After having
some time to reflect upon the outcome of my diagram in relation to the online
session, I have noticed that a lot of my bullet points do not mention my use of
web 2.0 platforms amongst other contributors. Looking at what I have so far I
realised the reason I didn’t was because I engage with nearly all aspects
listed through means of web 2.0. This is most recognisable in my practice as a
performer and, indeed, my studies for the BAPP course. Particularly within the
realms of performing, I have numerous tools at my disposal for promoting
myself.
The use of
e-mail for contacting the likes of agencies, casting directors and colleagues
is a priority and it often supplies the most direct form of contact in advancing
opportunities for myself. I also use a number of extended services such as Ray
Knight Casting and Universal Extras’ websites for film work and the performer
directory known as Spotlight serves as a constant stream for suggesting
suitable work for audition. Being a member of Spotlight, there are a number of
communities within the organisation that can help further the performer’s
reach. Events such as ‘Surviving Actors’ or the ‘Spotlight Ball’ bring industry
professionals together and can help inform the individual as to where they
currently stand and how to build upon their current position. Recently, I have
found a new tool for use offered by ‘The Stage’. In recent years they have
expanded on their use of web 2.0 and now, as well as offering their weekly
magazine to subscribers online, operate a castings (appropriately named ‘The
Stage Castings’) service. Performers can audition for work through means of
recorded video and sound clips. This service is ideal to the performer. It is
an extremely accessible tool that allows for a quick and easy outreach,
something incredibly effective for the industry relating to its current
climate. I will also use more informal and social platforms such as Facebook
for contact with others. I have often found upon meeting people on jobs that it
is the quickest way to open up a dialogue post job’s end.
I am aware,
however, that there is much more I can be doing to further extend my current
networks. A common platform I frequently hear being used amongst industry professionals
is ‘LinkedIn’, a networking site that allows job seekers to engage and build
relations with companies and employers of interest. In terms of using it for
the purpose of finding work within the arts, it can be an invaluable source. I
myself set up an account some time ago but have not found much use for it just
yet. I am constantly on the lookout for opportunities but maybe I do not invest
enough time in discovering networks beyond initial, obvious and familiar
sources e.g. responding to an audition for a cruise- line company advertised in
The Stage magazine. Existing tools at my disposal such as Instagram and YouTube
could be utilised to broadcast my current activities. This could be posting new
pictures of a production I am working on or uploading my showreels or other
video footage. If properly kept and maintained, an online presence could prove
as effective today as physical practice e.g. travelling to attend
auditions/meetings.
I often see
performer’s post nearly all there is to do with their current activities to
their Facebook, Twitter or Instagram. In my work as a performer, I have been
taught to keep a lot of my work to myself before revealing it to an audience. It
is as Declan Donnellan says, “All the actor’s research is part of the invisible
work, while the performance is part of the visible work.” In my work as a developing
practitioner, however, I am learning that maybe these ideals could arguably
hinder progress in a more immediate sense. I should be celebrating even the
smallest successes with my peers in order to maintain a stance of
pro-activeness. On the other hand, maybe there is a way to develop professional
practice without risking artistic integrity. It goes back to what I discussed
in my previous post with regards to the online session, the idea of
compartmentalising and calling upon different skills when required. In any
case, perhaps by making more time to explore these other networks and
approaches I could find a plethora of new tools for self-promotion and in turn make
myself a lot more employable.
Even in my
aforementioned tools I currently use I sometimes wish there could be a more
cohesive, direct network for access, one where a number of the existing come
together to exist in a singular space. This could include a section for
uploading CV’s, headshots showreels for viewing as well as a direct messaging
service to allow for industry professionals to contact each other. It could be
particularly useful for casting directors and agents. They could find
requirements for themselves and pull together a list of suitable candidates. I
think this would be particularly effective for smaller productions and
organisations. The network could also feature a group forum for members to chat
and informed on industry happenings. Opportunities for auditions and such could
be posted and seen by a much wider consumer basis than that of a post to a
first-party website. It may mean an increased competition, but it would also encourage
a much more diverse selection in candidates.
Whilst I
recognise that my ideal network does not currently exist, there are certainly
things I can do better with my current tools of practice. I have experienced
fringe theatre but my engagement with it has been through word of mouth and by
procedure of email. I am aware, however, that groups exist particularly through
social media platforms such as Facebook and Twitter and offer the chance for
networking. I feel I also neglect existing networks such as LinkedIn because I
do not understand its use and discard in favour for what I know works well for
me. This is probably short-sighted of myself and does no credit in helping
advance my career. I could also take the opportunity whilst studying on the
BAPP course to talk to other students about networks they use in their
practice, whether there are any that cross-over with my own and where new ones
can be found. I hope to find further inspiration through looking at other student’s
blog entries relevant to this part of the module. With this in mind, I will now
begin to critically look at my current level of engagement with networking, acknowledging
established practitioner’s theories and how they could be of value to me in
developing a new perspective on the subject.
Bibliography
Donnellan, D
(2001) The actor and the target, 2002
re-print, London: Nick Hern Books
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