Module 1 - Task 1d: 2d Images

A link to my newly instated Instagram account can be found below, one that I will be using to post images chronicling my professional activities both past and present.

https://instagram.com/tomhullyer

Images have value to people in many different ways. They can be utilised to record social occasions and serve as a visual memoir, create advertisements in order to entice potential custom or evoke inspiration through means of art. Images play a crucial role in helping the performing arts industry thrive and there are various ways they can be made effective. ‘Advertising’ is a key term for the performer. Besides performing, the artist is going to be spending a lot of their time self-promoting or order to further opportunities for themselves.

Still image is perhaps the most traditional form of communication. Not only has it been around for the longest time, but it is the most immediate form of receiving information. As I discussed in my prior post on professional profile, the still image works in tandem with the fast-natured process of the performing arts industry. A casting director or agent will traditionally request a curriculum vitae and headshot when initially looking at potential candidates for productions or representation respectively, and based on these can very much make a decision as to whether the individual’s involvement will continue any further. It is a well-known yet fickle fact that decisions made by industry professionals are made largely based on image alone. It is therefore important that headshots and CV’s remain up to date in order for performers to offer a true representation of themselves to potential employers.

Moving image, or audio-visual as the module handbook encourages, is not a new platform by any means. VHS has been widely available since the 1970’s and, while essentially obsolete in today’s society, along with a camcorder provided another means for a performer to promote themselves i.e. a showreel. With the development of digital technology, performers have never had greater control and ownership over what content they choose to produce. It is cheap and easily accessible to most these days. Audio-visual goes beyond that offered by the still image in that casting directors can learn more about the candidate’s casting and vocal type, dance strengths, how they look on camera and interact with others as well as an audience. All of these are strong and telling sign of whether a candidate appropriately fits the casting director’s criteria… providing their headshot does before even reaching this stage.

Moving past images as a means of advertising, the form can also be used as a method for inspiration. I know that in my own preparation for a role, having resources as readily available to me as they are today are hugely beneficial. I recall my time preparing to play ‘Benoit’ in the musical Martin Guerre whilst at college. The character suffered from cerebral palsy, making for a challenge in playing him in a truthful and respectful light. I did a lot of research for the role but an aspect that made the process easier was the ability to view video footage via YouTube surrounding the condition. I watched a couple of in-depth documentaries on the subject featuring medical experts and people who had been diagnosed. I know that had this information not been available to me, my performance would not have been the same. I would have not been able to study thought processes, characteristics, movement efforts and reactions of the subject at such ease or leisure.

I often think that audio-visual can be helpful in improving upon a performer’s existing work. The ballet teacher, for example, chooses to record their student performing a set piece of choreography in order to point out where efforts of movement could be improved. “More of a fondu needed here, a frappe there.” The dance teacher’s critique can sometimes mean little when simply read off a list of notes taken during the class and given to the dancer just minutes before starting the routine again or ending the class. The dancer will sometimes not have a chance to work on these corrections internally within the work space and that is when video playback can become valuable. It provides the opportunity for teacher and dancer to analyse performance from an external perspective before attempting to apply them.

2d images can be important under many differing circumstances. In whatever capacity they are used the consumer is looking for an answer in their observation. “Does the performer fit the profile of the character? Does this video inform my research for a role? Where am I going wrong with a dance technique and how can I correct it?” The speed at which these observations and their potential benefits can be made is almost instantaneous. With the integration of images becoming ever more apparent within Web 2.0 such as Instagram, Flickr and YouTube and their ability to exist alongside each other with services like Facebook and Twitter, networking has never seemed so effortless and these tools will only see further innovation.