for the opening. 

Tuesday Commentary

''Hi all!! What a way to open a show!! You should all be so proud! There is so much I could say, but I want to go to bed and so do you so I have one little nag then I will leave you alone.''

''Please please please, can no one stand around my TV and desk backstage. I have so much stuff going on physically and mentally, I don't have the headspace to push you out of the way/ask you to stop crowding. There are a few members of the cast who can be there, and they know who they are. If you are not sure, do not stay there. If I need you I will get you!''

 ''That is all I have to say about that, so to finish on a high, I hope you are all so happy with what you achieved tonight! Rest, eat and drink, ready for another long day tomorrow!!''

-Stage Manager, message titled: ''Wow wow wow''

''Well you really did bring down the house yesterday. You were all so amazing. Please bring lots of food and water today and be calm and rest. You will be tired and so it is essential to eat and drink well.'' 

 ''VERY PROUD!!!''

-Director; message titled: ''JUST INCREDIBLE!!!!''

Thursday Itinerary

This was a different format in terms of the day; because we had no matinee performance, all students were required to be attending lessons until 12:50 (Sessions 1-4). After the school's timetabled break period that followed this, we were all to be sat in the auditorium to repeat similar processes to the previous two days:

1:30 - All to the hall for register and chat, and any amendments needed for ill cast members, feedback

2:00 - Mic Check

2:15 - Snags:

-Scene of the Crime (all the way to the end of the show, with all set changes)

-Take it Like a Man (again, I was not involved in this)

Overcoming Challenges

As hinted at in my Saturday Tech blog, there was another major challenge yet to come that we had to face. Being the winter season, illness is always a concern surrounding our shows; this year it was particularly detrimental, with both flu and norovirus spreading through the cast very quickly. 

For the Thursday show, the actors playing Elle and Margot were unable to return to their roles due to this debilitating sickness (it really was bad...) As a result, their counterparts from the Wednesday/Friday cast were at first on standby, and then had to step in for the performance. Consequently, certain scenes would be altered in terms of their energy and atmosphere; the actors would play these characters differently due to individual interpretation, and it was a team effort to ensure that these alterations still ran smoothly, and our reactions to the members of the other cast were contextually consistent. 

Not only this, but a significant number of ensemble began to be sent home due to illnesses. Several members of the cast (particularly older off-night principals) were being called in on many occasions to fill these spaces; in fact, I stepped into the role of the Saleswoman in Oh My God on Friday night, once again making an alteration to my plan. This replacement process was particularly prevalent in Take It Like A Man. Those filling in the roles of the 'rails' rehearsed the number twice before the show, and performed it expertly! 

It was a very smoothly run performance overall, and we are incredibly grateful for those who stepped in, it just goes to show the sheer professionalism of our cast - no complaints occurred whatsoever!

Thursday Commentary

''We’ve had a lot of proud and happy tears both in cast and staff this evening, and well deserved. Another amazing performance and particularly well done given every single scene was impacted by absence, you are the ultimate professionals.''

''We wish all those unwell the best, and remind you that even though you might not perform, being part of the experience has impacted on the end result, your creativity, support and commitment through the rehearsal process make everyone’s performances what they are on the night.''

''A few things for tomorrow:
Warm layers. So many of you were freezing tonight, which makes you vulnerable to illness and miserable. Your costumes are not suitable clothing for the gym, bring a zipped sweater, cardi, blanket, etc that is easy to pop on and off, or at least wear your coat.
Moisturise!! Lots of dry lips, chapped hands etc and all the santizer/soap won’t help. My hands are sore today!
Good quality lip balm, like Carmex, Burts Bees or Blistex will get you healed up. Vaseline, once your lips crack, isn’t that effective.
Tissues, lozenges, paracetamol well worth being prepared to fend off illness!''

''Tomorrow will be amazing, hard, emotional, long and wonderful. It will be a later finish, and there is a lot of putting away required after the show. Please plan to leave later, be super organised with your belongings and costumes and be ready to lend a hand. Further instructions will come during the day, but I will also put on here so you can refer back to it.''

''One more time, break a leg and do yourselves proud.''

-Wardrobe and Wellbeing Lead; message titled: ''another amazing show!''

''OMG you guys!!!! That was epic! Teamwork makes the dream work!!!! Proud is an understatement, how can I put it in to words?! I had goose pimples, I welled up, I beamed from ear to ear. Every single one of you were just amazing! You have made two young little bears aspire to want to be in a production. 😊 Sleep well rest up and see you tomorrow!''

-Choreographer

Special Mention

This show was also a very emotional one for a lot of us in the cast, particularly the staff and older students. We have a large Year 13 student body in the performing arts department; some of these were in each cast, and a good selection of them made up our live pit band. Saying goodbye to close friends you've made over a long period of time is never easy, and I will admit tears were shed from a lot of people, but they are all onto great things in the future! Although they won't read this, this is my little way of showing to everyone how valued those people are, how their talent knows no bounds, and how much we will all miss their presence in this company...

Link To Future Projects

This mention isn't entirely sentimental, and in fact acts as an effective plenary for future shows and the remainder of this course. When you have worked with the same people for a prolonged tenure (which I have been lucky enough to do, and I know many others in set companies will), you grow accustomed to a specified way of working, developing a familiarity with the strengths and tendencies of your associates. Consequently, alterations of this balance - especially ones on such a scale - will require a lot of disciplinary and emotional accommodations. As a cohort, we will need to conduct a broad assessment on the skillsets we have lost, as well as taking not of those we will be gaining (as we would do every year), with certain projects needing extra consideration before they can be attempted.

Becoming a Triple Threat Performer (Essay)

A triple threat performer (conventionally) possesses proficiency in the three main aspects of musical theatre performance: Singing, Dance and Acting. While these skills will vary in confidence and preference from performer to performer, the general consensus is that a triple threat has a moderate to high level of comfort and ability within these.

There are many musicals that only use minor aspects of one or more of these elements, but there are equally as many that heavily incorporate all three. Examples of these include Hairspray, A Chorus Line, 42nd Street and Footloose. For this reason, it is crucial for those entering the industry to work towards this level if they wish to be able to consistency secure work, especially shows which they display a liking to.

But there are many other techniques and behaviours that are essential in order to be any kind of member of the musical theatre industry, but in particular a performer, and even more specifically a triple threat. Facets such as communication, leadership and teamwork permeate the field just as well as any other workforce.

This essay will break down the core components of taking on this elusive title, attempting to compartmentalise them as best I can, although it is commonplace knowledge that they blur dramatically (pun not intended.) Each section holds equal vitality to the others, and each needs to be evenly studied and harnessed.

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The Actor

Definition of an Actor

A bing search engines provide multiple methods of explaining what an actor is; some are more explicit, some require inference to extract their useful meanings:

1/3: ‘‘A person whose profession is acting on the stage, in films or on television.’’

Simple and to the point, this seems like a textbook definition, providing clear expectations of the role.

2/3: ‘‘A person who behaves in a way that is not genuine.’’

In a sense, this is true. However, I am of the belief that in most (if not all) instances, there is some part of ourselves to be found within characters we portray. Whether this be idiosyncrasies, similarities in experiences (and response hitherto), natural accent, clothing style etc… this is a useful scrap of information that can ultimately deepen our understanding and portrayal of a character - but more on that later…

3/3: ‘‘A participant in an action or process.’’

Indeed, this phrasing is a lot more broad, but still holds high applicability. Within the industry or a company, the performer is a small cog in a vast, well-constructed and uniform machine. Each member of the association has their role to play; it just so happens that the performer is one of the only ones we ever see as an audience member. Additionally, performers will adapt their tactics in order to accommodate different ‘machines’, different mediums through which they present their abilities. Whether this be stage, screen or just audio - each of which has many forms - the focus lies on the process as a whole, rather than just the individual.

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Skills and Techniques

As an actor, there are many techniques that can be learned - in an academic context or otherwise - to ensure effective communication of meaning to an audience. Whether they are aware of these decisions analytically or not, there is an inherent impact to their use when put into place thoughtfully. The primary acting skills (not including those that are more obviously transferable) are broken into two components: Physical Skills are where an actor manipulates their body, and Vocal Skills are the ways in which an actor utilises their voice and the multitude of sounds it can produce. These are used either individually or (more commonly) in tandem, so that the actor can impactfully emulate a character - as well as the piece in question’s wider themes and context - thus generating a stronger, more powerfully communicative mood and atmosphere. Some of these are rather on the nose in terms of translation, but some require more explanation.

Examples of Physical Skills:

Body Language: An umbrella term for the multitude of elements involved in visual character representation.

Eye Contact: When an actor actively looks at a certain person or object in order to draw attention to it.

Facial Expressions: Contortion of the face - in particular the eyes, mouth and eyebrows - that conveys a certain emotion/mood.

Gait: The way in which a character travels around the space, most commonly walking.

Mime: A more stylised imitation of a certain action.

Gesture: A subtle form of mime, that implicitly communicates an action, rather than conveying it directly.

Levels: Use of vertical height between characters and space, usually to display status.

Proxemics: Use of distance between characters and space, usually to display strength of relationships.

Physical Tension: A technique developed by Jacques LeCoq; using tension within the muscles to communicate mental/emotional tension of a character.

Stage Space: Placement of actors on the stage, allowing for depiction of different motivations and relationships.

Examples of Vocal Skills

Accent: A regional or national dialect, often used to represent divides in social class or ethnicity.

Pitch: Variation of higher and lower notes when speaking, linking to more musical traits.

Pace: The speed at which someone speaks, often indicating levels of tension/anxiety.

Pause: Use of silence or interruptions in dialogue, to suggest hesitance or a moment of heightened emotion.

Tone: Face-value emotions which an actor conveys through their speech; this can consist of multiple contrasting feelings.

Emphasis: Highlighting certain words in a sentence or phrase to reiterate their importance.

Resonance: The clarity with which someone speaks, and the ability for their voice to be heard and listened to by the audience/other characters.

Enunciation: The severity of one’s diction; how strong their pronunciation is of certain words or phrases. This tends to be assisted by resonance and accent, indicating the same themes of these.

Dynamics/Volume: How loud or quietly someone speaks; this is often influenced by character motivation, but can be due to environmental factors as well.

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Methods of Line Learning

One of the greatest challenges as an actor, particularly in a principal role, is ensuring that all lines and cues are thoroughly memorised. Similarly to any other subject’s revision, the activities that work the best will vary from person to person. Despite this, there are successful professionals who have given their own opinons on tasks that have had a more unanimous efficiency. For example, in an online masterclass interview with Dame Helen Mirren, she identified four primary acts to complete, which I have made my own critical thinking comments on:

Deconstruct the script:

Break the text you are studying down into differing subtitles, in a way that suits your own analytical abilities; this may be character motivation from each scene, implicit versus explicit information, contextual aids etc… Many practitioners have encouraged this in the past (whom I will elaborate on later), and each have their own interpretation of this wider concept.

Memorise scene by scene:

I personally use the metaphor of eating an orange when justifying this proposition… Although you can bite into it whole, like one would eat an apple, it is difficult and ultimately not that enjoyable. If you peel away the first layer and begin to break it into chunks, however, eating it one by one, then it is not only a much more favourable experience, but you have a more inciteful and ‘‘juicy’’ experience!

Get to know your character:

This may seem obvious, but it is very easy to feel detached from a character if one has not properly prepared. This is particularly the case for those whom have played many characters in their time, and may struggle to differentiate from them! There are different ways in which actors may choose to do this, but again a strong metaphor comes to mind for me: looking at oneself in the mirror. Some actors will take a certain aspect of themselves and mould it into their character, hence the reflective aspect. However, one’s image projected in a mirror is also a vital example of how perception impacts every performer… To familiarise yourself with your character, you must take into account not only how other people view/assess them, but also how they do this untoward themselves…

Repetition:

Possibly the most esteemed trick of the trade! It is scientifically proven that active rehearsal produces results. Seize any opportunity you have to rehearse, but in a way that allows you as an individual to remember things. Psychologists have found that when we store information (in a process known as ‘encoding’), we don’t just retain the information we need, but also the sensations of the environment in which we learned it. Therefore, practises and run-throughs that take place in the environment in which the lines and blocking were initially learned are much more fruitful!

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Types of Acting (Practitioners)

Over the years, many people have fashioned their own approaches to acting, particularly for stage, that have later been considered styles/genres in their own right. There are countless examples of this, but here I will discuss a few of the more renowned examples that have had the greatest influence on the wider world.

Constantin Stanislavski (1863-1939) - Stanislavski Acting Technique (funny that)

Considered the ‘father’ of a plethora of acting approaches, Stanislavski’s main focus in his work was on the human body and soul. He strived to train his students in the ways of academic thinking, as well as making them talented emotional observers in their everyday lives.

His Core Principles

The ‘‘Magic If’’:

Stanislavski was a firm believer in entertaining hypotheticals in order to get into the mindset of a character. His students were encouraged to put themselves in the position of their character, in as many circumstances as possible, in order to properly familiarise themselves with their interpretation and mentality that was to be used.

Given Circumstances:

The physical text itself was crucial to Stanislavski’s methodology; he instructed pupils to extract as much information as they possibly could from the words on the page, and to use each detail to their advantage when applying it to a well-rounded performance.

Subtext:

Essentially, this is the opposite achievement to Given Circumstances. Here, actors will make as many inferences from the text as they can, whether this be contextual or projection in terms of characterisation and values.

Objective/Super-Objective:

These two aims go hand in hand, so it is only fitting that they are elaborated on consecutively. The Objective of a character may fluctuate from scene to scene, or even moment to moment; it is a word describing the short-term goals or beliefs of a character. The Super Objective, on the other hand, is an overarching desire that permeates the entirety (or at least most of) the text; it really does define the character.

Influences - Strasberg vs Adler

It is no stretch of the imagination to say that Stanislavski’s work has inspired that of hundreds of performers across a wide range of mediums. his process revolutionised the way that actors approach their craft and generate rich, interesting characters. Not only this, his style of practitions has generated its own denominations; these, although starkly different in themselves, possess the same qualities of heavily crediting his work, and providing care and depth when perfecting abilities.

Two of the most prominent figures to showcase this began starkly differing branches, and yet still maintained the essence of Stanislavski with every turn. Lee Strasberg (1901-1982) was a direct pupil of his, and Stella Adler (1901-1992) worked in Strasberg’s company, before deferring and beginning her own schooling. The two held a genuine distaste for each other; some may say the hatred ascended as far as a sort of rivalry!

In order to appropriately portray both of these styles - not only in and of themselves, but also as clear children of Stanislavski’s work - I will be explaining each in detail, with comparative aspects.

The Method Acting Technique - Lee Strasberg

Strasberg relied on the experience known as Affective Memory, derived directly from his teacher. This technique required an actor to revisit emotions that they had historically felt in response to a situation as similar as possible to that which their character was experiencing. In any case, embodying them fully and believing that you are the character (rather than just some impersonator of them), lies at the heart of Method acting.

‘‘He [the actor] must fuse his personal emotion with the character and event he is portraying.’’ - Strasberg

Strasberg would always begin this form of characterisation with relaxation activities, with the intent of awakening and preparing the mind and body for the drastic changes it would be about to endure. He would then make use of sense-memory exercises to begin the immersion process, before employing his Substitution Technique of fully becoming the character in as many ways as conceivably possible.

‘‘Not only for utilisation of the emotional memory but also a full immersion into the memory.’’ - Strasberg

Famous Users: Angelina Jolie, Scarlett Johannsson, Miles Teller, Steve Buscemi

The Stella Adler Technique - Stella Adler (you guessed it)

Adler’s philosophy contrasted Strasberg’s down to the roots; she once said that, ‘‘to go back to an emotion or feeling of one’s own life I believe to be unhealthy.’’ Instead, she advocated that the actor’s imagination was their most important tool, and emphasised the importance of physical action within her studies. Whereas Strasberg may be viewed as a more individualistic teacher in terms of actor presentation, Adler heavily encouraged students to develop an instinct for interpreting the intentions of a writer, with all her pupils additionally training in script interpretation.

Her emphasis on contextual factors (geographical location, social class, politics etc.) was also not one to be ignored by any means, lest the heart of her method be lost. She would always instruct her students to ‘create the room’ of the scene their character found themselves in, so as to help them visualise with greater effect the gravity of their given situation.

‘‘Are the drapes torn? Whose picture is on the wall? What kind of view does she [the character] have? […] Know the difference in their [differing characters’] larger circumstances.’’ - Adler

Famous Users: Robert De Niro, Salma Hayek, Marlon Brando, Diana Ross

Michael Chekov (1891-1955) - Chekhov Acting Technique (no, not that Chekhov)

Chekhov’s technique - now branching entirely away from the Stanislavski tree - centred around an idea known as the Psycho-Physical approach. This idea, consisting of actors linking their intentions and particular words/phrases to physical gestures, was said to allow for them to remain present within themselves and be free to experiment. As you can see, this may hold similarities to Adler’s love of physicality, but dramatically (haha) steers away from the former teachers’ love of full embodiment, or even partial identification. Members of the Michael Chekhov Association commented that this approach strives to serve as, ‘‘a connection between the inner response evoked by a physical action, and its outer expression.’’

Aside from this so-called Psychological Gesture - which takes shape in a degree of severities when put into practise - Chekhov thoroughly included Movement Connection to his education. Activities such as aerobic warm-ups, Pilates and yoga allowed he and his disciples to maintain their desired levels of grounding in any sort of rehearsal or performance.

Additionally, he was a firm believer in the concept of Radiating on stage. Every actor carries with them a great amount of energy, regardless of their role. Chekhov preached that it was the responsibility of the actor to not only channel this energy appropriately during performance (i.e. emotions, tension etc.), but also project this onto fellow actors, in order to enhance the performance capacity of all those involved.

Finally, he was also a great supporter of improvisation methods of any kind! Although they may seem daunting to some, he believed them to be highly beneficial for discovering facets of one’s character that may have otherwise remained undiscovered.

Specific Applications to Musical Theatre

With all of this in mind, we must consider the most appropriate plan of action for a triple threat performer; Musical Theatre is very unique - even in comparison to plays - in terms of its behaviours and properties.

Individual actors essentially have free reign in terms of their approach to building characters and applying them to the stage; so too do playwrights when constructing their world. In many ways, these form of practitioner techniques are more of an internal process than an external showcasing of a form of acting.

However, aside from the styles of musical, there is the defining matter of Naturalism against Non Naturalism/Stylised Theatre that is to be considered. While this may not impact the decision of the actor to choose one of the aforementioned ideas, it has its own features to consider when giving a notable performance and presenting a coherent production as a whole.

Although the concept of characters miraculously bursting into song and dance permeates all musical theatre, and may seem to encompass all pieces by conclusion as non-naturalistic, this is simply not the case. We are able to use other aspects to distinguish them!

Naturalistic pieces are those which are as accurate to real life as possible. This means that reactions are not melodramatised, nor circumstances abnormal or unrealistic. Non-Naturalistic or Stylised pieces are the opposite of this, as you can probably imagine; they tend to involve artistic flourishes that defy the concept of reality, or indeed breach into elements of the supernatural.

An example of a Naturalistic musical would be Footloose. This story takes place in a very mundane and average southwestern parish town, with the mystery element of music and dancing expertly weaved into the plotline in order for it to remain sensical. On the other hand, an example of a Non-Naturalistic musical would be Blood Brothers. Indeed, the character of the narrator is the pinnacle of supernatural; he can only be seen by certain characters (implying he is some form of hallucination or spirit), and with him comes dangerous omens within the music.

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Aims and Goals of the Actor

Setting targets for oneself in the acting world is crucial for any desired form of improvement and development. Giving yourself a specific objective you wish to achieve allows for you to focus your efforts, and avoid spending unnecessary time on tasks that will not aid you in your cause. Indeed, it provides ample purpose and motivation for you to succeed. Furthermore, a concise goal will be easier to comprehend and follow up with justifications when reflecting on your progress.

Certain milestones may also prove a substantial motivator in terms of reminding you of the enjoyment of your craft when the going seems to be getting tough. Not only this, having an obvious direction - truly, planning in advance is the key here - means that your ability to navigate your pathway will become much less difficult. Seeking guidance from peers will be more fruitful, too, if you have a clear, specific image in your head of what you wish to accomplish

Types of Target Setting

A favoured way of structuring goals in the acting world (and elsewhere) is by using SMART Targets. These not only break down your aim in a way that enhances its clarity, but can also make logistics more apparent, that perhaps you would have struggles to explain or identify otherwise. The acronym SMART refers to ensuring that a goal is Specific, Measurable, Achievable, Relevant and Time-Bound

Another popular mechanism is creating vision boards in preparation to a large project or research task. A vision board is a collage that makes use of both images and words/quotes, constructed in such a way that an individual feels that they can appropriately manifest their goals. These are frequently used in many fields, and as such can easily be tailored to suit the needs of actors in a plethora of circumstances, comfortability with academic writing, and concepts of their end goal at the start of the creation process.

Both of these planning schemes - as well as potentially many more that I have not covered - can be highly beneficial when breaking down grand ideas into more manageable sections, thus improving morale and motivation along the way. Setting milestones for yourself (as mentioned prior), can also be a way to be kinder to yourself, celebrating achievements on the way in order to prevent a loss of confidence causing disarray.

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Responsibilities as an Actor

As well as the myriad of wonderful opportunities available to the actor, we must be held accountable for the ways in which we behave and approach our output into the industry. Many would argue - and indeed it is morally valid - that these aspects of being a performer should not be considered chores or obligations; rather, they are more widely transferrable skills that we develop and hone in order to enhance both our performances and our ability to navigate life as a whole.

I believe these responsibilities are most appropriately segmented into three categories, although each skill may possess tendencies that blend the lines. Never are these sorts of processes completely linear, and each will provide benefits that differ between people based on many biological and environmental factors.

Collaboration Skills

Collaboration skills primarily centre around one’s ability and confidence when interacting with other people. I will go into more detail on this in the context of the actor later on, but here I will highlight some important traits that will prove beneficial when the later scenarios are explained more thoroughly.

Generally speaking, teamwork is a necessity in any actor’s life. A high degree of trust within a company will mean that you will be able to view others as reliable, as well as cementing your own confidence and reliability, without this breaching into hubris. It is essential that all those involved in such a taxing group project can depend on one another to produce the most successful possible outcome.

Linking to this is one’s level of empathy. This industry in particular - although it applies to any - is notorious for being so diverse in terms of identity and background. Being able to compute and imagine the situation of another person is not only a critical skill for developing a character, but also in terms of valuing and respecting others. We all work at different speeds or with differing methods to which we approach tasks; listening to your peers and gauging your reactions to their individual presentation is a sure-fire way to build strong connections with them, as well as presenting a much richer performance.

Disciplinary Skills

These qualities - although at first seemingly more focused on the self - will also ultimately impact one’s outward projection into the world. Being able to regulate your own workload and motivation relates to our overall attitude towards work, as well as the quality of that which is produced.

First and foremost, being able to respond to feedback or criticism of any kind is vital. Admittedly, there will be times when these forms of comments are unfounded in their value, and as such actors will also need to learn to regulate and evaluate their own self-image. However, in most occasions this information will be given from a genuine, professional perspective, and as such must be absorbed and acted upon with a sense of grace and gratitude. ‘Notes’ of any kind can be given from a variety of sources (directors, audience, peers, adjudicators etc.), and it is for the actor to decide where these lie in terms of priority, and also how each will be addressed/rectified. Essentially, one’s behaviour and approach must be clear; this will be the most concise reflection of their general attitude available, seeing as it is incredibly common and dangerous for actors to take this sort of commentary personally.

Furthermore, a great deal of resilience separates those who are and are not suited for such a demanding industry; this can be carried into any field of work, but again is highlighted within musical theatre. This quality takes many forms, but there are a few main manifestations:

Fatigue: Working such long hours and potentially performing several shows in a day for full weeks is incredibly challenging, even for the fittest or most emotionally mature of performers. Any actor (especially in musical theatre) should strive to achieve the highest stamina possible in order to make such hardships easier.

Knockbacks: The probability of securing jobs is incredibly low, as this field of work is incredibly competitive. One should aim to develop mechanisms to help them come to the realisation that rejection is not a personal criticism, nor any form of defeat - persistence is the key to success.

Lastly, but certainly not least, any adult - especially in departments such as theatre, where time constraints and regulation are so crucial - we need to be able to make decent use of the time which we are provided. Timekeeping and independent development (as mentioned in the Goals and Aims section) are both certainly expected of any performer, as there is a great deal of independent work needed to be implemented in order for any high standard of work to be achieved. Scheduling and timetabling of any free hours is highly recommended!

Commitment Skills

Not so much a set of ‘skills’, perse, but more a general informative: there will be many occasions where attendance is considered mandatory for events involving the project you are working on. As such, the aforementioned scheduling and planning a decent amount of time in advance is required in order to keep on top of the incessant demands of the work.

While rehearsals will usually take up certain pre-discussed hours of the week - same too with technical interactions such as tech runs and costume fittings - auditions can be incredibly sporadic and short-notice (which I will expand on later.) It is vital for your chance to secure a desired job that you can attend these meetings and that you meet all provided deadlines.

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The Singer 

Definition of a Singer

By the dictionary’s standards, singing is, ‘‘to produce musical tones by means of the voice’’, and, ‘‘to utter words in musical tones and with musical inflections and modulations.’’

However, more personally, singing is a unique method of emotional expression, where we can produce sounds not considered before, and without any additional aids or technology. Making use of the various degrees of pitch and dynamics (among many other things), can allow for a singer to tell a story to an audience, conveying a message otherwise unachievable to such a sympathetic height.

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Composition of the Voice

Many vocal scientists will compartmentalise the voice into four main sections, which each contain multiple components. These all have an integral role to play in using the voice as we know it. Here, I will break down each of the areas, and highlight the vitality of the majority of the components.

Articulators

Soft Palate: Located behind the Hard Palate (roof of the mouth), this can be depressed or lifted to produce sounds of a lower or higher pitch, respectively.

Jaw: Primarily responsible for the total output of sound, and most closely linked to dynamics. A more noticeably lowered bottom jaw will produce a greater distribution (and thus evenness) of sound.

Tongue: A surprisingly large contributor to singing! The tongue plays a key role in lightening or darkening the tone of sound, and works in tandem with the soft palate in the way it lowers or raises.

Lips: Most useful in shaping the mouth (along with the jaw).for variation in letter sounds. The lips also provide ample space for decent diction, sharpening sounds where needed.

Resonators

Larynx: Responsible for control of pitch, as well as acting as the protective housing space for the vocal folds.

Vocal Folds: These are known as Vibrators, rather than resonators. The delicate muscle and tissue vibrates together and acts as a valve for air to pass through in a way that generates sound.

Pharynx: Contorts in order to amplify sounds produced in the aforementioned, as well as to impact the tonal quality.

Oral Cavity/Vocal Tract: Works alongside the Pharynx to amplify sound and tonal quality, but also specifies in vowel definition/identification.

Trachea: Acts as a transport tube between the Lungs and Larynx, encouraging airflow to continue at a decent pace and ferocity.

Actuators

Lungs: The main component in any aspect of breathing. Take in and release air to be transported through the vocal system; act as the source of any desired sound.

Diaphragm: The largest muscle in the body; used to release air into the vocal system at the desired speed, with the ideal quantity and with the correct force to produce the appropriate sound. The diaphragm contracts and moves downwards when we inhale, drawing air in, before relaxing and pushing upwards to force the air out.

Specification: The Vocal Folds

These are simultaneously the most important and most delicate component of the vocal system. The pair of muscles/tissue are only the size of two knuckles on your pinkie, but vibrate up to 220 times a second when only speaking!

The space between the folds is called the glottis; this is forced open when too much airflow exists behind them, hence why the chords open and sound emerges.

The folds are much longer and thinner when higher passages of the voice are being used, compared to being very short and fat in lower registers.

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Core Aspects of Vocal Technique

Singing is considered a holistic exercise, meaning that it makes use of the whole body; this is especially true in the context of musical theatre! As such, it is even more important to bear in mind these points of focus which I am about to discuss.

Posture and Alignment

The ankles, knees, hips, shoulders and ears should ideally form a vertical line, although the knees should be soft and pliant and chin angled downward. Essentially, try not to be too rigorous with this, it will cause unnecessary tension which will impact the quality of sound in itself! A decent balance of flexibility and strength is crucial for optimum performance!

Breath and Support

Many vocal coaches will say that you are a Pump, Valve, and Amplifier when singing. The lungs take in and release air (pump), where a desired amount is released through the vocal folds in the larynx (valve). This causes the vocal folds to vibrate together and generate sound, which is refined using the placement within the mouth, the shape of the mouth, and the lifting or depressing of the soft palate (amplifier.)

Primal Sound

These are emotional response sounds e.g. sobbing, laughing and whining. They are used to engage the full breadth of the abdominal muscles known as the ‘diamond of support’: Xiphoid (top), Transverse Abdominis (waistband/sides), and LAPS – Lower Abdominal Pubic Symphysis (bottom).

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Vocal Capacity

Now that we are aware of the structure and key techniques surrounding the voice, now we must unpack how these can be used, and what the capabilities are of the voice. In terms of musical theatre, we speak most commonly of vocal ranges and registers; these are two very different fields, but can be easily confused due to the similarity in names!

Vocal Registers

Depending on the manner in which the vocal chords vibrate, partnered with the positioning of the larynx (among other things), we can as singers produce an array of sounds and auditory qualities thereof. The majority of vocal scientists will organise these in four categories. Each possess many names, and at least one in each may prove useful to you.

M0: Vocal fry/pulse/strohbass/voix de/contrebasse. This is where the vocal folds are at their most loose, and a low, creaky sound is produced; it is also more colloquially referred to as the ‘zombie’ tone because of this.

M1: Modal/normal/chest/heavy/thick/voix mixte/mixed/voce finta/head operatic (M). This is commonly known as the chest and mixed register, where airflow is much heavier and grounding is much stronger; the sound produced feels like it is more greatly situated within the chest, and the sound is usually much louder and more powerful. As you reach higher in this register, airflow will lessen and the larynx will raise in a way that evenly segues into the next section.

M2: Falsetto/head/loft/light/thin/voix mixte/mixed. This has similarities to the previous register, in that both of them use the mix of chest and head voice in different capacities. However, this one - being paired with head voice as opposed to chest - uses far less airflow, and the larynx is much more prominently raised. As we enter the head register here, vowels tend to take on a darker quality in order for sound to continue to be consistently and successfully projected.

M3: Whistle/flageolet/flute/sifflet. This range is the most difficult to attain, and tends to only be possible for biologically female vocalists. It concerns the use of a very small amount of airflow, in order for the highest notes to be produced. This tone tends to be much quieter, but should still remain clear and healthily supported.

Vocal Ranges

A vocal range concerns the range of pitches that a singer is able to successfully and healthily sustain. Even if they have a very wide range, their title will be classified based on the general area which they are most comfortable with maintaining. These are compartmentalised through six main titles (with a few extra), in ascending or descending order. Conventionally, the lower three are attributes to biological male singers and the top three those who are biologically female, but there are significant exceptions to this which I will also cover.

For males, Bass is the lowest range, feeling most confident in the lowest array of pitches. This is followed by Baritones situated slightly higher, and Tenors higher again. Historically, there existed a fourth voice type for males - the Castrato - but this was only attained and prolonged throughout life by surgical means. Some men in the present day have trained their voices to emulate the sound produced by the Castrati (and do so very well), but these will not, of course, by entirely authentic.

For females, the lowest common range is the Alto, although there are some women who have achieved a lower average range than this (they are referred to as Contralto singers.) Moving upwards, we will find the Mezzo-Soprano and then the Soprano, which in itself is segmented into different parts - one of the most desired in the operatic world is the Colouratura Soprano. 

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Common Health Issues Within Singing

As with any repetitive action, in particular one so all-encompassing and demanding, certain complications are bound to emerge if the correct measures are not put into place. Some of these are more mundane (and indeed much easier to encounter), but some can have long-term, or even lifelong impacts.

Vocal Damage

Nodules: An excessive amount of force bringing the vocal folds together repetitively can lead to bruising. As the skin of the vocal folds is incredibly delicate, these traumas can lead to hardened nodules ; small, non-cancerous lumps that prevent the vocal folds from fully closing, meaning air can leak through.

Polyps: These are similar to nodules, except they are larger and partially detached from the fold. While nodules can go away over a time of rest, Polyps often require vocal therapy or surgery to be fixed.

Laryngitis: Inflammation of the larynx, this can be chronic or acute, infectious or non-infectious. The symptoms of this include hoarseness, sore throat, fever, trouble swallowing and a persistent dry cough. This can be caused through overuse, irritation or infection of the vocal chords.

Haemorrhages: This occurs when a blood vessel in the vocal folds or chords ruptures, leaking blood into the Superficial Lamina Propria (SLP). It is the result of phonotrauma (stresses on the blood vessels in the vocal system, caused by overly/improperly using the voice e.g. improper onsets), and often results in vocal dysphonia and hoarseness.

Paralysis: This happens when nerve impulses to the larynx are disrupted, causing a loss of control of the muscles that control the voice. Not only does this impact singing, but can also cause problems in speaking and even breathing (vocal folds protect the airway, and prevent food/drink/saliva entering and causing choking). Possible causes include infections during vocal surgeries, viral infections and certain types of cancer.

General Injury

Muscle Tension: Too much or too little tension within the vocal composition can cause hoarse or strained sounds to be produced. If the voice is constantly being used with stronger dynamics, or it is being worsened by general illness (e.g. colds), then the throat can easily tire, leading to aches or soreness.

Stress Related: The muscles in the throat will tense in response to any form of stress. Even if we don’t feel particularly stressed, being busy within our daily lives can cause tension around the voice box . This too can cause nodules, or even haemorrhages.

Hearing Impact: Musicians on the whole are nearly four times more likely to suffer from noise-induced hearing loss than the everyday person, and around 57% more likely to develop tinnitus (ringing in the ears). Not only can loss of hearing severely impact performance and technical skills, but it can also damage the musician’s mental health in the process.

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Maintaining Health as a Singer

Although these dangers may seem daunting or overwhelming, fear not! There are many procedures that can be used to heal these more minor inflictions, or (more helpfully), stave them off before they can emerge at all!

Direct Vocal Activities

Warm-Ups: Just as an athlete prepares their muscles and body for an event, singers must also stretch out and prepare their vocal system for performance! Certain exercises specialise in grounding and engaging primal sound for effective support lower down, whilst others are designed to exercise the larynx for accurate placement – these are called Semi Occluded Vocal Tract exercises or SOVTs.

Warm-Downs: Many people don’t realise that these are just as vital as warm-ups! Cooling down the vocal system and ensuring it has capacity to recuperate from difficult rehearsal or performance is crucial. Many singers will choose to use slower agility arpeggios and sirens to work themselves back down to a resting phase, and those working particularly in high mixed and head registers may favour sparse vocal fry.

Vocal Rest: Resting your voice is especially important when about to enter a period of frequent, technical singing e.g. a musical week, a concert etc. This consists of minimising any speech or singing (using a whiteboard or other method to communicate if needs be), and most certainly NO WHISPERING!

Avoiding Coughing: Coughing can cause severe disruption and worsen colds/sore throats. Instead, take a deep breath in and swallow when you feel the need to cough!

External Aids - Vocal Specific

Saltwater Gargle: Gargling saltwater is very useful in killing bacteria within the vocal tract, preventing infections and unnecessary strain/soreness.

Steaming: Placing your head above a bowl of hot water (and covering your head with a towel), or using a vocal steaming device, allows for the vocal fold to be healthily opened up and free to mobilise, again preventing strain and tension.

Tea/Hot Water with Honey: Herbal Teas and/or Hot Water with Honey are excellent for lubricating the throat and has similar loosening properties to steaming! Lemon also is very useful for killing bacteria and preventing coughing from damaging voice further.

External Aids - General

Earplugs/Headphones: When working in a band or vocal group with a large sound production, earplugs or headphones can allow for the desired information (usually vocal lines, tempo etc.) to be heard, whilst not being overwhelming or causing damage to the ears.

Lifting/Transport: Singers will often need to carry heavy equipment, especially when part of a larger group. It is crucial that this is done safely to prevent injury or strain that could impact concentration on or ability to perform.

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Industry Case Study: Katy Read

These are some direct quotes from an interview my classmate conducted on our very own vocal coach and trained Soprano, Katy Read.

What education in the industry has she received?

‘‘I have my Masters of Music majoring in Vocal Performance from the Royal College of Music in London. I also have an Artist Diploma in Opera Performance from the Vancouver Academy of Music, and a Bachelor of Music in Vocal Performance from Vancouver Academy of Music and Thompson Rivers University. I’ve also done a few courses along the way in Estill Vocal Technique, also two summer courses in Janice Chapman’s Classical Vocal Technique and Teaching. I’ve also done training with TES in London for classroom teaching. I’m a member of AOTOS (Association of Teachers of Singing) and do regular training with them. ‘'

How long has she been singing?

‘‘Ha! Well, technically I started making up my own songs and singing from age 3, but I started singing in choirs from age 8 then started private vocal lessons when I was 11 or 12. So I’ve been properly singing for nearly 30 years!’’

How much performance experience does she have?

‘‘I’ve performed roles in over 30 operas (from Chorus to leads, and from student productions to amateur to professional) such as Marriage of Figaro and Don Giovanni by Mozart, and Die Fledermaus by J. Strauss and La Boheme by Puccini. When in Vancouver, I did a lot of contemporary classical singing and collaboration with living composers which was really rewarding work. I’ve also made a good career from solo concert and oratorio singing - either singing solo recitals, or singing as Soprano Soloist in big choral and symphonic pieces such as Beethoven’s 9th Symphony, Verdi’s Requiem, Mozart’s Requiem, Handel’s Messiah, and various Masses. I’ve performed at Bristol Beacon, Royal Albert Hall, St. Georges, Royal Opera House, Orpheum Theatre in Vancouver, Arena di Verona and Grieghallen in Norway. I’ve also performed as a professional chorister in choirs in London such as Eric Whitacre’s Choir and the BBC Singers, and KorVest & Griegchor in Norway.’’

How difficult is it to teach singing?

‘‘Well, it’s always different with each student… Sometimes it can be challenging, frustrating but also and mostly incredibly joyful and rewarding to see and hear someone’s voice change and grow before your ears as a result of your tuition. It is really helpful to have at least grade 8 piano to teach singing as you can accompany your students and easily play warm-ups. However I do know teachers who work effectively with backing tracks.’’

What was the most challenging part of her career or education?

‘‘I would say that the move to England to take my Masters at RCM was hugely challenging for a variety of reasons. First, it was a huge change to move overseas from a relatively small pond to a then massive pond. It was a big cultural change for me and I had a bit of a crisis of confidence. I did get through this though and it made me more resilient ultimately. Another time that was tricky was my move from London to Bristol. I started my own business during this time and also had to restart my network with getting performance work. But putting myself through these challenging times made me persistent, resilient, and more confident for getting through these trickier times with success.’’

Does she have any tips for singers entering the industry?

‘‘I would say be open to every opportunity and try your best in all classes or performances as you never know what each one will lead to. I would also say that YOU are your biggest asset and advocate, and you are the best placed to fight for your voice and your talent - no one else will. Your mental health and confidence are also so important and it’s important to look after that, especially as a singer where the mind and body connection is so crucial. I would like to add that persistence alongside talent and hard work is often the thing that will push you to get the gigs and roles you want. You will get sooo many more rejections than successes in this industry and it’s important not to take them to heart and to just let them roll off your back. Take on the positives, learn from the negatives then MOVE ON to the next amazing step on your journey.’’

How does she keep her voice safe during performances?

‘‘We start by having a solid foundation in vocal technique, being aware of the your primal sound, breath/ support and posture. If you have a solid technique, then you will know how to balance the voice and ensure you’re not pushing or not supported enough. Warm-ups and in particular SOVTs (Semi-Occluded Vocal Tract exercises) are key to successful performances. I try to make sure I’ve rested well and hydrated ( but that is not always possible). So after vocal warm-ups and reviewing of the score of any tricky runs or riffs, I build my confidence with affirmations.’’

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The Dancer 

Types of Dancer

An important distinction to begin this chapter is the varying denominations of an initially straightforward seeming profession. Although many may be wrongly convicted of the idea that dancing as a career is linear, there are a plethora of variables to consider when choosing a career path, as well as general attitude towards the craft as a performer. Out of all the kinds of employment path, there are three that are most common; I will elaborate upon these here.

Commercial Dancers, as their name implies, earn their living by involving themselves in commercial projects. As well as actual commercials and adverts (amusing, I know), this includes platforms such as: tours, music videos, film, industrials, cruise ships and musicals. Because commercial dancers work on a freelance basis, meaning they operate independently project by project, there are evident advantages and disadvantages of this route. Foremostly, there is a much greater deal of freedom and flexibility available to dancers operating commercially, but work can be heavily sporadic and the quest to secure the next job difficult.

In contrast, we have Company Dancers, who are hired by a single organisation that they perform under, often for years at a time. As you can imagine, the onset of working opportunities is much more stable and plentiful in this department; it can also prove to be an incredibly rewarding option for dancers with particular concert specialties such as ballet.

Finally, perhaps the most overlooked of the trio, we have Dance Teachers! Anyone involved with the performing arts industry will implore you to not let yourself be fooled by the saying, ‘‘those who can’t do, teach’’ in this context - it very much is a professional dancing job. Dance teachers can be rather versatile in different variables, and their are many avenues available to whatever format you may wish to educate with. Teaching dance can be conducted full time and/or part time, working through a school or as an independent instructor with your own business. Additionally, teachers will decide whether to open up the availability of their service to a specific age group - this could be child or beginners classes, all the way up to high-level college or dance academy standard - or to broaden their horizons and accommodate to a combination of these!

Additional Pathways

As well as the employment opportunities previously discussed, there are many additional jobs that can be accessed, both with and without a degree or similar qualification. Either way, dancers can combine performance work with part-time teaching or behind-the-scenes work in the arts. With sufficient immersion and longevity, any performer can highly successfully switch into self-employment in whatever path they choose.

For those who possess a specified degree in dance, several forms of teaching work are available, including secondary school teaching, higher education lecturing and other community arts work. Even outside of degree fuelled sectors, a dancer can branch into conventional employment, such as becoming a choreographer. This role usually occurs when one begins as a dancer and slowly integrates into positions of responsibility and deeper creativity. Aside from that, their deeper knowledge of the body and anatomy may give them a good grounding for the fitness industry, including dance instructing and running exercise classes. Along these same lines there are dance therapists, who incorporate their movement training into helping others achieve their goals.

Moreover, there are departments stretching further afield that can be benefitted from a certain knowledge of the work and experience of the dancer. Dancers could use their expertise in the role of an arts administrator, ensuring that performers are well taken care of whilst business goals are maintained. Even costume design is greatly assisted by this field; designers will need to create outfits that represent the messages and meanings of a dance, as well as ensuring that all movements can be executed safely and easily.

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Training

Yes, as I have touched on already, there are no mandatory requirements in term of education whatsoever for a dancer. Training, however, is essential for any form of professional career; this can take a plethora of forms to accommodate for the individual. No matter how naturally the skills and techniques may feel to a performer, a formal degree of development is crucial. Many dancer who pursue professional careers will have been training since they were very young, but may or may not make the decision to involve themselves in more intense training at higher levels (such as colleges, academies or conservatoires.)

Unless the dream is to follow this essay and become a triple threat performer(!!), then singing and acting aren’t necessarily vital skills to become a dancer in an industry context. Indeed, ballet dancers rarely speak at all on stage, and modern or contemporary dancers usually only work with auditory additions when it is part of a specific director’s artistic vision or plan. Admittedly, facial expressions and physicality are key, and making use of vocals is becoming increasingly common in this field, but it is not vital that you have attained any standard of professional training in either of these elements of performance!

Indeed, choreography is the initial round of any audition process; this is where they can truly showcase their memorising speed, precision and talent in routines. However, if you are intending to follow the path that is implied by the contents of other chapters, then more steps are required. For any form of theatrical production - even if you are only applying for a dancing role - having singing and acting qualifications for your CV will be a substantial benefit. Additionally, if a performer reaches the call back stage of a procedure, they are commonly expected to prepare 16 bars of music to sing, sometimes 32 depending on the show.

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Auditions

There is far more logistical information to consider than just the performance content when auditioning in any capacity, but especially for the dancer! The majority of auditions will require that you submit the following things in advance; this is also true when applying to potential agencies.

Firstly, like with any process, you will need a (current) headshot, which will henceforth serve a multitude of important purposes. For one thing, they act as a sort of professional calling card; essentially it is a tool that will help casting directors, choreographers and agents to remember you! Not only this, but the headshot is a quick and easy way for these officiators to determine which individuals from the collective best suit the casting brief in terms of specified ‘look’ for the company or brief. For this reason, it is vital that the headshot you submit looks as similar to your current appearance as possible; appearing natural and authentic will mean that - without sounding cruel - casting crews won’t waste their time by appointing someone who now looks completely unlike their picture.

Aside from this, a dance resumé is highly important. As much as dance is a creative and practical subject, it is still a highly professional industry; this necessity of a resumé permeated through most fields of work. In any case, this should be concise, clear and easy to read, containing all key information about you as a performer and potential employee - specified employers may also request additional information.

Finally, regardless of what form of production you apply for, you will be asked to submit a dance reel. Tending to only be a few minutes in length, these are a series of clips that showcase and highlight the peaks of your dancing experience. The dance reel is particularly important if you find yourself in a public/open audition with many people at a time (which can be very common), because it provides you with an individual opportunity to showcase your talents. When the panel watch this, they will give your video their undivided attention as opposed to observing many people at once.

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General Positives and Negatives

In slight summary, there are a clear array of both advantages and disadvantages when it comes to pursuing a performance career specialising in dance. It is true that these will fluctuate and hold varying degrees of importance depending on the individual, but all of these are factors to be discussed nonetheless. Here we have attempted to summarise these evaluative factors into a few points of discussion on each side.

Negatives

Injuries: anything from an ankle sprain, overuse of a muscle, or improper landing from a jump can lead to physical damage; the recovery process for any performer will take its toll physically, mentally and in terms of workload in the future (especially in more severe cases.)

Stage Fright: a common instance for any form of theatrical performer, this can lead to ‘freezing’, or a memory block in terms of techniques and choreography due to the heightened nerves.

Lifestyle: the amalgamation of long rehearsal hours, sometimes frequent travelling, and irregular schedules is sure to drain even the most seasoned professional if they are not careful with how they maintain their wellbeing.

Contracts: these can often be unstable if you can secure one at all, meaning employment may be shaky or scarce; a performer needs to ensure they keep themselves financially stable (we will discuss this in later chapters.)

Body Shaming: a common scrutiny of the dance industry is the unrealistic appearance-based frameworks in which people believe dancers should fit. Many dancers have struggled with their mental health and eating disorders due to the intense pressures in many companies to accommodate to a certain mould of physical representation.

Positives

Performance: the sensations accompanying performing in front of a live audience - including the adrenaline rush and the reception of a positive crowd - can be incredibly rewarding.

Travel: performers are often granted opportunities to travel the world with touring companies; being able to explore new countries and cities can be incredibly exciting!

Fitness: the high intensity training and work will allow the performer to maintain a high level of physical health and strength.

Mental Benefits: such a vulnerable craft performed in front of so many people is bound to boost confidence levels, whether over a short or long period of time. Dopamine levels and fluency in terms of social skills can also be heavily developed in this profession. 

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Life In The Industry 

There are many implications when it comes to being a Triple Threat performer. Not only do you need to train and hone your skills, but employment can be temperamental. A key skill to possess is knowledge of how you can enter the industry, as well as what to expect once employed.

With each subcategory I will discuss, you will see that there are multiple routes to which certain performers will follow. Ultimately, the decisions that you make are incredibly personal, and should be tailored to your own strengths and weaknesses.

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Schools and Training

Depending on your experience educationally, you may acquire certain abilities or mentalities in regards to performance. Some institutions will be more practical, and some may have greater weight in academics and theory work. Either way, it is important to evaluate each option.

Clubs and Classes

Before we consider any strict schooling, it is important to discuss the various extracurriculars that may be made available to you in your area. These can range from amateur dramatics groups (where a membership fee is paid and you participate in a local production), to semi or fully professional masterclasses, which are often led by an industry tutor.

Both of these pathways are excellent for developing one’s performance experience, which can look very appealing on a CV. Additionally, many amateur and professional groups will enter competitions for their projects, during which you may be nominated for or win both group and individual awards. These are also highly recognised, and will display directly your commitment and talent to your craft.

These sort of activities are perfect for honing skills and improving the technicalities of your performance, despite not providing you with a strict qualification (this is, of course, unless a teacher encourages you to sign up for an external exam). Moreover, the attributes you learn through these clubs and classes will withstand your participation in them; they are easily applicable to a real industry job because of the professional nature of the associations.

University

If you are an enjoyer of the more academic side of theatrics, or you are still uncertain as to what career you want to pursue, there are many opportunities to pursue a University qualification in Theatre!

An example of this is the Theatre and Performance Studies (BA) course at Warwick University. Their standard offer is ABB at A-Level, with no specified subjects. They also require at least a Grade 4 in GCSE Maths/Science and English.

Not only will you receive a degree for your work at a University, but you will also experience a different approach to theatrical education than just hands-on performing. Additionally, a University degree may be more useful for those wishing to teach or adjudicate performance, rather than being a performer themselves. Either way, it is a highly viable and useful pathway to consider!

Theatre Schools/Conservatoires

If you are someone who enjoys the more practical based studies of performing arts, then a Conservatoire or Theatre School is probably a more suitable option. These operate at the same level as a University, meaning that you will graduate with a degree; the qualifications in question, however, are usually more specified.

An example of this is the Performers College, based in Birmingham. Here, many courses are available, but I will draw particular attention to the Performing Arts (BA Hons) course. As is the case for many (if not all) theatre-specific institutions, there are no grade requirements, but all applicants must participate in a series of auditions in order to be granted a place.

The primary difference between Conservatoires/Theatre Schools and Universities, aside from the practical or academic divide, is that Universities can be accessed by anyone of any profession, whereas these associations are centres around the performing arts. Although this does not determine which format is ‘‘better’’ for students to attend, it may sway you as an individual in regards to the environment you will be placed in. It may also help you to decide based on your desired course; I mentioned prior that Conservatoires and Theatre Schools are more highly specified, but Universities further contrast this by offering dual courses in different subjects. For example, to use Warwick University again, there is the possibility of studying Theatre and Performance Studies (or just Theatre Studies in a lot of cases) alongside Global Sustainable Development, Italian, Hispanic Studies, German, French or English, all at an undergraduate level.

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Routes Into The Profession

Arguably the most difficult challenge any performer will face isn’t the work in question, it’s actually securing that work in the first place! Certain jobs will be more widely known and accessible than others, and will use different methods of publicity and assessment. A triple threat performer needs to be aware of the various ways in which they may be asked to apply or be tested, and be thoroughly prepared to tackle each if they wish to be provided with the role or contract in question.

General Experience

The general consensus in the theatre world is that experience is key! Whether this takes the form of local clubs or getting involved in school shows, any form of small production is an excellent way to work up into more formidable tasks. Casting directors will be thoroughly interested and appealed by an applicant who can display a confidence with working in a professional environment. Not only this, participation and dedication towards a range of activities and events will provide you with many positive references; it is crucial that your CV or portfolio is corroborated with input from your peers, so that casting directors will view your evaluation of your talents as more credible.

Having experience as a performer in this sort of environment also has many other benefits! Showing a degree of comfort in what can be a very vulnerable or demanding setting, displays a great deal of preparedness on the behalf of the performer. This showcases that they are knowledgeable of their expectations as a member of the company, and will not need to be reprimanded for any inappropriate or ill-educated conduct within the setting. It will also display more independently beneficial traits (that ultimately have an impact on the wider community), such as being able to respond to feedback in order to make improvements, both individually and as a group.

Castings

These are the most linear fashion in which casting directors will seek out potential performers. Open Casting Calls are auditions available to everyone, and people are in fact encourage to attend! Often, you will find you can just walk in off the street and audition! Closed Casting Calls, however, are slightly less straightforward, and require booking in advance if you wish to attend. This can be done either by yourself or by an agent (more on this in a moment), but often are targeted towards a certain group or demographic.

Similarly to the plethora of educational directions, there are a multitude of ways that casting calls can be publicised. Conventionally, those in the theatre industry emphasise the importance of connections, and they are not entirely incorrect! Family, friends and colleagues can be an excellent vantage point to access jobs, because they can be a highly useful positive reference for your consideration in a role.

Additionally, casting directors or other representatives from the project in question may put out advertisements for auditions. This can take many forms, but the most common will be social media/online presence and posters located in the local area in which the work will take place.

All casting calls will be different, considering the versatility and sheer number of shows currently running. Nevertheless, there will be recurring traits in them, including the nature of Musical Theatre audition requirements. The majority of MT castings will require you to prepare a section of a script (usually a monologue), as well as 16-32 bars of vocals. Moreover, it is common for a workshop leader to teach a small phrase of choreography that is then performed for an audition panel either in a group or individually.

Agents

Alternatively, agents can be hired to source work tailored to your personal preferences and ability! This, as a result, means that a potential employee does not need to spend their time on filtering through jobs in order to find one that they are eligible to apply for - whether this be due to role requirements, location, commitments etc… Some examples of agencies include the Gordon Poole Agency, Phoenix Agency, and Gritty Talent Group.

Generally speaking, theatrical agents play a large role in a performer’s life for this reason. Most do not charge directly, but instead will take a percentage of your earnings from a successful booking as their wage.

Agents often work within larger companies or associations, but some may operate individually, or as part of their own private business. In terms of how you can apply for their services, a substantial amount of information will need to be provided, so that the benefactors can have a clear picture of who they are signing. This will include at a minimum your CV/performance experience, a headshot, and some personal details.

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Life Once Employed

Once a job has been successfully booked - which could take many auditions, call backs and rejections/knockbacks to become a reality - there are still many variables to consider aside from the usual logistics that come with being involved in a production.

Employment Trends

Any profession is bound to see fluctuations in the level of necessity for its workforce; this is especially true for the number of participants needed, and in particular an issue for the performers of the theatre industry.

During the COVID-19 pandemic - specifically the lockdowns in 2020 - there was a loss of over 35,000 jobs, thus many had to seek alternative sources of income. A large number of entertainers held online workshops for young people, whether they were triple threats or more specialised in a certain area. In fact, I was privileged enough to attend some of these, when our school group participating in the Inspiring Insights programme instigated during the first and second lockdowns.

By 2023, the isolation rules of the pandemic had finally been lifted! Despite directly employed roles falling by a further 1000 jobs, self employment increased by 3.1 percent in that year alone!

Finally, and more importantly for those of this age group looking to enter the world of theatre in upcoming years, we must look at future predictions. On average, there is to be an increase of 8500 allocations of work every year, and a general workforce population growth of 5 percent in the next ten years. Furthermore, the substyle of interactive theatre is growing in popularity, meaning that larger teams of people may well be recruited in order to produce the ultimate vision of each upcoming project to the desired standard.

While these figures and facts may seem disheartening, it is important to note that performing arts is a miniscule department in comparison to many other professions. What may seem like a minute value of increase could be a lifeline for hundreds of performers, so it is always important to maintain morale and be persistent when searching for work! You may face many knockbacks before you secure a role, but this is simply because of the specificity of the work!

Working Conditions

The environment that any performer finds themself in will vary dramatically depending on many factors, including the event in question (audition, rehearsal or show), the project they are working on, and the company that they find themselves situated in. There are clearly some more and some less desirable aspects of these situations, but a diligent performer will be prepared to tackle any challenge or complication that comes along with achieving their goals.

It seems most fitting to begin with auditions, as they are the starting point of any performer’s journey in collaboration with a team and project. Travel is a large facet to be considered; most auditions will probably be far enough away from your home that transport needs to be considered, which means factors such as travel costs and timetabling your commute to avoid traffic and tardiness are essential. Moreover, the panel may seem a cold or unresponsive audience, despite not having any negative or harmful intentions. They may well act in a blunt manner, mostly because they want to move swiftly through the potential hundreds of applicants they witness in a day. Alongside this, do not expect to hear back from them straight away or at all - some casting directors will not contact you at all if you have not moved onto the next stage of auditions or casting.

Next, if a role is secured, there are many rehearsals to be done. Even when excluding the technical and costume runs leading up to the show itself, devotion and energy is expected at all times by company leaders and those in positions of responsibility. Working anywhere from 30 to 60 plus hours a week, especially in such a demanding field, will take its toll on the body and mind if they are not appropriately cared for, and sometimes even if they are. 

Finally, when the show itself rolls around, the work is far from over; in fact - in many ways - it is only just beginning! As during the period in which one is rehearsing, the days can be incredibly long and strenuous; performers will grow accustomed to starring in two (sometimes even three) shows a day, with very little downtime. They will be waking up early in the mornings and not arriving home until late in the evening, so making the most optimal use of resting time is crucial during these weeks. During the show itself, heavy layers of costume, makeup and lights will make it incredibly hot, and fatigue will creep in very easily, even upon the most well-trained performer. Additionally, any notes or critiques that are given by those in positions of responsibility may seem tough or harsh - they are likely to be stronger than feedback provided throughout rehearsals - but they are ultimately given with the best intentions in mind, and are not intended to damage the recipient in any way. Rather, they are acting as constructive statements or suggestions to boost the performance, and leave the involved performers feeling more deeply satisfied with the quality of their work.

Ultimately, as you can see, the industry can be considered highly gruelling and often unforgiving… nevertheless, performers choose this profession because of their love and passion for it, and the products of their labour are exponentially rewarding.

Keeping A Steady Income

As wonderful an experience as this lifestyle can be once work is secured, income can be shaky in periods where a performer is out of work, especially for long periods of time. Nevertheless, these are still measures that can be put in place to avoid financial tribulations in what can be a very competitive market for a stable monetary earning.

The majority of performers will make use of a secondary source in order to ensure they stay on top of bills. Potential options include online work or work from home, part time jobs - either in person or virtually - and the creation and hosting of interactive workshops. There are, as you can see, several options for any performer to choose depending on their current workload and additional qualifications; this additional placement can be situated in the same industry or one completely different! Thus, having additional qualifications in other subjects or fields can prove very useful in these periods of uncertainty, but they are not necessary if you possess decent skills in a more hands-on labour (for example, a trade function or barista training.)

Arguably the most important attitude to possess is one that is well orchestrated. It is important in any financial circumstance to have a clear plan in terms of monetary decisions. A performer must always have an acute awareness of their current and upcoming work, which will assist them in developing their skills of budgeting in states of differing wealth. It is also highly recommended that anyone - but particularly someone is this more economically unstable line of work - has a network of support surrounding them, so that they are able to seek appropriate aid if an unforeseen dilemma were to emerge.

On a similar note, quick thinking and being knowledgeable of your working options as a performer is incredibly important. As mentioned prior, events can occur that are beyond an individual’s control, such as an injury or natural disaster, that prevent them from accessing their usual income in the same way as before, or at all. Consequently, a performer must be dually prepared to remain calm and collected in these dire situations, and possess the ability to implement measures that allow them to swiftly find a new importation of a salary. Many refer to this as their ‘fallback’ procedure.

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Interconnectivity

A crucial aspect of life in the performing arts - as touched on in prior sections - is the communication and collaboration between all departments, commonly referred to as interconnectivity. This is not just important during the running of a show - interactions between facilities should be a core aspect of the company from the first day; the skills obtained from this experience will be highly effectively transferred to wider life and society.

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Directors

Role, Approach and Impact

The director in a company is ultimately responsible for shaping each aspect of the final performance. Because of this, they work very closely with the actor, and must be able to convey their own ideas whilst being accepting of others’. Through this, they will be able to gain mutual respect.

Directors have to collaborate with actors (and vice versa) in a way in which they both consider they may be in the wrong. At the end of the day, the director has been provided their role because they have an overarching vision for the future and quality of the project; as such, they have a degree of power over the actors, whom they are ‘directing’ (as the name suggests), in a manner that best achieves this. Whilst artistic interpretations must be taken into account from both sides, it is the director who dictates their use and relevance to the final result, something which an actor must train themselves to respect and not take as a personal offence.

As a consequence, actors with a stable relationship with their director(s) will feel a great deal of support. They should feel when they have a strong connection to the director that they are able to develop new ideas and inspirations, even if these do not make the final cut in the project. A beneficial dynamic between actor and director will also give the actor a great enough sense of empowerment that they feel they can and have performer to the best of their ability consistently; directors with a positive approach will commend excellence whilst pointing out areas for improvement in a constructive and goodwilled way.

Industry Case Study: Niall Johnson - Director

About Niall

Again, one of my classmates kindly interviewed an industry professional that they are in touch with! Niall Johnson is a writer and director of film, who directed ‘Keeping Mum’ and ‘Mum’s List’ after studying at the University of Bristol.

He started his career at just 13 years old, when he was inspired to direct in his local community drama group. He started by making films with his brother at home, and progressed to short and low-budget films. One of these - ‘White Noise’ - was caught the attention of studios in Hollywood, Los Angeles. From there, he received agent support and a plethora of writing material, from companies such as Paramount and Warner Brothers.

Interview

Please see below the extracts from their interview, alongside the student’s comments.

Do you listen to actors’ ideas and opinions?

Yes, definitely. Collaboration is so important, being a director is essentially like being a cheerleader for the production, and in order to do that you must never remove the innate quality of what the actor envisages their character to be like. If the actor has a different interpretation from you, listen to them and try their ideas, but always be honest because at the end of the day being the director means helping the actors to see your vision.

How do you support actors when they are not listening?

Assess the situation, be understanding. Honesty is the best way for the best outcome. For example, in ‘Keeping mum’, Niall got to work with Maggie Smith, who got confused by some change in directions, Niall took Maggie away from the other actors to reduce stress and honestly explained the situation to help her understand, which she did and managed to finish the scene in one take due to extra clarification.

Should a rehearsal space be strict, or have the ability to fluctuate?

Definitely fluctuate, the best rehearsals are the ones with experimentation. The actors also do a table read before proper rehearsals, which Niall finds really useful because he is able to see the actor’s raw interpretation of the character. Blocking is also very flexible because new ideas can be introduced, or the original blocking doesn’t work with the set as well as they though it to be. “Rehearsal is for everyone understanding the nature of beast”.

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Musical Directors

Role, Approach and Impact

As the name suggests, the Musical Director holds responsibility over all musical aspects of the project; this could take the form of lyrical pieces and songs the actors work with conventionally, but also any underscoring, transition music, or sound effects that are not previously recorded.

Firstly, a musical director will make use of practical skills in regards to their field. These may include facets such as: reading and writing music (in different formats or mediums); accompanying, usually on piano; conducting; hiring and casting; general leadership etc.

Not only this but, similarly to the director, the musical director will need to maintain strong levels of communication with the actors. They will also need to possess a strong enough relationship that they can take on ideas, whilst providing the actors with ample praise and criticisms in appropriate amounts. Being a simultaneous leader and team player is integral for the correct support network to be established, particularly in this context of singing, which is considered by many one of the most vulnerable aspects of performance. Music, especially in theatre, has a heavy sense of emotional context alongside a knack for storytelling; certain moods within a song may impact that of the actor, so the musical director must be aware of this.

Indeed, these components of musical direction encompass a large amount of emotional intelligence. When a performer is ‘‘off their game’’, the musical director will need to use the appropriate social skills to ensure them that they are in a safe, comfortable place; this should already be reinforced between the individuals in a kind, inclusive relationship and wider environment with other company members. The musical director’s key aim should be helping the actor to achieve their highest possible potential, meaning that they will be aware and supportive when mistakes occur, as well as having a degree of helpful honesty in order for the creative vision and the performer’s wellbeing to be maintained in tandem.

Industry Case Study: Kevin Lynch (Musical Director)

Kevin Lynch is a Music Producer for film, theatre, television, recording artists and multimedia. He has recounted that one afternoon he was working with a soloist who arrived late to the venue. The individual seemed unfocused and scattered, displaying increasing annoyance whenever they made a mistake.

He could have easily continued to work with them in this same way, but he was acutely aware that musical directors need to check up on the performer. He knew how draining the industry could be, as well as his responsibility being so close to the actors, including this one.

As a result, he says that a polite ‘‘how are you doing today?’’, or ‘‘I can see you’re bothered about something, would you like to talk about it?’’, can be a highly effective way of communicating with the individual.

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Choreographers

By definition, the choreographer is in charge of designing any physical steps, movement sequences and dances involved in a project, usually with music, for dancers and other artists to perform. Therefore, not only will they need the capabilities to create a safe and comfortable environment for the performers, and make effective use of their own field’s practical skills, but they also have to work with a greater deal of efficiency than other departments due to the stricter deadlines around setting scenes. 

Industry Case Study: Hannah Filer (Choreographer)

Hannah is a PHD student in Dance, Communities and Wellbeing, as well as having previously choreographed ten shows! She has been nominated for awards for several of these, including the most recent (Chitty Chitty Bang Bang JR), which I was lucky enough to be a part of under her leadership, playing the Baroness!

She has said previously that she believes the three core elements of industry success in general are hard work, patience, and luck! Hannah is inspired by other people’s poorer experiences with dance, and is motivated to changing people’s perspectives regarding the profession - hence why she incorporates wellbeing into her qualification studies!

When asked about how she believes the choreographer helps the performer, Hannah said that working collaboratively was essential to an enhanced performance. She emphasises the importance of creating a rehearsal space where everyone feels safe and comfortable, as well as developing a friendly relationship with the performer so that they can fully trust her decisions. In terms of including other people’s ideas, she again reiterates the vitality of everyone being heard to ensure a positive environment and maximised results. However, she is also firm in her choices, often sticking with her choreography plans amongst other things.

My classmate asked Hannah some additional questions on the previously discussed topics, which I will put below.

Does she think listening to actors’ ideas for choreography is important?

She tends to stick with her pre-choreographed work because of speed and efficiency but may give actors options between two moves or the opportunity to add their own poses. She wants to prioritise performers characterisation over the dance moves because at the end of the day, that is what the audience will be most engaged by.

How does she support the actors if they are silently struggling with a dance or particular movement?

Hannah tends to focus on creating a friendly relationship with the performers so they feel they can ask questions if necessary. However, if they don’t, she would go through the dance as a group again to prevent the performer feeling embarrassed. She even sometimes recaps specific moves and how to do them with the group.

How does she make her choreography achievable for everyone?

She relies on repetition, speed and detail once she is familiar with a group to know if she can dial those up or down. This is a very efficient way of working because it should avoid maximum struggling. However, Hannah wants to push each group and stretch their boundaries as much as possible.

Wardrobe Department

Unlike the previous departments - which commonly consist of a unanimous leader and their deputies or team - the wardrobe unit tends to be more open ended, with certain individuals specialising in specific areas, rather than one person overseeing them all.

As a general description for such a versatile region, the wardrobe department sources and maintains costumes, sorts any laundry, and essentially runs the clothing aspects of the show! This can take the form of pre setting costumes or quick changes; some wardrobe departments in smaller clubs (usually amateur) will double up and work with props as well.

On the subject of quick changes, they are becoming increasingly common in musical theatre. Every individual involved in a quick change needs to be meticulously informed and rehearsed in their approach towards it. In terms of the wardrobe department - who will often make these quick change costumes themselves due to the specificity of the purpose - various tools that can be adopted include: velcro, magnets, poppers, connected costumes and layering.

As a result of all of this, this team needs to read the script and research the context of the show thoroughly in order to understand the requirements for the costumes; this involves factors such as time period, country of location and social class, as well as any personal details tailored to the characters in question!

Actors will need to be measured for their clothing, including a seam allowance in case they fluctuate in body weight or muscle mass. Indeed, communication with the actors is crucial for this organisation of people, perhaps more so than any other. It is vital for all performers to feel comfortable in what they are wearing; not only can a costume influence a character substantially, but it can also influence the behaviour and levels of stress within a performer, especially when considering size of garments or texture of material. 

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Healthy Lifestyle and Maintenance 

As has already been insinuated in previous segments, the intense demands of the theatre industry can very easily damage one’s physical and mental health if the incorrect measures are taken to preserve and protect them. Luckily, if difficulty arises with one of these facets of wellbeing - for whatever reason - there are many others that overlap and work in tandem in order to maintain the individual’s quality of performance and general living.

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Physical Health

We will begin with the component that is most explicitly visible to external observers. Physical health regards the state of, and any complications regarding, the body and anatomy. As I have already discussed the voice as an individual section prior to this, I will only mention it sparsely from here - although, it is by technicality involved with this subcategory.

Movement and Flexibility

Movement is the general term describing one’s ability to command and coordinate the body in a given space. In terms of performance, movement relates to the grace and precision achieved within any physicality, including dance and characterisation.

Similarly, Flexibility is the range of motion which these components of the body possess, and the degree to which they are able to extend their limitations. Physical performance is enhanced overall when flexibility is honed; risk of injury can be heavily reduced when a performer is able to stretch and hold extended positions with greater ease.

There are a multitude of exercises that can help an aspiring performer improve their movement and flexibility in tandem. These include, but are not limited to:

Dynamic Stretching: Commonly found in a warm-up, these consist of controlled movements - such as leg swings or arm circles - that gently encourage the body to make use of its full range of motion. The body can be prepared well for performance by using these activities, as they have been proven to increase blood flow and muscular temperature, preventing stiffness or damage.

Static Stretching: In contrast, these are frequently executed after a period of rehearsal or performance, in such a way that focuses on the major muscle groups (including the hamstrings, shoulders and lower back.) After the body has been thoroughly warmed up through whatever form of exercise the subject has participated in, holding these moderately intense stretches for at least 30 seconds is a great way to increase flexibility.

Yoga and/or Pilates: Both of these forms of exercise have been shown to incorporate emphasis on movement and flexibility training, whilst also enhancing core stability and muscular strength. Each activity - although yoga does this to a greater extent - uses poses and positions that target certain areas of the body through deep contortions, allowing them all to receive high levels and standards of treatment.

Foam Rolling and Massages: These are rather self explanatory in terms of procedure, although they are perhaps the most underused of the above mentioned tactics. While not displaying immediate results in the same way that these other might, the gradual heightening of one’s flexibility through these tasks is phenomenal. They are designed to help release unwanted tension in the muscles, break down harmful scar tissue, and improve overall circulation.

A performer’s conscious choices to concentrate on developing their movement and flexibility will provide a plethora of benefits, aside from those already mentioned. For one thing, an enhanced ranged of motion will be attained, allowing performers to feel they can move more freely; this will increase precision in all aspects of physical performance. Moreover, regular routines implemented in a way that prevents strain and injury will ensure the longevity of the performer’s career. Finally - although I am sure there are many other advantages that I have not covered - an enhanced range of movement execution will promote awareness and control of the physical self, meaning that choreography and more physical roles will feel less of a challenge to face.

‘‘It was important to have a lot of flexibility to move like a dancer. My body went through extreme changes with the stretching, barre classes and dance routines.’’ - Natalie Portman

Strength and Conditioning

Strength is the term for using tasks such as weightlifting, bodyweight exercises and resistance training, in order to build muscle. These things allow for performers to source the immense power required for any aspect of projection, in particular dynamic actions. These include jumps, lifts, and even strong vocal output.

Conditioning, likewise, is the series of activities that improve stamina, cardiovascular fitness, and general endurance. These facets also assist with the physical demands of performance, but will more importantly ensure that the expectation of high energy within said actions is maintained consistently for a long period of time.

Certain activities are favoured by many performers to maximise their discipline within this criteria, such as:

Compound Movements: These activities including squats, deadlifts and bench presses - will engage multiple muscle groups at any given time or with any given exercise, ensuring the efficient improvement of the above traits. Moreover, the use of techniques that mimic actions relative to the real working world means that they are highly functional; performers who require strength over a range of areas will be easily accounted for.

Plyometrics: This form of exercise is crucial for those who require a great sense of dynamic physical control, meaning that they are expected to develop their explosive power and fast-twitch muscle responses. As such, the common tasks used include jump squats and box jumps; essentially, high-intensity actions that encourage consistent and constant movement throughout.

Core Work: A strong core is essential for any kind of support that is integral to this taxing industry. Whether focusing on acting, singing or dancing, the prevention of injury and the building of general stability are considered heavily involved in all aspects. Thus, exercises such as the plank are widely encouraged to be used.

Active Recovery: Although not as intensive as previous suggestions, these periods of activity are equally as useful. Yoga and light stretching, among other things, will allow the body to heal and prevent burnouts from occurring in between explosive training sessions.

Once again, certain benefits are particularly noticeable when these ideas are realised and implemented into a routine. The advancement of one’s strength and conditioning will in turn support the joints and improve posture, meaning that the intensity of performing is generally more manageable, and injuries can be staved off much more easily. Moreover, quality of performance will be enhanced; heightened strength will lead to a greater deal of control and power within movements, enhancing one’s ability to use body language to their advantage. This could take the form of dynamic choreography in a dancer, stage presence and characterisation in an actor, or many other things entirely!

Continuing on, such well-managed routines of conditioning will allow for the strong progress of cardiovascular fitness, meaning that even the longest rehearsals or performances can be tackled with sufficient energy and stamina. This is especially important for those who are performing intense sections or entire shows, and are more likely to be subject to fatigue.

Finally, on a more psychological note (although there is an individual section on this), physical training can develop one’s ability to cope with the pressures that emerge within the industry. Mental fortitude will also assist heavily in processing and recovering from any setbacks, whether this be an injury, rejection, or other matter in itself.

‘‘It’s not just about lifting weights and bulking up; it’s about functional strength - mobility, endurance and flexibility. You need to be ready for anything, especially in action roles.’’ - Chris Hemsworth

Injury Prevention

Injuries on the whole are any form of physical impact on the body with a negative connotation. Most commonly, this refers to muscles, ligaments, joints and bones, but can technically relate to any part of the anatomy. Subsequently, injury prevention is the amalgamation of strategies and practises, intended to reduce the risk of these injuries.

In a performing arts context, both of these variables are highly relevant; the high demands of the industry equate to a much higher risk of injury than other fields of work. Dancers frequently experience muscular and joint strain, actors are commonly at risk of sprains and falls (especially in the circumstance of stunts or fight choreography), and singers can easily develop vocal strain or injuries if they have not prepared sufficiently - although this topic has already been discussed. Likewise, injury prevention in the performing arts guarantees longevity of a career as a whole; certain ailments may put a performer out of work for a long time, or even indefinitely.

Once again, there are remedies and preventatives specified to this matter, which are highly encouraged to be implemented:

Warmups: This suggestion will appear repetitively for decent reason; it is possibly the most important skill for a performer to master in order to secure longevity of their career and livelihood. The activities implemented aim to increase blood flow to the muscles, improve joint flexibility and prepare the nervous system for physical activity. Moreover, the heart rate can be gradually raised over a period of time, meaning that the body can be eased into a greater sense of exertion, rather than plunged into it unsafely. Together, these tasks will achieve a reduction in muscle stiffness, an enhancement of movement control, and a significantly lowered risk of strains or sprains. Overall, performance safety is heavily enhanced!

Flexibility Training: Muscular tightness and strains can be eradicated by certain exercises, and - in fact - can be reversed into an increased range of motion if persistence emerges! Regular training usually takes the form of static stretches; users are encouraged to complete actions that target areas such as the hips, shoulders and hamstrings for maximum beneficial outcomes.

Strength Training: Using exercises such as squats, lunges and resistance band tasks can be highly useful when looking to develop one’s strength and stability. Joints are much better supported when the muscles are stronger, meaning that a greater strength equates to a safer performance and decreased risk of injury.

‘‘You have to look after yourself. I’ve found the more work I do off screen - the stretching, weights, everything - the better I feel on screen.’’ - Hugh Jackman

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Mental Health

Although not nearly as widely discussed in the past, the world - in particular the performance industry - is now realising that mental health is equally as vital as physical health.

Once again, there are many complications regarding this matter; the brain is an incredibly diverse, delicate and intricate organ, after all! All the same, the disadvantages come with tried and tested solutions, and there are also many (lesser discussed) benefits!!

So, we will begin with the drawbacks, to get them cleared up and out of the way, before concluding with the positive factors!

Stress and Anxiety

Stress is a rather mundane term, which refers to any form of demand or pressure that grows overwhelming. Despite the simplicity of the world itself, the impacts of the sensation hold incredible detriment. Stress can manifest physically and mentally, due to the high demands and long hours associated with any project, but particularly in musical theatre. Burnout is incredibly common and detrimental in the performing arts, and stress is the primary causation factor.

Similarly, anxiety is a term describing a sensation of persistent worry, fear or unease regarding future events. Most commonly in this industry, the ailment manifests in the form of performance anxiety. Although majorly situational, this fear of making mistakes, being judged or underperforming, can cause significant stresses in a performer’s life and thus impact the overall eventual quality of their performance.

In many ways - although differing in some respects - physical and mental health hold significant comparative similarities! One concise example of this is the performer’s ability and opportunity to make use of exercises that enhance their chosen skills. Once again, these are also accompanied with a variety of benefits, which I will detail alongside the activities in question.

Listening to music: Music is commonly cited as a distraction for many performers - whether upbeat or soothing - and can allow for any issues within a person’s mind to be temporarily pushed aside in favour of short term enjoyment. Specified substyles of classical and ambient music (among others) can easily promote a relaxed state; energetic and empowering music also wields properties of confidence boosting and encourage feelings of bravery. This multitude of effects can be explained biologically, once again tying in with the similarities between mental and physical wellbeing. Not only is music considered a medical form of mindfulness, but it is universally known to be a heavy releaser of the positive and pleasant neurotransmitter dopamine. Likewise, soothing music produces the hormone cortisol, which is notorious for slowing heart rates and thus inducing a state of calm.

Avoiding unhealthy habits: although seemingly obvious, this task is much more difficult and daunting below the surface than initially anticipated. It is far too common an occurrence that performers become reliant on substances such as alcohol, caffeine or drugs (whether prescription or not…) Indeed, these things may be beneficial in terms of providing temporary relief, but they should not in any way be used as crutches for a long term solution. Rather, avoiding these temperaments - among others - will allow for issues to be assessed and treated as they emerge, as opposed to allowing them to fester and thus creating additional strife. Indeed, the aversion from such unhealthy mannerisms will allow a performer to preserve their physical and mental health by giving them an opportunity to more effectively magane stressors.

Communication/Talking: having a well formulated support network can be highly beneficial for any performer, even in situations where you feel it is unneeded. Communicating with peers in both positive and negative states of mind can allow any strife to be eased, develop relationships, and allow you to perceive circumstances in alternative ways. Talking with these people - or in alternative cases, mental health charities such as Mind or Kooth - is an effective way to assess dilemmas and identify solutions to potentially complex problems.

Mental Resilience

Mental resilience defines an individual’s ability to assess, tackle and overcome any form of challenge, difficulty or setback. The performing arts industry in itself is accompanied by a myriad of stressors, such as auditions, demanding schedules and the vulnerability of live performance; day-to-day life only adds to these complications in its manner of conduct. Performers require some of the most diligent mindsets of anyone in the working world, due to the extreme degrees of common stresses and criticism they experience and the even more essential requirement to maintain a strong composure in the face of these.

Despite being a more abstract concept, there are still many ways this skill can be honed and developed. Enclosed are, once again, a few examples of how… I’m certain everyone is getting a little tired of this structure now, but it does not take a seasoned performer to know that repetition and consistency are the key to success, particularly when maintaining a healthy lifestyle!

Journaling: many practitioners will decide to keep a daily log of their activity; most commonly in this context this refers to any challenging experiences they have undergone and their subsequent response to them. This activity - even more so when done ritually - can greatly enhance awareness of the self, giving performers a useful tool for understanding and processing their emotions in a mature and collaborative way. Such a skill is crucial for recognising overcoming mental barriers.

Visualisation: strangely, this technique of manifesting successful performance has been cited as a highly strategic move! Most notably in preparation for challenging encounters, mental rehearsal can calm an individual down and reassure them that they are confident in their knowledge of content they need to perform. As a result, consistent visualisation trains the brain to remain calm and focused under pressure.

Work-Life Balance

Again, this more widespread factor can be defined and solved (when issues arise) in a variety of ways; it usually consists of the ways that people direct their time and energy in order to meet professional demands, whilst not compromising personal or social wellbeing. Contextually, this holds even greater precedence, due to the sector being rife with irregular working hours and high levels of physical and mental demand/stress. both mental and physical health must be prioritised in order to ensure consistency and pride in one’s performances over a long period of time. The balance entailed will allow for the reduction of burnout risk, as well as supporting psychological resilience and anatomical conditioning.

Interpretations have been made in the past on appropriate solutions to achieve the optimal levels of this variable. Some of the most popular are:

Establish Boundaries: Many performers make the decision (and tactfully so), to create divisions between their work and their personal life. Whether this means creating designated time in the day to isolate oneself from work-related tasks, or pursuing alternative hobbies as a change of pace, dedication to personal interests outside of work creates mental separation from responsibilities and actively prevents burnout.

Prioritise Self-Care: We will go into more detail on this later, but this is an ample opportunity to introduce the topic. Regular exercise, decent nutrition and a well-organised sleep schedule are the core components of management in regards to any career with high levels of stress. Focus, energy and emotional balance are guaranteed to be improved if these variables are regulated and maintained, meaning a sustainable career is assured.

Engage In Hobbies and Social Connections: Similarly to prior points, interaction with family, friends and colleagues in situations not related to work is essential. These activities mean that a counterbalance can be successfully achieved against the large workloads, supporting and protecting emotional wellbeing.

''I've always had anxiety; I've had anxiety for years. But when I'm in the studio is the best experience for me. It's therapeutic, and I know a lot of performers would say the same.'' - Ariana Grande-Butera

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Nutrition and Hydration

Fuelling Your Body

A balance assortment of foods is crucial for securing and maintaining all aspects of physical performance. In the context of supplying the body with sufficient energy to prolong stamina, Macronutrients especially are key. Here I will detail the three most notable Macronutrients and the significance of their benefits.

Carbohydrates provide a steady level of energy during periods of high demand, releasing it gradually rather than overloading the system all at one concentrated time. Certain foods possess significantly high levels of Macronutrients, and are heavily encouraged to be integrated into a successful performer’s diet. These include: Whole Grains (e.g. oats, brown rice, whole grain bread - rich in complex carbohydrates); Fruits (e.g. bananas, apples, oranges - high levels of natural sugar and fibres); Vegetables (e.g. potatoes, corn, chickpeas - also high in complex carbohydrates); and Dairy Products (e.g. milk, yoghurt, cheese - contain high amounts of lactose.)

Proteins - the second addition - possess properties that allow for growth, repair and recovery of the muscles, ensuring a performer can enhance their strength and conditioning with greater ease. Once again, certain foods are highlighted as especially useful for achieving this goal. These are: Meats (e.g. chicken, beef, turkey); Seafood (e.g. salmon, shrimp/prawns, tuna); Eggs, and Nuts/Seeds (e.g. almonds, chia seeds, pumpkin seeds.)

Finally, Omega 3 Fatty Acids are a highly efficient substance for reducing overall bodily inflammation. This factor is vital for any form of muscular recovery and injury prevention, a process highlighted in this taxing industry. Not only this, but Omega 3s provide crucial support in regards to mood stability and general neurological health, clear aids for any form of focus, anxiety reduction and management of performance-related stress. Foods with an abundance in Omega 3s are mostly those which also have high levels of protein: Seafood (e.g. salmon, shrimp/prawns, tuna, seaweed etc.), Nuts (e.g. walnuts, pecan, pistachios etc.), Seeds (e.g. flax seeds, chia seeds etc.)

Any form of meal should be given decent consideration, but as a performer - particularly one in the middle of a show season - it is especially vital. Food should be a part of the standardised routine before and after performances, but the nature of these will differ. Before a performance, ideally 2 or 3 hours before, effective choices would be those with sufficient carbohydrates, moderate proteins, and minimal fats to prevent any potential sluggishness and maximise energy. On the other hand, post performance meals need a more well balanced array of carbohydrates and protein, ideally consumed up to an hour after activity. This will allow muscular recovery and energy restoration to be supported, due to reparation and replenishing of glycogen. These things will ensure a prolonged period of decent health, as well as lessening the risk of injury substantially.

Hydration

Arguably water is more commonly discussed in matters of performer’s endurance, but its true benefits still warrant highlighting! Not only can water aid nutrients in the supply of energy and developing physical endurance, but mental clarity is also significantly supported. Even a mild instance of dehydration can hold large weight on the mind - symptoms can involve heightened fatigue, impaired coordination and reduced focus - so sensible habits should be adopted for a strong performance to be attained. The variety of benefits relating to drinking water are primarily physical and vocal, so those are the topics that will be discussed here.

Appropriate degrees of hydration will support physical wellbeing in a plethora of ways, all of which can easily partner with other facets of maintenance to support performance quality and health. Not only will muscle function be aided, thus reducing the risk and detriment of cramps, but water also lubricates the joints and manages the transportation of nutrients around the body.

Likewise, in a vocal context, the cords are most successfully lubricated by drinking water. Indeed, hydration is key for the preservation of the vocals on the whole, most notably their clarity and stamina under the pressure of high intensity performances of long duration.

Although vocal health has been primarily established in a previous chapter, here seems a more suitable place to discuss the large disadvantage posited by any form of soft drinks. As mentioned, water possess the ability to maintain the clarity and power of the singing voice; caffeine acts as a diuretic, meaning that water is lost rapidly and this act is counteracted ferociously. Moreover, soft drinks heighten the production of mucus - which causes congestion in the throat that makes projection and sustenance of notes difficult - due to their high sugar content and carbonation. Speaking of carbonation, this factor is a highly known cause of acid reflux: where stomach acid travels to the oesophagus and has the capability to irritate the vocal cords. This, alongside the general acidity in this sort of drink leading to strain on the throat lining and cords, can result rather easily in inflammation that will produce a weakened or raspy quality to the voice. 

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Rest and Recovery

Once more, I believe this to be a topic which is discussed with brevity; it is covered so that people are aware of its existence, but not enough that people are educated enough on the benefits and how to operate the tool provided.

Importance of Sleep

To start, this form of rest implores the best kind of muscle recovery; several processes are executed to repair and strengthen them after any kind of physical exertion, especially in this context of high intensity exertion found in musical theatre. First of all, growth hormones are excreted during stages of deep sleep, allowing for sufficient tissue repair, muscle growth, and more extended repair and recovery of a wider range of anatomical areas. Similarly, and perhaps more expectedly, fatigue and strain is reduced when sleeping, due to a reduction in inflammation, a restoration of energy levels and a vital improvement of mental clarity and focus which will ensure peak concentration when awake.

Secondly, sleep is essential in the realm of mental processing. When asleep, we are able to process, consolidate and store information into our long term memory with much greater success, meaning that performers are able to learn and recall choreography, music, lines or blocking far easier and more effectively. Additionally, the triple threat’s performance can be enhanced through deeper nuances and character interpretations when asleep! Neural connections in the brain are strengthened during sleeping hours, meaning that complex thinking is better supported.

One last major vitality is the vast layers of emotional regulation sleep encourages. Deep sleep allows the production and circulation of stress hormones in a way that balances them healthily. This holds a crucial role in performance conditions involving major stress concentration, due to the subsequent promotion of calmness and mental resilience. 

How to Improve Your Sleep

As I briefed in the introduction to this chapter, the methods for ensuring these benefits can be unlocked are not nearly as well publicised as they should be! Performing artists, as well as everyone else, should have these resources readily available to them, and so I will endeavour to begin this assistance.

Having a Consistent Schedule: Ensuring waking and sleeping hours are the same for the majority of the time will help regulate what is known as you Circadian Rhythm - the body’s sort of ‘internal clock.’ This enhancement of the body clock will guarantee the maximisation of all forms of sleep, consequently meaning the benefits produced will also be at their highest potential. Regulated sleep can also optimise the release of hormones which will reduce insomnia and further amplify sleep quality; these include melatonin for sleep and cortisol for wakefulness. This tool is the most useful to performers, and even more so to those with limited resting hours, for example if they are working on a contract with more than one (could be up to three) shows every day.

Reduce Screen Time Before Bed: Blue light emitted by phones, televisions and computers (among other technological devices) interferes with the aforementioned melatonin production, the hormone responsible for emulating those feelings of tiredness. Using this blue light can actively contest the previously discussed benefits of more effective and consistent sleep. Moreover, a large majority of digital content - such as emails and social media - could cause overstimulation through stress or anxiety; this is especially damaging in the hours before bed, when the body is trying to unwind and relax so it can obtain sufficient rest.

Active Recovery

This particular technique describes the use of gentle movements, including (but not limited to) walking, yoga or cycling. Apart from increasing blood flow to the muscles, this prevents any form of strain by clearing out metabolic waste products (such as lactic acid), which in turn reduces muscle soreness and improves flexibility. These facets are key for high intensity performance, but especially for those easily prone to weakness or strain in certain areas - for example, through a disability.

Rest Days

Rest Days, simply put, are scheduled days without any form of structured exercise or physical training. These are crucial for all areas of recovery, both physical and mental, highlighted after periods of strenuous activity. Rest periods provide ample time for muscles to repair and rebuild, staving off injury and burnout. Moreover, this pausing of activity will assist the development of long term endurance, gradually enhancing performance quality. Not only this, rest can encourage the body to replenish core energy stores such as glycogen, which is critical for sustaining powerful performance. 

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Performance Optimisation Tips

In a small summary, our research group has collated a series of general pieces of advice that will benefit a performer in all of the historically covered topic areas.

Routine and Consistency

Although this has already been established in specified areas, it can also be applied to any others that have not breached the subject yet! Introducing consistency to one’s way of working is a sure fire tactic for optimising the benefits of training. Whether taking the form of a rehearsal, rest period or workout, the stability found within rigor and structure will improve physical and mental strength and resilience, muscle memory, stress reduction and feeling of control. All of these in tandem will prove highly effective when relocated to a performance context, as they will support one another to maximise the output of the individual in the healthiest possible way.

Pre-Performance Rituals

The majority of performers who have had decent experience in the field will have personalised rituals that they complete in the lead up to an event. This can take many forms - from breathing exercises, vocal warm-ups, physical activity or even visualisation techniques and listening to music - but all have the common link of optimising focus and reducing anxiety, so that the performer can sufficiently prepare for the upcoming challenges.

Health Tracking Apps

There are many available resources that can isolate and concentrate on certain aspects of the maintenance process discussed here, as well as many that cover a broad range! In particular, there exist a large number of apps that focus on diet, nutrition and exercise. In instances such as MyFitnessPal, you are able to scan the barcodes of food or drinks and automatically calculate the nutrients that you are consuming! This eradicates the hassle of manual calculations, as well as providing more detailed information which will allow people - especially performers - to make more educated and intelligent choices surrounding eating habits. 

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Conclusion

During the process of writing this essay, I have collated the mammoth quantity of variables that compose this ever-expanding, ever fluctuating industry. As you can see, there are evident areas where stressors are common and setbacks frequent. However, there are a much larger plenitude of resources that can aid a performer in developing their holistic qualities and successfully maintaining performance-level behaviours. Not only this, I have concluded from my research that - although technical skills within the industry are of high importance - the most vital aspect of triple threat performance in a modern context is ensuring that the more broad and transferrable skills a student develops are honed efficiently. These mannerisms hold prevalence when navigating the complexities of this field of work, and the performing arts-centred qualities will be rewarded accordingly in the more specified setting which are required to be applied.

In brief summary, I now believe I am vastly more prepared to approach and pioneer this tumultuous career path in a way that can be healthily managed and evaluated. Through this, I will also effectively develop my general outlook as a citizen and person, providing ample benefits for all elements of my likeness.

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Citations

The Actor 

The Psychology of Visuals: How Images Affect Audience Engagement in Presentations | by VisualspidersPPT | Medium

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Lee Strasberg and Stella Adler's Approaches to Emotions in Acting

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The Singer

What Are Your Vocal Cords?

Stroboscopy: Normal Female Vocal Cords

Should Your Larynx Move When You Sing? - The Inside Voice

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How To Use A Salt Water Gargle For A Sore Throat | Colgate® Oral Care

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What is belting in singing? | BBC Maestro

Life in the Industry

Theatre and Performance Studies BA (UCAS W440)

Degree, Diploma & MA Courses in Theatre & Performing Arts | Performers College

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Interconnectivity

Who’s Right? The Director or the Actor? | Spacious Acting™

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Music Director (Theater and Opera) | Berklee

5 Skills You Must Have To Be A Successful Music Director

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Composing for Film and TV | NFTS

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Healthy Lifestyle and Maintenance

The Importance of Flexibility in Dance + 9 Ways to Improve Yours

Why Is Flexibility Important? — Mind and Body Benefits

8 ways Flexibility improves your dancing

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Why Work-Life Balance Is So Important—and How to Nail It

12 Tips to Achieve and Maintain a Good Work-Life Balance

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Nutrition and Performance in Competitive Sports

Carbohydrates - The Nutrition Source

Harvard Health

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Nutrition and Performance in Competitive Sports

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Rest & Recover

The importance of hydration | Western Kentucky University

The Importance of Hydration | Recreation & Physical Education

THE VOICE FOUNDATION