The first acting strategy

Recently, an actor, friend of mine recounted a performance of his on stage in the West End of London. He described how, for a moment, he became aware of where he was performing, the history, the magnitude of it all. He snapped straight back into the performance. But, now he was thinking " did the audience notice" and "am I repeating the same line." He, of course,  continued on through, regardless of the doubt in his mind. He continued on through because the story had to be told: the show must go on.
The show must go on.
Ever since those words (some credit them to P T Barnum, others, Noel Coward) were uttered, they have become a dictum, a rallying cry to the performer. For, within those words can be found not just a simple instruction, but, a performance strategy. The show must go on : no matter what else occurs, it is your duty, in that moment, to draw strength and inspiration, to find it within yourself to rise above the circumstance, and tell the story.
Here endith the lesson. Here endith the first principal of performance : the first acting strategy.

Strategy for Acting. Strategy for Life.

Most people lead two lives. One personal, the other professional. Performers are no different. In fact I would say they juggle with a slightly more complex dynamic: the personal life, and two professional lives. The career we strive for, and the job we do to support our ambitions.
We are often faced with social and work place politics. Situations that draw on our precious time. It is at these times we need a strategy, a way of keeping us on track.
Recently, I had situations arise at work and where I am currently living. These both took up a considerable amount of my time and focus. The problem was that most of that time was not spent on dealing with said situations but obsessing about them.
In the end I employed a self reflective approach. I established my priorities and began to let go of the things that did not pertain to those priorities.
My current study is a priority. My continuing development as a professional performer is a priority. What "he said, she said" is not.
If I aim to fulfil my ambition, I must focus. A reflective process, a mental priority planner, a perspective lense. These are all parts of my strategy to maintain life as a professional performer.

Rejection Strategy

As I have mentioned before, I have written scripts for independent short films and one for BBC.
Time constraints on film production often means scenes are left out or dialogue changed, resulting in a different story interpretation to the one the writer intended.
I wanted more control over my material, and so wrote my ideas out as stories in prose.
Next step : I sent the stories off to magazines.
That's when it began: The rejection letters.
I took the rejections surprisingly well.
This began to make me think about my Inquiry (which is now concentrating,  not so much on fear, but on the coping strategies).
Did my lack of self- administered mental chastisement mean that I had triggered a coping strategy?
The broad reply would always be "well, I'm use to rejection now", as if over the years a tough outer shell had formed naturally, organically,  without cognitive intervention.
Of course, what had happened was, over those years, I had wrestled my demons with logic, with reason. For every audition I did not get, I chose not to throw myself upon the alter of self pity, but, instead, to look at other reasons why I might not have won the role. Reasons often out of my control ie wrong look, too young, too old, too tall.
If I felt I had done a particularly bad job, yes, I was introspective, but purely as a means to improve my practice. However, I would always try and see the bigger picture. Apply a balanced view. To this day, this is how I cope with rejection. This is my strategy.

Critical Reflection on Professional Practitioner Inquiry

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Many of my fellow students were basing theirs on teaching in the education system (something I have no experience of). So, instead I chose a topic that affected me in my professional life, and was also something that would resonated with fellow performers : nerves and anxiety. I had read an interview with an established actor, who upon winning a film role, suddenly felt he had no idea how to play the role. This strange juxtaposition of confidence and doubt was the bases for my original set of questions. I posted these on my blog and the answers I got back were varied and interesting. What soon became apparent was that though my questions were aimed at actors, they also spoke to dancers, visual artists, etc. I dispensed with questions on professionalism as a method of good practice, and the state of "being in the moment". Instead I expanded the questions that addressed fear as a social science within the acting community. This I found more compellingly, as without confidence, professionalism nor the state of being, .could be achieved .
I put my questions up on Facebook, but I received not one reply. Instead I was approached by actors individually - unwilling to answer the questions in a public forum,  but more than happy to answer them in a one on one interview.
I tried my questions out on one actor, with interesting results. What did become apparent was how actors not only viewed punctuality and voice work as good professional practice, but also as a means to controlling nerves.
Upon receiving feedback on my proposal plan, I decided to also include the topic of Fear as a cultural phenomenon in my Inquiry.
Before I looked at Ethics, I had taken it as a given that I would be courteous and trustworthy in my conducted. However, the Reader brought home the fact that these concepts served no purpose ruminating in my mind, but had to be written down as a contract of assurances for all to see. It also made me realise that recording peoples views and feelings meant I would be dealing with material of a sensitive nature, and would need be stored and later disposed of in an orderly and secure fashion.
Once again, I took it as a given that I would be ethical throughout my Inquiry. I imagine people tailor the facts to their own ends because they are aiming at a predetermined conclusion. However, my Inquiry is more organic. It's outcome being as much a mystery to me at this stage as it will be for the reader. Only upon applying my findings can I hope to give a satisfy conclusion.
When I considered the right Tools of Inquiry for my proposal, I had to factor in logistical considerations. The idea of securing a group of actors for a group discussion proved troublesome. Also, Observation was ruled out,  because of the nature of my questions - I'm not recording the external indicators,  but instead asking my subjects to be introspective/reflective.  The fact that actors had been unwilling to answer these questions in a forum, but willing to do so over a coffee,  made me realise one on one interviews were the way to go.
I felt a semi structured approach would help create a more conducive environment, and allow my interview subjects to open up.

Further research

Well, calling my Inquiry:  Fear of Performance,  may not have been the brightest move. If you put that title into a search engine, most answers you get back suggest you take viagra. Plus,  genuine literature on the subject is a bit thin on the ground.
I went to Foyles in the west end and their data base showed no books on the subject. Even the person behind the counter said " That's a great topic. Someone should write a book on it."
However, I did find a book aimed at musicians that dealt with nerves/confidence,  and quite a few self- help books.
I am now considering  both in my literally reviews.

6c Inquiry Title

I have decided to title my inquiry : The Fear of Performance.

I felt the title should be short and snappy, so as to grab the reader's attention.
The reason I have chosen this title is because it resonates with me on a personal level.
As a young child I was frightened of standing up in class and presenting my work. This fear of being the centre of attention, would leave me trembling, sweaty, and tongue tied.
As I grew older, this feeling stayed with me. The voice of doubt would always shout down any attempt to succeed.
I  went on to study music. But my performance exams were a nightmare. The nerves would come to the fore. In my panic, my hands would literally stop working.
In my desperation, I searched out a course to help with my affliction. The course was called Confidence through Drama. Once a week I would meet with others, different ages, from every walk of like, but all with one thing in common : the fear of getting up in front of people and performing.
The rest is history (not world shattering history, just my own humble history) Having been bitten by the acting bug, I went on to study at drama school. By now I had grown in confidence, I knew I could act, though I was aware I still had a lot to learn. I still got nervous before a performance, but no where near as bad.
I imagined at this stage, I was the only one to still feel the effects of nerves. However, as I got to know my fellow students, it soon became apparent that nerves were still an issue for many of us.
Why was this? We were in a safe environment at drama school, and yet nerves plagued us. The desire to do well in front of our peers, the pressure of getting good marks, these and many other external pressures influences our emotions. I did well in class and performance blocks, but always felt, if I could lose my fear I would be a better performer.
I began reading articles, and interviews with seasoned professionals who still suffered from nerves. As well as the physical manifestation brought on by nerves tension, they also mentioned a wavering confidence, the voice inside their head that told them they were no good, or as actors often put it "the fear of being found out".
I soon realised that nerves were not a beast that could be killed, but one that could, perhaps, be tamed.
Recently, I was having trouble with the audition process. I contacted an established actor, on Twitter, and he gave me some advice.
On my next audition I followed his suggestions. The results were great.
I had followed a one sentence instruction, and my audition process had improved.
It got me thinking, if I could research the manifestation and coping methods of nerves, in performers, maybe it's results could help others.

Yes, I still get nervous before a performance, but my confidence has come along way, since that first acting course, and I feel with more knowledge behind me I can grow further in confidence, and help others to do so.
I went from a boy shaking nervously in class to a man performing in front of hundreds of people. I'm living proof that it can work.
I hope my research will resonate with all performers, and make them try a new approach, or at the very least, take solace in the knowledge that they are not the only sufferers.
I also hope to take the things I learn in the inquiry, and use them in my future role as a teacher, so that children and adults need not fear performance, but enjoy it for what it is.

 

6b Critical Reflection on Research Tools

I think I got carried away on my explanation in 6a, and so some of my points in 6a will be repeated here in a more detailed form.

Observation.

Observation is a great data collection tool, be it, recorded in notes, video, or audio.
Informing the candidate of your intentions would be the first step, and gaining permission to use the data. Also, if the data is of a sensitive nature, you must be prepared that the candidate will want the information gathered, removed at anytime. This of course can happen with any data gathered. But when it comes to a educational course that depends on me completing an inquiry, I would rather lessen the risk of having to abort part of the project under such time restraints.
Also, with observational reflection, I feel you also run the risk of misinterpreting some of the indicators. For example, I may assume from someones body language that they are nervous/worried, and put that in my inquiry, only to find out that was not the case.
For the purpose of my inquiry, I will observe. However, I am interested in the verbal responses, and should I notice any physical indicators, they can influence my line of questioning, but will not be critiqued in my inquiry. I am aware that I will be asking Actors to talk about personal issues. These may elicit different reactions. I'm not convinced that recording how happy/upset someone was when I posed a question, will help other actors to learn from, and identify with, the verbal answers.
Observation would be an effective tool if I was in a production with my candidates. I could then observe their reactions within the performance environment. But this could be a problem. When Actors are about to shoot a scene or take to the stage, the last thing they want is someone asking them "how they feel." I think I will get more out of the candidates when they can review the experience in retrospect.

The Inquirer as a Participant Observer or Inside Researcher.

My research will not only involve emotions (fear, anxiety) but also different working environments within the profession (audition room, theatre, tv, film). This is so I can investigate if nerves have a direct correlation to the environment.
As the Reader stated, the majority of Inquirers will be regular participants in the practice researched.
I will understand many of the contexts referred to by my 'sample', having worked in the same environments. And not only will I be member of the same community,  but many of my interviewed candidates will be close friends.
I think the fact that I am an active member of the same profession will hold me in good stead, as I will understand the current events and feelings within our community.
The fact that I have a personal relationship with my candidates will mean there is an instant bond/rapport between us. However, this may seem like a plus on the surface, but could prove to be a negative. I will be asking personal questions of my work colleagues,  and they may find it hard to open up. It's not always easy to talk about a shared experience with someone who was there and admit you were nervous, scared, frightened.
I think my research will mean I am an inside researcher to a point, as I will be giving my own account of my experiences. I will also review the interviews and comment on them.
I feel a semi structured approach will be more beneficial. If I am able to refer to some of my own fears and doubts during the interview,  it may make the candidate more willing to reveal theirs. Of course this insider approach means I must be weary at all times that my dialogue with the candidate is not tainting the information. It means playing the role of interviewer and participant. This requires a firm grasp of objectivity.

Interviews.

The interview process will be at the core of my investigation.
I will pick three candidates based on their knowledge and experience within the field. This does not necessarily mean I am going to pick the candidate with the most extensive knowledge, or the longest serving within the profession.
My inquiry will encompass actors at different stages in their careers, and, where possible,  different acting disciplines, such as theatre and film.
The interviews will take place, face to face, in a relaxed environment of the candidate's choosing. All ethical reassures will be expressed, so as to put the interviewee at ease.
The interview will then proceed in a semi-structured form. Introductory questions will be closed, merely requiring a yes or no response. Secondary questions will be open. This will allow the candidate the freedom to answer the topic in greater detail. Open questions will also afford me the opportunity to ask linking question, that can further the study.

Focus group.

Gathering members of the same community in one room, and discussing the inquiry topic, would be beneficial. The group would act as its own support system. This means that the individual candidates may feel more comfortable in numbers, and the more comfortable they are, the more chance they will open up, and express feelings and  opinions they would be reluctant to broach in a one on one interview. The group discussion would take on a more organic approach, it would evolve as it went along. However, I would have to choose my candidates wisely, as many of my colleagues are very confident, opinionated individuals. This is great for firing up a Q&A session. However, they can also prove detrimental to the process, as their strong personalities may guide the session away from its intended course. Unfortunately, the logistics of getting a group of actors together in one room (apart from a theatre group) would prove difficult.

As my inquiry will only have a small number of candidates, and will take a more intimate, approach, I have decided a focus group may not be a viable tool in this instance. However, if the chance to conduct one arises, I will do it.

Journal and Diary

I feel a journal would also be beneficial to the inquiry. Interviews will not be in quick succession. This will allow me to record my reflective journey from one interview to the next. Each interview may influence me, make me rethink my position, my understanding of  nerves. I hope through my inquiry to discover things about my profession, and about myself. The journal will be the best way to document this.

Analysing Data

To aid in my inquiry I will seek out data from books and articles. This data will have to be treated carefully. I will need to determine whether the data has merit - if it is relevant to my inquiry, and if the information provided is from a legitimate source.
I will use the knowledge gleaned from this data to bolster my inquiry, by means of cross referencing. I will be looking for patterns or trends within the material, and see if my candidates express the same views. I want the data to run side by side with my inquiry, not to dominate it. Therefore, selection of complementary material is a must. However, if I find data that goes against the grain, I will need to carefully consider how best to introduce in into the research.