Online Portfolio

Hi Rosemary,

Please find here the link to my personal Wiki which contains my Online Portfolio for assessment:
http://privilegevspassion.wikispaces.com

Kind Regards,
Lisa

Tools of Professional Inquiry - Task 6A

Survey:
As with the SIG I decided not to carry out my survey online but instead to go to a dance school with hard copies and ask students to fill them out. I really am more of a hands on kind of person when it comes to learning and I find it much easier to process research if I actually have it in my hands. This is not to say that in the future I wont be tempted with sites such as surveymonkey.com but for now I didn't feel it would be beneficial. I ensured my participants were over the age of 16 and happy to fill out the surveys before I handed them out. As I handed them out in a dance school I knew that I would get answers relevant to what i was researching and this was a great help.

Focus Group:
I decided to hold my focus group at my house and invited 4 of my old college friends around to participate. I chose Purposive candidates and not representative ones as I felt it would be more beneficial to my inquiry. Each member is now working in different areas of the industry and found their views to be extremely valuable. As we have known each other for several years I found they were all very willing to open up about their financial situations and whether or not they would be where they are today without the financial backing they received. Every time I steered the conversation in a certain direction they were very quick to follow, although it was a relaxed environment everybody knew there was a purpose behind our meeting and they were more than willing to contribute. Again I recorded the meeting for reference, as I knew the participants so well I didn't make them identify themselves each time they spoke. At the beginning of the meeting I asked everyones names and occupations and from then on I was simply able to identify them by the sound of their voice. I didn't think it was necessary to have a gate keeper as i wasn't having a discussion with a specific group of people or minors. The group didn't represent anything as a whole it was simply 4 individuals putting across their views on a particular topic and although they didn't i knew they would have said had they thought any of the questions to be inappropriate or unnecessary.

Observation:
I found that this method alone was of no use to me. In order to establish the help they had received to get where they are today I had to give each person I observed a questionnaire to fill out. I carried out my observation at my old dance school back in my home town, it was a group of 16 and 17 year old dancers all considering whether to attend University or Performing Arts College. Whilst watching them dance I made brief notes on their capabilities but in all honesty wanted to get them in a focus group and talk about their experiences thus far. Once I could see that they could all dance to a high standard I had no further reason to observe them and because of this I carried out minimal observation. Instead I convinced them to be part of a small focus group which I held in the corridor of the dance school with their teacher as the gatekeeper. This 5 minutes I spent talking to them was far more valuable to my research than the hour I spent watching them dance.

Tools of Professional Inquiry: Task 6D - Delicious

It's taken me a while to get to grips with this but now that I have I find it very useful. I am often in a situation where by I don't have access to the Internet at home and have to go to Internet cafes or libraries in order to gain access. With Delicious I am now able to locate useful sites quickly and easily and without having to remember the addresses each time. As I am new to the site I don't have that many bookmarks yet, here is a link to several that I found very useful in starting out on my inquiry into funding for less privileged young performers: http://www.delicious.com/lisajbird. I am sure as I continue my research this list will grow and prove invaluable to my final module piece.

Professional Ethics - Task 5c:

Whilst looking into the professional ethics and codes of conduct that surround my industry I have found that perhaps I already knew more than I first thought. True I may not have known the theory behind it or why we behave in such a way, but I do know how to behave in a professional environment.

I have found the many theories I have studied to be useful in various ways, but each have now been joined together in order to form the rounded view I now believe I have. I think that my personal ethics have a large impact on the way I approach my professional ethics. Although I am not necessarily religious or particularly set on a certain way of beliefs, I think that this only enhances my ability to encompass other peoples views into my own. I am always looking to broaden my outlook on life and I am more than willing to listen to others speak and take from it what I find valuable and leave the rest without discrimination.

The times where personal beliefs contradict with professional ones can be impossible to handle for example; I don’t believe that the way you look makes you a better person or performer, but it is so important to the Performing Arts industry that I have to conform. I also don’t believe that dressing provocatively will make you a better dancer but I can see why it could help you look more confident and therefore more likely to get a job!

As I am not overly religious I tend to use the law as a basis for my ethics. I think this fits in with the consequentialist way of thinking and J.S. Mills theory of ‘the greater good’ for example; cutting funding to a small school with a poor success rate and splitting it between children in a better school with more prospects would be fair under the view of consequentialism. Unfortunately it’s a dog eat dog world out there and I believe that mob mentality will always prevail.

The case study into the ethics on photography where Carter left a child to die is very poignant. I think it’s such strong evidence that you can only follow professional ethics as far as your conscience will allow you. Had he have been able to live with his decision nobody could have really questioned his code of conduct as a photographer, he was after all only there to observe. But as a human being he knew personal ethics should have taken over and the fact that they didn’t led him to take his own life.

I have found that during my research I am now able to separate personal and professional ethics if. I know I won’t be able to sleep a night because of a professional decision I’ve made then I wont take that route in the first place.  Have found this way of thinking very much supported by theoretical normative ethics, what is morally acceptable to you should be able to influence professional decisions.

The question “who stands to benefit most from your research?” is one that I intend to keep close to mind when carrying out my inquiry. I want to prove to people that by making the rich richer they are in turn making the poor poorer. I am aware that there are always anomalies with any set of results and I wont be afraid to publish these. The main aim of my research will be to help the talented performers of tomorrow to get the funding they deserve in order to keep their dream alive without discrimination.

I think that the codes of conduct put forward by the British Educational Research Association to be very valid and I shall definitely be following them throughout my inquiry.  I shall also work closely with the Data Protection/Human Rights/Children’s and Equality Acts and hope that all these combined with my own personal and professional ethics should help me to conclude a fair and detailed inquiry which leads to valuable data being produced.

Professional Ethics - Task 5b:

I have scoured the web in order to find what the codes of practice/regulations and ethical frameworks actually are within the theatre and audition environments and here is what I found:

There were several websites which I found really useful firstly was http://www.icsom.org/miscellany/auditioncode.html which gave the following interesting section on conduct within an audition…

1. In preparing for and conducting auditions, all participants should be aware of policies and procedures governing those auditions, including this code.
2. Although the existence and composition of an audition committee and the nature and extent of its participation in auditioning and hiring is determined locally, musicians' involvement should at least include the initial screening of applicants.
3. Applicants should not be disqualified from auditioning on the basis of information about them obtained from current or previous employers or from other institutions to which they have applied.
4. Auditionees should be given sufficient time and, to the extent possible, adequate private facilities in which to warm up and practice.
5. Parts supplied by the orchestra for auditions should be in good condition, legible, and clearly marked as intended to be played at the audition.
6. There should be no discrimination on the basis of race, sex, age, creed, national origin, religion, or sexual preference; steps ensuring this should exist in all phases of the audition process.
7. There should be reasonable accommodation for the handicapped.
8. Auditionees should be given opportunity and encouragement to comment, anonymously if desired, to the audition committee and management about the audition process.
9. Auditionees should be notified of their status in the audition process immediately upon such determination. Candidates under active consideration after auditions are completed should be so notified and given an estimated time of final decision.

10. Auditionees should be informed prior to auditions of the orchestra's policy regarding reimbursement of auditionees' expenses for additional stay or travel incurred at the request of management.

The second website I found of use was audition criteria for a theatre school http://www.artsed.co.uk/images/uploads/policies/Code_of_Practiceauditions.pdf

All candidates for Acting courses will be offered an audition, provided they meet the following criteria:

All candidates must complete an application form, including a written statement, a photograph, and payment of the required audition fee.

The candidate must meet the age requirements of their course at the start of their first year of study.

Applications must be received by the deadline; this is usually 31st March for a September intake, although this may be later for some courses.

Candidates are invited to disclose any access or learning requirements on their application form, so that any reasonable adjustments to the audition or interview process can be made.

In order to ensure that … can offer as much support as possible, candidates are invited to disclose any long term health issues on their application form so that these may be discussed at the interview stage of the audition.

The School of Acting does not discriminate on grounds of age, background, race, colour, disability, family circumstances, gender, nationality, political beliefs or party membership, religion, sexual orientation, trade union membership or on any other grounds deemed to be irrelevant to participation in the course.

… is committed to providing access to our courses to as wide a range of ethnic and social groups as possible. Auditions take place at … from October to June, and our Outreach teams work with youth groups around the country to encourage talented candidates from under-represented groups to apply for auditions

… offers Foundation Courses for young people interested in preparing for a full-time training course in acting or musical theatre. Successful students are offered a free audition for either the BA (Hons) Musical Theatre or BA (Hons) Acting courses.

Finally http://www.ncdt.co.uk/files/CDET_NCDT_precepts.pdf came up with the following…

PRECEPT ONE: A school undertakes to consider all applications

PRECEPT TWO: A school undertakes to provide candidates with the necessary information

before and at the selection process

PRECEPT THREE: A school undertakes to provide information on the availability of and criteria

for the allocation of public funding

PRECEPT FOUR: A school undertakes to give candidates the opportunity to demonstrate their

potential to fulfil the aims of the course

PRECEPT FIVE: A school undertakes to ensure that the decision making process is fair and

transparent

PRECEPT SIX: A school undertakes to ensure that candidates are informed of the outcome of an audition / interview

Although not all of these apply when auditioning for a job and not a school, I think the backbones are the same. In reference to task 5a where I listed what I thought the codes of conduct for the profession were I don’t think I have found that many differences. It is all about knowing where you stand and being treated fairly in all audition situations. The official codes of conduct go into a lot more detail and would have legal stature should problems arise which is very important.

Professional Ethics - Task 5a:

As I am still auditioning I decided to look at the ethics within an audition situation: the obvious ones which spring to mind are those of discrimination; be it racial/sexual/ age or disability, none should be tolerated!

As in any job, the performance industry has to be open to everyone. Although on occasion in order to make something real a part may have to be played by a person of a certain age or race. In such situations it must be stipulated before the audition commences and valid reasoning must be provided on request. Unfortunately in the performance industry with so many young girls with big dreams out there some producers/directors may see them as an opportunity to take advantage, this is not right and such people need to be removed from the industry. No matter how much you want a job if you feel uncomfortable at any point you should leave.

There are many codes of conduct which apply to an audition environment such as:

• Never be late
• Always be prepared
• Be appropriately dressed/well presented
• Never speak out of term/be respectful
• Only go if you fit the brief
• Don’t waste their time
• Ensure you are warmed up previously and able to cool down after
• Make sure that sheet music is taped together correctly
• Make sure you have correct dance shoes required
• Always bring an up to date C.V and headshot

I would consider most of the above to be transdisciplinary as they can be applied to various auditions. Although I trained in musical theatre and this is ideally what I want to do I also occasionally attend straight acting auditions or pure singing auditions. The general codes can still be applied but just tailored towards each individual audition.

Developing Lines of Professional Inquiry - Task 4d:

After a lot of deliberation I have come up with the following award title:

BA (Hons) Professional Practice (Performance Welfare)

Money makes the world go around, there is no avoiding that fact and I want to look into the effects and links money can have on raw talent and subsequently success. I struggled to find an adequate way to literate this into an awards title and I am still not settled on the above idea…your help will be much appreciated so any ideas just leave a comment J

Developing Lines of Professional Inquiry - Task 4c:

I have decided to get the view of professional associates in the form of Noreen Banks (Ballet Teacher) and Victoria Evaristo (Actress, and Drama Teacher). Although I found the views of colleagues such as Ellie to be very useful I felt that in order to further develop my research it was essential to get the views of some colleagues who had been in the industry a lot longer than myself and therefore had a whole different perspective on the way things are done...
Victoria:

• No you don't have to train.
• If YOU are going to train its best to go to one of the top three institutions because the same tutors/directors/ singing teachers etc freelance at the top places.
• SELF BELIEF!
• It depends on what the audition is, as to how you prepare for it.
• The benefits of being well connected and networked are boundless.
• SELF BELIEF AGAIN!
• YOU DON'T STAY UNEMPLOYED YOU GET A JOB!
• IF YOU LOOK GOOD, YOU FEEL GOOD , THEN YOUR MORE CONFIDENT ITS A SELF FULFILLING PROPHECY.
• Because time is money!
• Not sure about deadlines but you definitely need contingency plans.

Noreen:

• You dont have to train but is advisable to learn technique and to extend ability to become more versatile.
• If training, it ideally has to be where the training meets the needs of the performer/ideal destination of performer. A reputable college with good destination data, with possibility of funding if reqiured and various skills learnt.
• If the student has the passion motitvation will rarely be a problem.
• Learning to accept positive critiscism and learning how to improve technical ability, to improve technique in general, ensuring the course chosen is the correct one for the student in question.
•  Audition technique classes, asking relative questions if possible about the job in question. If auditioning through an agent ensuring you are fully informed about the job spec. technically staying in shape and looking the part!
• you never know who might be looking for who and when!! very important to network as some jobs are through word of mouth could be the chance of a job or being unemployed!

I found that having been in the industry longer the answeres were a lot more direct and to the point, they know how to achieve their goals and this is what I am aiming for. It is interesting to see the contrast between myself and Ellie's answeres being relitivly new to the industry and Noreen and Victorias who have been 'treading the boards' so to speak for many years.

Developing Lines of Professional Inquiry - Task 4a continued...

Once discovering how I felt in response to my questions I then posed them to a fellow performer (Ellie Robertson) who gave me the following answers:
Ellie trained at Arts Educational school in London and graduated in 2008.

• Training is not essential to be a performer - some people get work through people they know or through open auditions. However college training has many benefits including showcase opportunities to try and get an agent.

• At the end of the day your performance in the audition is what counts but if it ends up being between you and someone else the panel will be more likely to side with the person with well known training and work ethic. Good colleges also have good connections and provide opportunities to meet people from the business whilst your training, building up your contacts.

• Once you know what the audition is, you should research the piece and find appropriate songs if necessary. Material can be gone through with a singing teacher. Or if you know what dance style it will be, try to do some classes beforehand. On the day make sure you look nice, are warmed up and early not late.
• To stay motivated I would recommend always working on your technique at home and going to class. Make sure you're going to the theatre regularly and setting yourself mini goals along the way.

• Benefits to being well networked...you're more likely to be seen to audition, you're more likely to get the job as the panel know and like you so want to work with you over someone they don't know.

• You've not got to take rejection personally. Remember the most important thing is to do the audition well rather than your success in getting the job.

• To fund training I work at Jamie's Italian restaurant in Shepherds Bush
• A lot of the time what you look like is equally as important as your performance...if not more...you sort of sell yourself as a product.

Although i didn't get answers to all my question due to lack of time i found that just talking them through with someone else in the same situation as me to be very beneficial.

Developing Lines of Professional Inquiry - Task 4a:

In task 2d I stated the following: “In order to develop as an actress I need to keep up to date with the ever changing trends of the industry and it makes me angry that this is not always an option due to insufficient funds. I think that more support should be given to young people going into the performing arts industry by the government but instead they are taking it away. I think every young person trying to get a break in this industry will feel the financial strain, it is hard to hold down a job whilst auditioning as things come up to quickly and time off cant always be planned.”

Looking back on that comment has bought all kinds of questions to mind and has given me a great starting point for my inquiry. Below are just a few of the questions I have started to think about:

• Do you have to train in order to make it as a performer?
• Does it matter where you train if you have talent?
• What is the key to staying motivated?
• How should you go about preparing for an audition?
• What benefits come from being well networked?
• How do you stay motivated after rejection?
• How do you fund training whilst unemployed?
• Why is it important to look good as well as perform well?
• Why are time management skills so important?
• Should you give yourself a deadline in which to succeed?

Here are my views on the above questions posed; I would love to here your views too…

• I personally don’t think you need to train, in fact some of the best performers didn’t. Although it helps to go through a performing arts school I still believe that if you are talented and determined you can make it on your own. Will Ferrell for example graduated with a degree in sports information he never trained formally and look where he is today.
• This question although similar to the previous one has sparked a completely new chain of thought for me. Once you have decided whether or not to train you then have the mammoth task of deciding where to train! Some schools have a better reputation than others and this is what people pay attention but again I believe that talent can shine through. If you cant afford to go to one of the ‘top’ schools I don’t think it matters. I’m not denying that it would probably be easier should you attend such a school but that is not to say it isn’t possible without their support.
• Self-motivation is so hard for me and I believe for a lot of others in this industry. It is so full of uncertainty and is a constant emotional roller coaster. The best way I’ve found to stay motivated is to surround yourself with positive people and always take a moment to think about why you love the industry so much. Everybody gets down every now and then but its whether or not you have the strength to pick yourself back up that separates you from the rest.
• Audition preparation is paramount, it is the difference between getting considered for the job and not. I find the best audition preparation is a early night. Make sure you are well prepared both physically and mentally, if the audition is somewhere new to you make sure you have planned your route and booked tickets in advance. Don’t count on others to help you, at the end of the day in an audition situation everyone is out for themselves so the more preparation you can do before the day the better.
• Networking is a massive part of this profession, I am a huge believer in the saying “its not what you know but who you know”. Take Jonny Depp for example, he had no ambition to be an actor but when his wife introduced him to Nicholas cage the rest was history. Or Dione Bromfield, if she wasn’t Amy Winehouses goddaughter would she be this successful at the age of 15? Another example is Kate Hudson, would she have been as successful if her mother wasn’t Goldie Horn? Everybody you know can help you in some way you just have to be around to discover how. Communication is massive and with technology as advanced as it is now there is no excuse not to keep in touch.
• Rejection is never easy in any aspect of life, but in order to handle it in my career I always think ‘when one door closes another one opens’. Obviously continuous rejection is tough but it’s not a reason to quit!
• Whilst not working in the industry I work in a restaurant, although the money isn’t very good it is flexible and doesn’t require much thought so I can focus on my career and auditioning whilst still earning a living.
• Performance means nothing if you don’t look right for a part. There is nothing you can do but try and look the best you can every time a casting director sees you. At least then you’ll know that they are rejecting you because you aren’t right for the part not because you looked scruffy.
• Good time management is imperative in order to succeed in any business. Time is money and if you are lazy and unmotivated other people will simply sail past you no matter how talented you are.

After a while I think everybody starts to question whether they are good enough to make a living out of performing and some people do feel like if after a certain period of time they haven’t made it they should look for something else but at the moment this is something I can see myself doing. Ii have worked to hard to be where I am today and have already given so much of myself to this industry that even if I haven’t made it in the next 10 years I still think I would need it in my life.

Initial Thoughts...

My job at the moment is auditioning and staying fit and healthy in order to be able to audition! Although this sounds easy in itself when you team it up with holding down a job to pay the bills and completing a uni course it can become quite overwhelming.

I have always been financially self-sufficient and although its not been easy it is always something have been proud of. During my time at Italia Conti Academy I always wondered whether the people who where there through parental backing would have been able to attend any other way and if not would they have the same chance at becoming successful???

New Facebook Account!

I've created a new Facebook Account specifically for BAPP, please feel free to add me http://www.facebook.com/people/Lisa-Mdx-Bird/100002308832610 :)

1st Campus Session of the new Term!

I know that this is late but I’ve have been having a lot of difficulty with Internet this term so have been writing my work out but not posting it on my blog. I’m all sorted know though so be prepared for a lot of posts all in one go J
Here’s one I wrote about the 1^st campus session…
This is the first session I have been able to attend and I know I was grateful when others updated me on what I’d missed so here it goes...
The first thing we tackled was 'Mapping the Knowledge of Professional Practice' - This involved getting into groups with others in your profession and discussing what you need to know in order to be successful. There were several different diagrams that were produced such as a ladder, a pyramid, a diamond and a mind map. I found this useful as it proved that everything is linked in some way or another, there are things that I will need to know as a performer that are specific to my profession but these will be linked to general knowledge that is necessary to everybody in any given profession.
We then moved on to ‘Establishing Questions of Inquiry’ – This was a chance to put our ‘big question’ out there and see how the group reacted. I think I have decided to go down the route of whether funding is more important than talent and whether if given the right resources and opportunities ‘less talented’ people so to speak, can go on to become more successful than their more talented, yet less wealthy peers???
I am right at the beginning of my inquiry at the moment so I may change my mind…

It was interesting to hear other people’s questions and why they thought they were important to explore and I shall be fascinated to see some of the findings.

‘Insider Inquiry’ was the next topic we worked on. We wanted to establish the challenges and opportunities of being an insider in our chosen profession. The knowledge we already have that others won’t have and how we can use it to our advantage.

Finally we discussed SIG’s (Special Interest Groups) and we came to the conclusion that a facebook page would be the best way to go about this as people are more likely to keep up to date with facebook than their blogs.

I’m excited to start work on my inquiry and watch how it develops and new questions arrive…

Conclusion

With the deadline nearly upon us I thought I would post a brief conclusion on what I feel I have learnt so far. Although I struggled to start I feel that once I got into the course it became easier to maintain my focus. I have learnt a lot of new theories and ways of focusing my ideas which I shall continue to use throughout the course and i am sure they will aid me in becoming a more rounded learner. My Professional Networking is now something i am far more conscious of and i know the importance it has in my career and therefore the attention i need to give it in the future.
I look forward to embarking on the next part of the course with you all soon!

Task 2c - Reflective Theory

Reflective practice is something which I have never analysed before. Although it may be something I have used it has never been something I have ever thought about. I believe reflection to be important as it gives you the opportunity to look at your experiences in more than one way and therefore question previous assumptions. Being able to look back on something and analyse it gives you the chance to see it in a new light and through somebody else’s eyes. Kolb’s learning cycle is a good way of understanding how different people approach different situation in order to make sense of them. Kolb stated that people learn in one of the following ways:

• Doing something
• Reflective observation
• Abstract Conceptualism
• Active Experimentation

The Abstract Conceptualism is one that I am familiar with, I often have to think something through before doing it in order for it to piece together in my mind. Active Experimentation is something I find more difficult, not knowing what I am aiming for or the expected outcome before I start just doesn’t seem to make sense to me. I know that things aren’t always what they seem and experimentation is a vital part of life but I like there to be a right and wrong answer to everything. This is something I want to develop over the duration of this course. I need to not be scared of finding out that what I thought to be true may only be a product of the culture I have been bought up in.
Dewey’s views on learning are linked to this in that he talks of continually reconstructing your experience and reorganising it so you’re able to better understand its importance. Once you have had time to sit back and reflect on what’s happened you may find that your initial gut feeling was way of the mark. Impulse reactions are not something we can control but they are something we can reflect upon and therefore learn from. This could be a very powerful attribute to have in Professional Networking
As a performer I find Moons research on how to articulate tacit knowledge to be fascinating. I often find it hard to put together the words to describe what I’m thinking and in a professional situation this can be extremely detrimental. People aren’t able to read minds and if you can’t narrate what you are thinking it is almost impossible for others to understand. For example; nobody would want a director who cant project the image in their mind out into words for others to act out. It is essential to be able to articulate your thoughts, again this is something I wish to develop further throughout my career.
Writing a critical reflection would be described by Schon as a ‘reflection-on-action’ process, it is something you have to do after an experience not during it. Whilst writing my journals I have reflected on events gone by where my ‘reflection-in-action’ - what I did at the time - may not have worked out so well. Having the ability to both think on your feet and later reflect on what has happened is vital to growing as an academic and as a person. If you don’t learn from your mistakes and those of others you will continue to make them. I shall use many of these theories on my journey of professional networking and I shall continue to post bloggs to update you on my development!

Task 3d - Critical Questions & Issues that Emerge

I have always struggled with organisation, juggling work, studying and a social life can be hard to say the least! I have discovered that I need to dedicate more of my time to Networking and research in order to keep up with the course. I find it hard to focus sometimes as I find I am more of a hands on person. I find sitting at a desk and typing very hard to engage with, especially when it is about a topic I am not overly familiar with.
I don’t have that many follows of my blog which has made me realise that I need to make more of an effort. I need to ensure that my blog is informative and worthwhile else why should I expect others to take an interest in what I am writing. I know that I need to take time to comment on other peoples work. Although I look at other blogs and think of commenting I never actually take the time to do so. I have found that by not keeping up to date with my blog postings people have already moved on and therefore don’t wish to revisit a topic. This is entirely my own fault, but due to work commitments I have not spent as much time and energy on this module as perhaps others have. This is definitely something I wish to improve on in the future and have decided to set aside at least an hour a day from now on so I don’t get behind with the next module.
Although I haven’t yet embraced the Blogging world fully I do see how sharing ideas and communicating with others can be beneficial. On several occasions I have read a peers blog and realised something I would have never thought of on my own. It has then made me question my own view so I then read more blogs and manage to form a new opinion based on having access to more information.
As I write I find things become clearer in my mind, its almost as if seeing it in black and white makes it appear real. Critical reflection has helped me to discover the thought process I go through in order to come to a conclusion. It has made me focus more deeply on what professional networking really is and how to get the most out of it in the future.
Before embarking on this course I would never have stopped to think about my professional networking. I would have continued to use the internet and read books etc. but I never would have sat down to think what it all actually means and how to make the process work to my advantage. The following quote from the reader on reflective practices really inspired me to question everything I think I know and approach new information with an inquisitive mind … “Reflection involves a focus on uncertainty, perplexing events and exploration without necessarily knowing where it will lead. It is in the interest of learning that writers express their doubts, reveal their lack of understanding and focus on what they do not know”.
I found that in relation to Honey and Mumford’s model I would previously miss out two stages completely. I would have an experience and conclude from that experience. This alone does not make it beneficial! I now know that in order to gain from the experience I also need to review the experience critically and then go on to plan the next steps. This model has helped a lot when getting started on this course and it is one I intend to continue to work with in future. I also think that John Dewey’s approach to education as an experiential action very useful. Reading about his views made me not afraid to make mistakes, to say what I think and then to look at it from different points of view and see if I still thought the same at the end of it. Learning is an ongoing process, ideas grow and evolve and this is what keeps me interested.
Looking at professional networking in this new way has definitely left me thinking differently to at the start of the module. I feel more comfortable to analyse what I’m being told and not to just take it as a fact. I am able to take my experiences and move forward from them knowing that I have learnt something in the process and this to me is invaluable.

Up to date C.V

           Curriculum Vitae

LISA JAYNE BIRD

Spotlight Number: 0631-3422-0241

Address: Flat 1, 40 Caledonian Road, London, N1 9DT
Tel: 07888222767
Email: lisajbird@googlemail.com


Training:
(2010-2011) BA (Hons) Proessional Practice - Middlesex University
(2007-2010) National Diploma in Musical Theatre - Italia Conti
Academy of Theatre Arts

Height: 5’3”

Hair: Dark Brown Eyes: Blue

DOB: 15/03/88

Qualifications/Skills

• Advanced 2 Modern ISTD
• Advanced 1 Tap ISTD
• Intermediate Ballet IDTA
• Gold Jazz ISTD
• Voice – Mezzo Soprano, Strong Belt
• Accents – RP, Cockney, Standard American
• Foundation Certificate in Stage Fighting
• Competent Horse Rider
• Grade 4 Violin ABRSM
• Grade 4 Piano ABRSM
• Full Driving Licence

Credits whilst training

Year	Type	Role	Production	Company/Venue	Director
Theatre
2008	Variety show	Singer/Dancer	Legends	Italia Conti/New Wimbledon theatre	Bonnie Lythgoe
2009	Variety show	Singer/Dancer	Wimbledon at the Shaw	Italia Conti/The Shaw Theatre	Karen Halliday
2009	Play	Fabian	Twelfth Night	Complete Works/Avondale Theatre & Touring	David Willoughby
2009	Musical	Singer/Dancer	Cabaret	Italia Conti/Avondale Theatre	Karen Halliday & Simon Carr-Minns
2010	Musical	Sister Mary Brendan	Nunsense	Italia Conti/Avondale Theatre	Ada Posta
2010	Variety show	Singer/Dancer	Count Down	Italia Conti/New Wimbledon theatre	Karen Halliday
Television
2009	Advert	High School Student	Tastified	Pot Noodle	Unilever
2009	Advert	TV Spot	Confessions of a Shopaholic Premiere	Leicester Square TV	Elizabeth Toni