Although my
thinking for the BAPP did not entirely cease during the break between module one
and two studies, I certainly found it difficult last study period to pick up
the momentum required to carry out the tasks laid out after such a great length
of time away from the BAPP programme. I do not feel this has been the case in
the break between the module two submission and beginning module three studies,
however. This has been in part influenced by a shorter break but also because
by the end of module two, my inquiry plan had taken a solid enough shape to
carry out further investigation. During the five weeks away from the course, I
began to collect, source and examine literature relevant to my inquiry topic,
‘Creative Collaboration within Theatre Production’. One of the texts I have
become particularly familiar with is Robert Cohen’s ‘Working Together in
Theatre: Collaboration and Leadership’ (2010). I drew up a brief literature
review for it as part of the task work during module two (see the
blog post
here). While some of the
other texts I observed covered an exploration of collaboration as a topic, a
lot of them were not informed by the theatre profession or environment rather
than social scientists’ and philosopher’s views on the subject on a broader
scale (see my blog post here covering an article by Roderick
J. Lawrence). This is not to suggest that literature outside of my environment
of study has been timed wasted however, quite the contrary. After observing the
module three handbook (2015) and reader seven (2015) it is made clear that the
first few weeks before formally beginning the inquiry should be spent looking
at texts that support my inquiry topic. While I have found an array of relevant
literature, a lot of the texts are coming in the form of large published papers
and books. I have two dilemmas; firstly, in that I want to be sure to cover as
much material that could prove applicable or gauge my thinking as to how I
should handle the inquiry (with particular regard to conducting my observations
and interviews) as possible. The other is a consciousness for how much time I
can realistically spend searching for it.
Whilst a lot
of new thinking is being provoked by the ongoing literature review, my module
two feedback from Paula has opened my thoughts to the way in which I structure
writing in order for others, be it for an audience critiquing my work for
academic assessment or for others in general interested to learn about the
inquiry project. Paula discussed that my writing style was dense at times and
that while ideas and theories discussed are relevant they are not fully
realised due to a lack of clarity when pairing it with context. For example, I
am interested in discussing transdisciplinary knowledge and its influence
within collaboration but what is it in particular about collaboration that
leads me to make these correlations? I feel my literature review is already
beginning to define clear and concise questions for observation and interview
purposes as well as relating to previous theories found on the course but it I
must be careful not to or impose too many ideas upon the context in which they
are being explored and analysed. Simplicity will be key in presentation. As
mentioned previously, I am attempting moderate what research literature will
prove useful from others. Paula forwarded a useful guide from The University of
Reading’s website that provides a good indication as to how I should be
investigating this. The link to the website is just below and is also featured
in the module three handbook (2015).
Last week
Paula held the first two BAPP Arts meeting room sessions of the study period of
which the evening was attended by Ellie, Lara, Lisa, Jess and myself. It
was a chance to touch base with other BAPP students and clarify what is
expected from this final module. Paula spoke about planning and developing an
awareness for the time frame in which we must complete the inquiry. As made
clear from the diagram above, taken from the module three handbook (2015), the
five stages give clarity as to the order of proceedings in order to lead a
successful inquiry. At the time of the session, Paula mentioned that we should
be at ‘stage one’, reviewing our module two inquiry plan feedback as well as
getting to grips with the new handbook (2015) and reader seven (2015). I am
surprised with the short length of both of these new stimuli. Much of the
material serves as a guideline to refer back to. Paula reminded us that this
final module is the culmination of our previous work and that the tools are
already there for us to carry out our inquiries, many of which we will have
decided during our module two inquiry plans. However, we were also reminded
that it will be important to mediate how our inquiries are composed. Certain
elements of the inquiry process may have changed during the course of the study
break. Perhaps literature, journal writing or other method could have in fact
changed our outlook or reasoning for the inquiry’s purpose and what we want to
get out of the experience.
One major
element for my inquiry has changed since completing module two, that being the
commencement of rehearsals for my work placement. I will be travelling to
Milton Keynes for a week, then rehearsing in London for another three weeks in preparation before I fly out in April. I had
previously thought rehearsals would be starting earlier than its happening in
just under two weeks’ time. However, this presents a unique opportunity in that
I will be entering into an unknown environment and forming new collaborative relationships.
As such, this could provide for interesting data results. I am feeling slightly
apprehensive as to how much of my literature review will be finished before
carrying out my inquiry tools. Paula reminded us, however, that investigating
literature will be an ongoing part of the inquiry and that we should be open to
new ideas and changes. After reading Cohen’s (2010) view and his mention of
Stanislavsky’s “communal” approach for creating theatre production as discussed
in his own publication ‘An Actor Prepares’ (1936) (see module two feedback blog post for argument), I began a thinking as to whether it would be valuable to
compare past professional instances with this upcoming placement. As discovered
last study period, I believe investigating areas of discourse within the
process of collaboration In these early
stages, I feel with multiple activities requiring a significant amount of attention
simultaneously that it could become easy to lose a sense of direction. Paula
introduced us to an exercise that serves to help us break down steps of the
inquiry process into sizeable objectives, short or long-term, that will help
focus our thinking without becoming overwhelmed. These are called action
points. On the basis of what has been discussed in this blog post and during
the BAPP Arts meeting room session I have come up with four points to strive
towards during these initial weeks.
Action: Continue
to search for literature relevant to inquiry topic for review.
Action: To maintain
blog and SIG activity with other BAPP peers.
Action: To remain
conscious of writing style and concise when addressing ideas or theories
applicable to inquiry.
Action: Begin
planning observation and interviews including conduct and questions,
respectively.
We ended the
session with a final thought; what is it we personally want to gain from the
inquiry process? This was not referring to the degree result itself but what we
want to see changed in our professional workplaces as a result? As well as
satisfying my own interests for my topic, I would like to produce an inquiry
for others who may not necessarily work within the profession of musical
theatre. And although data gathered will be based on my own professional
practice I feel the topic of collaboration is one that can be related to many
workplaces, especially within the arts. I am also eager to learn from other
BAPP peers’ work, particularly those with varying different practices to my own
and look forward to following everyone’s progression over this inquiry process.
Bibliography
Cohen, R (2010) Working together in theatre: collaboration
and leadership, Basingstoke: Palgrave Macmillan
Middlesex University, Module Three
Handbook, 2015.
Middlesex University, Module Three
Reader Seven, 2015.
Stanislavsky, K (1936) An actor prepares, 2008 re-print,
London: Methuen Drama
good planning Tom - in the State i was taught paragraph = 3-5 sentences (more ok if needed) with intro key points and concluding sentences - I think smaller paragraphs when you turn the subject (like steering in a car) would simplify the text - it is all there - just needs a bit more spacing. What would that concept be in theatre? Spacing for shaping....Often the same creative ideas apply across arts subjects...
ReplyDeleteThanks for your comments, Paula.
ReplyDeleteI completely agree with your sentiments about constructing paragraph. I feel sometimes that a take on an idea will often occur to me in relation to another whilst I am writing. While it is useful and stimulating to be considering multiple perspectives of theories, maybe I should attempt to take a step back to assess whether a new point warrants its own segment. It could be argued that a new paragraph stresses the importance for this alternative idea to be considered in its own right, not crammed in amongst others in one substantial passage.
Thinking about it, translating this literary technique into a concept relatable to theatre is actually present in my preparation when learning scripts for characters. In the publication 'Actions: The Actor's Thesaurus', Marina Calderone and Maggie Lloyd Williams (2004) developed the technique of 'actioning'. This is the employment of actors using transistive verbs (as compiled in the book) to play situations rather than emotion as they believe it makes for a more dynamic expression in performance. There is a general rule for the system as presented at the start of the book.
"One thought. One sentence. One breath. One action..."
This system means that each piece of dialogue an actor delivers for their audience is concise after lengthy consideration over which action would relay the narrative in the clearest and most honest way.
Hopefully, my case for comparing two different professional instances, Half a Sixpence and Live Business, will encourage clarity when disussing concepts. It is something I will be reminded myself as I progress.
Hi Tom,
ReplyDeleteThis is a really detailed blog. I am interested to know a bit more about your thoughts on the literature you have studied and how this has given you new ideas to theories and explore. From this post, and others, it seems that you have studied a lot of literature in detail.
At the moment, for me, the literature I have read has given me many more avenues of thought. However, I am finding it difficult to track the 'trains of thought' that accompany the theory and arguments in the literature. I have found many more ideas but I find there are many links and similarities between the literature, therefore I am finding it hard to distinguish between them.
You say that, 'I must be careful not to or impose too many ideas upon the context in which they are being explored and analysed.' Do you feel that this is something that has been helped by reviewing the literature or made worse? I am concerned that all the new theories and ideas I have discovered in the literature will start to encroach on my observations and interviews if I do not use objectivity and triangulation properly.
Thanks,
Jess.
Hi Jess, thank you for your comment.
ReplyDeleteYou are not alone in your feelings on the literature review as a whole. I have found that it can sometimes feel like a classic case of 'one step forward, two steps back' in the sense that as you explore more literature you gain new perspectives that prompt new questions. I am trying to remain wary of falling into the trap of collating too many questions and almost forcing it into my observation and interview approach just because I have spent a decent time researching it and feel this warrants its use even if it proves not to be relevant. I think this leads onto the quote you picked out of my post.
I definitely feel that research theory has expanded my thinking as to what I will look out for in my observations and how to pose questions for interview. However, I also feel that for the purpose of obtaining well considered and concise responses from participants (particularly with interview when sessions will be one-on-one interaction) I will need to present ideas found in research through carefully constructed questions that will be considerate and appreciative of their transdisciplinary knowledge. My biggest fear is alienating participants with, as you say, a lack of objectivity. Subjective thinking must be saved for data analysis. However, is subjectivity already present in our choice of inquiry tools employed and what we are looking to get out of it? It seems to be a very blurred line that needs to be handled with care.
Thanks again,
Tom