My first round of the audition was singing. As my ballad song, I chose to sing Nobody's Side from Chess. In preparation for the audition, I rehearsed the song during the week, using a music practice room at college. As the accompaniment had to be piano only or otherwise acapella, Rachel helped me source a piano only backing track. This took some adjusting to because I had previously rehearsed with the original instrumental, which included orchestral instruments on top of the piano. By just singing with piano, my voice felt more exposed. This made me pick up on mistakes I was making, in terms of pitch, pace and sometimes key, which meant improvement in my vocals. On the day of the audition, I was pleased with how my ballad went. My timing was good and my variation in volume was well balanced. This reassured me that I had selected an appropriate song for the range of my voice, which I will always keep at the front of my mind for future auditions. Furthermore, I selected this song because Elaine Page has sung it - the actress who played Grizabella in Cats. This is a part I am very interested in. Next was my upbeat song, which was Gimme Gimme from Thoroughly Modern Millie. I sung this acapella, due to there not being a piano only instrumental. I preferably wanted to sing with an instrumental, which has made me set the target for myself to be more organised and buy sheet music beforehand. Originally, I had planned to perform 1 minute and a half of the song, however on the day I stopped very early on which is something I regret. I think this was because I was singing acapella and naturally left longer gaps between verses and the chorus. Although, 'Gimme Gimme' matches the theme of upbeat songs in Cats, it is strictly a jazz-style song. Cats soundtrack varies between music genres, so I felt like I could have chosen a song which was perhaps more in the pop genre, or to be more specific, an upbeat female song from Andrew Lloyd Webber's repertoire, such as Buenos Aires - Evita.
My Ballad
My Upbeat
My second round of the audition was an interview. Rachel asked a lot of unexpected questions, like 'What is the Cherkanah Straker method?' and 'Sell yourself to a West End casting director right now', however I did not act or become thrown off by the element of surprise. Although, I recognised that I need to speak more confidently in my response to a question I don't initially grasp. The interview was probably my weakest round of the audition process. Since I am applying to drama schools, which involves one-on-one interviews, this is an area I will strongly focus on, ensuring I have an answer for whatever I may be asked on the day.
My Interview
My final round of the audition was a dance solo, which I self-choreographed in and out of lesson time. My stimulus for the dance was Cats and jazz technique. To act on my stimulus, I watched the original film clips of Cats for inspiration, and took sequence of movements from it and also ones we were taught by Emily in class. To ensure I had good technique, I attended weekly jazz technique sessions. In these sessions I was able to improve on my leaps - getting my back leg straight - and also work on my flexibility. I hope to be able to do the splits at the end of term. Our task was to create a 2 minute solo. I found getting the first minute done easy, however because I didn't want to repeat lots of the same movement, I made the second half challenging to choreograph. A strength of my dance audition was my confidence and composure in performance and giving the energy it required - smiling throughout. A weakness of mine is that my eyes need to keep facing up and ahead. On the next dancing task, I need to pay more attention to my arms, and give them exact positions or movement. Watching back my solo, I noticed that my arms tend to fling about, making the rest of my movement look unpolished. Lastly, at the end of my solo I failed to hold an end position, which makes me want to work on my balance.
My Dance Solo
Original Jellicle Ball - inspiration for my solo.
Thursday, 4 December 2014
Thursday, 27 November 2014
Check list
Cherkanah
Straker
Costume
- Upload pictures of each page in your Costume Portfolio, you should have;
- Character and text analysis
- Costume research – Period and social status
- Costume plot for THREE characters
- Written work about how no. 1 has contributed to no. 2
- Colours, fabric swatches and measurements
- Initial designs - Based on established period and social status
- Established designs with written work about practicalities, character portrayal, portrayal of mood/emotion
Drama
- Make sure all PAB work is uploaded to blog including slides, notes & presentation recordings
- Look at each show of Electra and how well you are doing identify strengths/ weaknesses and what you could do to improve for the next one.
Monday, 17 November 2014
Friday, 14 November 2014
Wednesday, 12 November 2014
Starting Cats Audition (Dance Solo)
We began the lesson by watching the jellicle ball clip from Cats, noting down what movements we saw:
Clip: The Jellicle Ball - YouTube
- Jazz leaps, kicks and turns
- Floorwork
- Circular hips
- Extension in arms and legs
- Ball changes
- Head rolls
- Animalistic movment - hands acting as cat claws, crawling like a cat.
- In group formations, the dancing was mainly in unison.
Clip: The Jellicle Ball - YouTube
Monday, 10 November 2014
Assignment 2 - Where You Find Work (cont.)
Make-up Artist
Job Description
The role of a make-up artist is to make sure that models, performers (people on stage, tv or even in magazines) have suitable make-up and hairstyles. The make-up artist applies it and will be the last person to look over it for any final touches, prior to the person going out to a live audience or appearing infront of cameras. The settings a make-up artist can be in are film, TV, theatre, live music and photographic shoots.
The artist's make-up choices on the client, is their own interpretation of what the client has asked for. They produce a visual representation which is creative and technically accurate. For example, a TV presenter will wear fairly basic make-up. Whereas, the make-up would more complex for someone who wants to create special effects facially. A make-up artist's work consists of creating characters through make-up and hairstyles, using a brief they've been given from someone of senior management.
Typical work activities for a make-up artist are:
Universites can offer a foundation degree or a full degree in media make-up. To enrol, a person needs 5 GCSEs (A*-C), which have to include maths, English and science. Alongside this, they'll also need 3 A-Levels. In addition to academic grades, the site encourages people to get practical experience before advancing into a career. The experience will enable you to meet existing make-up artists in the industry and build a close network of contacts for the present and future. Experience can be gained through amateur theatre, student projects (fashion shows) and working with artists and photographers. Becoming a make-up artist is achievable in beginning in an apprenticeship. There are also 'short courses' in specialist and prosthetic make-up which is run at private academies, film schools and some universites.
Job Description
The role of a make-up artist is to make sure that models, performers (people on stage, tv or even in magazines) have suitable make-up and hairstyles. The make-up artist applies it and will be the last person to look over it for any final touches, prior to the person going out to a live audience or appearing infront of cameras. The settings a make-up artist can be in are film, TV, theatre, live music and photographic shoots.
The artist's make-up choices on the client, is their own interpretation of what the client has asked for. They produce a visual representation which is creative and technically accurate. For example, a TV presenter will wear fairly basic make-up. Whereas, the make-up would more complex for someone who wants to create special effects facially. A make-up artist's work consists of creating characters through make-up and hairstyles, using a brief they've been given from someone of senior management.Typical work activities for a make-up artist are:
- Communicating with clients to get the right look
- Study of production
- Reading scripts to confirm what materials and look is required
- Budgeting
- Conducting research when neccessary - if it was classical theatre, the make-up would be heavily white, and there should be no use of mascara or lipstick as they were products which didn't exist years ago. If modern day beauty products are used, it shouldn't be noticeable.
- Wigs - making and taking care of
- Producing and sketching ideas for make-up and hairstyles
- Ensuring that the hair and make-up has continuity
- Communicating with others in the design team, in order to achieve the overall effect
- Understanding the impact on skin (make-up) - lighting, photographic processes, colours
- Taking appropriate action to reduce any unpleasant side effects, which would have occured from specialist hair and make-up techniques
- Awareness of health and safety issues, e.g. using straighteners
- Creating facial and body moulds - prosthetics
- Keeping up to date with what products are available
- Sourcing materials and equipment from 'specialist' suppliers
- Time management - knowing how long it exactly takes for the look to be complete
- Maintaining a portfolio of work, by taking photographs of clients and having detailed notes of the processes they go through
National Career Services
The link above gave me the information on how to become a make-up artist and life as one: what qualifications/experience you need; preferable qualities and skills; training and development; income; working hours.
The link above gave me the information on how to become a make-up artist and life as one: what qualifications/experience you need; preferable qualities and skills; training and development; income; working hours.
A career as a make-up artist normally starts by first gaining at least a Level 2 qualification in media make-up, or something of an equivalent.
There are specific courses so that you can narrow down the make-up artist you want to become:
Level 2 Diploma in Hair, Photographic and Media Make-up
Level 2/3 Diploma in Hair and Media Make-up
Level 3 Diploma in Theatrical Special Effects, Hair and Media Make-up
Level 3 Diploma in Fashion, Theatre and Media Make-up
National career services list preferable skills for the profession, which include:
- Ability to work well in a team structure
- Genuine commitment
- An interest in current and historical fashions
- Tactful manner
- Willing to work longer hours than scheduled/expected
- Punctuality
- Reliability
- Think and act creatively and imaginatively
- Take extra attention to detail
The training to be a make-up artist usually comes in being an assistant to a highly experienced one. To get this role, there are training schemes which are offered by broadcasters, regional screen agencies and media training organisations. However, the competition for the training is very strong, and some broadcasters only hire at certain times of the year, for example the BBC.
The table above shows the recommende income for make-up artists - by the National Association of Screen Make-up Artists and Hairdressers. Make-up artists typically work on a freelance basis, meaning they get paid a fee per contract.
In the list of skills, the site asks for partcipants to be prepared for working longer hours. This is because the job working hours are unpredictable a lot of the time, as it depends on the demands of the task. For instance, an artist will begin working very early morning before filming begins, if they're working for live morning television. Contrastingly, working late into the night is most likely the case when working in theatre or concerts. Due to the variation of hours, it is good for a make-up artist to have built up their own make-up kit which they can take with them to each different job.
To find out about the life of a make-up artist, I looked at Karla Powell. She is an international make-up artist, recently working with Katie Price and Magnum for their 25th anniversary.
To find out about the life of a make-up artist, I looked at Karla Powell. She is an international make-up artist, recently working with Katie Price and Magnum for their 25th anniversary.
Karla is honest about the pros and cons of the job role. She says the advantages of being a make-up are that it is easy to take on the career, as it only takes 1-2 years of study and then you are able to start working in the industry. Another advantage is that being a make-up artist is exciting because it allows you to portray your creativity onto another person. Seeing the results of your work immediately is highly satisfying (when the client is happy.) Lastly, the job allows you to meet many new people and travel abroad. It is also a lot of fun working with celebrities.
On the other hand, the business is very competitive. Karla advises that if you want to remain on top you have to get yourself noticed by being really assertive and creative. Furthermore, there is no working schedule. If you begin to moan at clients due to your long hours, you could be seen as unprofessional and therefore not be hired again. It is difficult for there to be constant regular work which means you have to find something to do on those days, like networking. Through networking, you can show others your techniques on blogs and YouTube. By sharing your tutorials and tips, you are still serving clients and wanting to make them happy.
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Wednesday, 5 November 2014
Assignment 2 - Where You Find Work
Casting Director
This is the person who is in charge of making sure that every role in a production is played by the actor who is best for it. A lot of the time, the directors start by attaching well known actors to the production's lead roles. As soon as they're cast, open auditions are held to find the rest of the actors they need. This can range from a selected group of individuals or thousands across the country. Usually, the casting director will have the final decision on who is hired. However, they tend to use assistant casting agents to complete the task. This is because they already have a lot of responsibilities in the pre production.
Becoming a Casting Director
This link helped me find out how to become a casting director, i.e. what qualification/experience it requires.
The first step is finding an internship. Most of them are unpaid, though some pay very little. The point of the internship is to learn everything you can about the industry and about being a casting director. It's not about making the money. To get an internship, you should send your CV and cover letters to places you believe are suitable to you. People who get an internship are those who follow up and pursue their desires. Often, internships aren't structured; one day you could be on an organisation task, and another day you could be assisting a casting director. The site advises that as an intern you observe everything going on around you, talk to everyone you come across and ask as many questions as possible - this is so you learn the business from the bottom and work towards the top. After your time as an intern, the experience you've gained allows you to be one step closer to becoming a casting director, by being an associate casting director. This role gives you more responsibility, like working on small projects alone, therefore shifting you into a more active job. A good casting director ensures an associate will be given enough independence so they can learn and grow, but not so much where they may feel overwhelmed. Completing time as an associate is the final stage, and after this you can become a casting director.
Becoming a Casting Director
This link helped me find out how to become a casting director, i.e. what qualification/experience it requires.
The first step is finding an internship. Most of them are unpaid, though some pay very little. The point of the internship is to learn everything you can about the industry and about being a casting director. It's not about making the money. To get an internship, you should send your CV and cover letters to places you believe are suitable to you. People who get an internship are those who follow up and pursue their desires. Often, internships aren't structured; one day you could be on an organisation task, and another day you could be assisting a casting director. The site advises that as an intern you observe everything going on around you, talk to everyone you come across and ask as many questions as possible - this is so you learn the business from the bottom and work towards the top. After your time as an intern, the experience you've gained allows you to be one step closer to becoming a casting director, by being an associate casting director. This role gives you more responsibility, like working on small projects alone, therefore shifting you into a more active job. A good casting director ensures an associate will be given enough independence so they can learn and grow, but not so much where they may feel overwhelmed. Completing time as an associate is the final stage, and after this you can become a casting director.
To gather more information, I found an online interview with Beth Schiff. She is a casting director and has casted for many TV series, like 'Chopped' and 'Cover Shot.' From the interview I learnt there is never a typical day for a director, but consists of 4 parts:
1) Outreach/Research - this is where they let people know who and what they're looking for.
2) Sorting/Scheduling - this is where they start deciding who they think is right for the role, i.e. who they wish to call and select for an interview.
3) Auditions/Interviews - auditions take place in a studio. Typically, each person gets 10 to 15 minutes, where they have the opportunity to show their personality, and also so the director knows what they look like on camera and how they read the script.
4) Follow-Up - booking the actors for the jobs.
I discovered what are the best and worst parts of the job, the expected pay, and how the recession has effected business. According to Beth, the best part of the job is the amount of different people she gets to meet and how she can afford them with an opportunity. She said that the worst part of the job is that their time is extremely limited, to conduct research and the actual interview/audition process. As a result of the recession, business has been slower, with budgets decreasing, meaning less money and time for casting. Additionally, technology is improving which means people can take videos on their phones and simply upload it and produce their own 'shows.' Beth believes that casting directors won't cease to exist, but that people are doing it, thinking they can do it alone. The expected pay for a casting director is around £188-£315 a day. Whereas, its is around £62-£94 a day for their assistants. She makes it clear that each project and budget varies, and also how commercials usually have the highest budgets.
Lastly, Beth gave advice to those aspiring to follow the casting director path. She stresses that great communication and administrative skills are important. If you want to go down this path, you will also need to be fairly creative and be able to 'think on your feet.' Being a casting director, you need to be highly organised, diplomatic, confident with technology and keep up to date with the latest in TV, film and the internet.
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