Inquiry Task 2d

What in your daily practice gets you really enthusiastic to find out more about?

I’m currently performing with a very diverse cast who come quite different backgrounds and training. This in itself is interesting for me to discover where there styles and techniques have come from.  Hearing from other performers around me about their accomplishments and how they achieved them is interesting and I don’t mind taking advice from them either. Even after five years working professionally there are always going to be more experienced performers than me so I see every meeting as an opportunity to learn something new.

I am currently looking for an agent and one of the performers I’m working with suggested his friend in London. Shortly after this he invited his friend along to one of our performances and afterwards I was able to meet face to face with him. Now after sending all of my details off I’ve been given the opportunity to go to London and meet with him to discuss representation further.

There are so many agencies out their and knowing which one is the right one for me. I guess this has been the main reason why I haven’t had an agent for some time. My first mistake with my previous agent was signing with them because they approached me. I guess I felt flattered and didn’t research the company enough to make the best decision for me. On reflection this rash decision has a significant impact on my professional decisions and proved at times stressful. This for me is an experience that I don’t want to encounter again so I am trying to take a more educated approach looking into the future. Admiring the talent of this other performer and seeing their accomplishments has led me to explore their recommendation so hopefully this will be a positive step for me in the New Year! This past experience has left me with the question what should I be looking for in an agent as a Performer?

What gets you angry or makes you sad?

What makes me angry is when I find myself in an audition having done everything possible to get the job then outside factors get in the way. I have found since I graduated five years ago many different prejudices against performers. Where you graduated shouldn't matter and most of the time hasn't come into the equation for me when auditioning.
It’s not always what you know but who you know which I find frustrating. I love tap and I know I'm good at it. A few months ago I was in an audition in London and the head dancer said I was excellent when in came to my tap solo. So when it came time for the final cut I thought I was in with a good chance. Unfortunately the only five dancers that got through were clearly friends with the choreographer and had come dressed the same having been planned beforehand! Three of which couldn't perform a simple triple time step and break! This left me feeling deflated and helpless. I like the quote Elizabeth Eastman found from the National Council of Drama Training, that trained performers work professionally for an average of just 11.3 weeks of the year. It isn't well paid either. Apart  from a handful at the very top of the profession. "I say if performing jobs were easy to attain then half the fun is lost. When you want something so badly I find I work even harder because I have such a passion for it. On reflection the true measure of success for me is the satisfaction when I’m on stage and the unmistakeable feeling I get of fulfilment.  No matter how long or short that time frame may be! I am now in a great 1930's style show called Puttin on the Ritz which is filled with fantastic choreography including lots of tap. So I eventually got to where I wanted to be just not the way I first thought.

When I was younger in auditions I’ve been told I didn’t have enough experience or I wasn’t old enough. These are factors that can’t be helped and at least in time have become less important and I don’t mind the idea of looking too young its the idea that one day I may become too old that concerns me.

One question that keeps being brought to my attention is how long can I keep on performing and at what age is too old to attend to dance auditions? I’m only twenty four so I know that this may be some time off but the constant reminder of younger performers coming out of training and straight into auditions means the competition is ever increasing. When does youth become more important than experience?

Who do you admire who shares your feelings or has found away to work around the

sadness or anger?

I really admire mature performers dancers in particular who still train hard fighting to stay in the business making it work for them. A couple of years ago I went to watch a Show in Blackpool called Forbidden, all of the performers looked stunning and I was surprised to learn that one of the lead dancers was over forty. She definitely was able to hold her own keeping up with the younger performers in the show. Looking back now I wonder because she has been in the show for some years if she were to try and audition for another show would her age hinder her in anyway?

Many auditions seem to have age restrictions and I do understand why they are put in place. Let’s say for a moment I am a thirty year old performer and the age restriction for a job I felt capable of doing was twenty five. What’s stopping me auditioning if I still look twenty five and feel physically able? I have more experience to bring to the part but my age is even stopping me get an audition to prove my abilities. Why couldn’t it be guideline age rather than yet another obstruction? I can see the need for height restrictions but why for age as long as we are honest with ourselves and don't apply unrealistically where is the harm?

What do you love about what you do?

As a performer I love the energy from the audience that spurs me on to give more even when I feel I haven’t got anymore left to give. I love the sound of the music when I’m on stage and the sense of bringing a show to life. I enjoy the feelings of complete exhaustion which follows an overwhelming sense of achievement following a show .For me performance is not just a career it’s a way of life. The experiences I’m left with after performing are ones that I can look back on to lift my mood if I ever feel deflated or disappointed. Having experiences to look back on helps me to move forward I have realised that there are no mistakes only discoveries. They may not all be perfect but there worth having to understand.

Who do you admire who also seems to love this or is an example of what you love?

I admire the work of Dame Margot Fonteyn. Ever since I can remember at school and at home I would love to watch her work and talk about her career. Just from reading her autobiography I found some quotes which say exactly how I have felt at some point in my career.

"The one important thing I have learned over the years is the difference between taking one's work seriously and taking one's self seriously. The first is imperative and the second is disastrous."
This is so true I can take life and work to seriously at times making it easy to get to consumed in emotions forgetting why I'm a performer in the first place.
"Great artists are people who find the way to be themselves in their art. Any sort of pretension induces mediocrity in art and life alike."

Staying true to myself in all areas of life has led to me having supportive people around me who accept me for who I am and allow me to express myself freely. Margot seemed to have respect from artists and audiences all over the world even if there were alleged imperfections in her personal life this never seemed to affect her professional reputation.  
"Life offstage has sometimes been a wilderness of unpredictables in an unchoreographed world."

"Genius is another word for magic, and the whole point of magic is that it is inexplicable."

Margot Fonteyn was able to continue dancing well into her forty’s which is considered old by today’s standards for a Prima Ballerina and even when she died in 1991 her legacy still remains. This is why I admire Margot because she continued to stay connected to dance throughout her life even when she stopped performing it wasn't the end but a start of a new chapter.

What do you feel you don’t understand?

I don’t understand unprofessionalism in other performers. Time keeping is a real bug bear for me I know to some time this might not seem important but for me I think it has such a huge impact on everything else. Its such a basic principal we all learn very early on in our training if we let that slip then what else are we loosing without realising. Were taught to start with the basics and then progress this is the foundation for everything else to rest on. Are there some performers who are so talented that the smaller things get over looked because they are seen a special? Is it right to have one rule for one then make allowances which undermines the whole concept for another?

  

 

1.Eastman,Elizabeth,”Inquiry Task”Elizabeth’s Blog.19 Dec 2010.

http://elizabetheastman.blogspot.com/2010/12/inquiry-task.html

2. Margot Fonteyn, Autobiography (New York: Alfred A. Knopf 1976) at 3-4 (ancestry), 50

("Fonteyn").

 

Critcal Reflection Task 2c Post to Wiki

Please find below a Link to my public wiki showing a Critical reflection on my use of reflective practice integrating the theories of Dewey, Schon,Kolb and moon.

http://criticalreflection2c.wikispaces.com/

Kolb’s learning cycle Task 2c

Looking at Kolb’s learning cycle I can see the cycle is continually revolving and evolving which is very true to life. Throughout my reflective practice I find myself entering the cycle at different stages.

·         A concrete experience (doing/having an experience)

I enter this experience when I step on stage to perform. I know the choreography but no one show is exactly the same having learnt  that I am in control of what happens I use this point in the cycle to maintain the high standards in my professional practice by applying concentration and focus in order to reaffirm my experience.

  

·         A reflective observation (reviewing/reflecting on the experience)

I enter this stage when I am teaching  In my singing lessons I work with pupils mainly one on one to encourage each pupil to be imaginative with their interpretation in their performances hoping their individuality will come through. I have seen in the past when a performer mimics another then often the performance can fall flat because there wasn’t a true connection. I have realised that if a performance doesn’t have a true foundation then it becomes shallow therefore lacks depth. I’m honest with what I see, hear and feel which has definitely given me a lot more insight into my professional approach to performing. I am honest and give constructive criticism to others to help bring out their critical eye and opinions.  I often write up evaluations on pupils progress which I can reflect on and see how far they have progressed from one term to the next alongside their exam results to come to the conclusion that reflective observation is vital for me to keep a track and maintain a productive learning process.

       

·         An abstract conceptualisation (concluding/learning from the experience)

For me this stage comes after a performance when I can reflect and make decisions about the performance I have given or just seen. After a performance I get a huge rush of adrenalin which leaves me feeling elated and satisfied with my performance. Once I’ve come down from this high I can see things in a different light which gives me a comparison with the opinion I made when I first came of stage which helps me to get a well rounded idea of the experience and concluding the successfulness of the performance.

·         An active experimentation (planning/trying out what you have learned)

This comes when I prepare a lesson plan for each individual pupil assessing their individual needs and trying to suit their personalities. I often find what I have planned for a pupil might need modifying when I put it into practice. At times I am guilty of underestimating a pupils potential and find the lesson plan in completed with time to spare. So the next lesson I learn to challenge that pupil knowing their limits are greater. In turn I’ve found that I have over estimated the learning potential of some students and have to simplify my methods. Trial and error often occurs depending on the mood of some of my pupils. Due to the age of some of my pupils they can tire easily and I realise that they have reached their limits so trying to push on with my lesson plan is useless. No matter how much you plan a lesson their are always external factors that will change the situation meaning I have to think on the spot and use active experimentation with another method.   

Reflective Theory Task 2c

Once viewing the course reader I realised that I have always been aware of reflective practice within my profession but questioned whether I had always chosen to maximise its full potential.

Looking at John Dewey’s concept that the educational process is a "continual reorganization, reconstruction and transformation of experience" (Dewey, 1916).It made me see that as a performer I am continually re assessing my performances looking for new ways to keep the energy and experience alive.

Dewey was interested in ‘experience’ and said there were different levels of experience. I would  definitely agree that there are different levels of experience , I feel the most effective way to maximise the learning potential is by experiencing it whether it be physically or emotionally to learn about  myself as a performer. If I have a one of performance I’m only given one chance to experience and reflect on the performance process. If mistakes are made or uncertainty arises it has been too easy to dismiss this and underestimate the educational benefit this could give as an “experiential action” not maximising it usefulness to learn from because of the “low level of engagement”.

By considering Dewey’s statements I can see how by dismissing this opportunity I became unaware of the experience and unable to apply a positive “reflective thought” to this performance rather than the lost opportunity. At least this realisation has made me more intent on changing this process in the future.

 The more performances I have I feel the potential increases to re evaluate and learn from the process therefore increasing the “level of engagement”. The show I’m currently in really gives me time for reflective practice on a deep level of engagement performing 4/5 nights a week. Dewey saw education as an experiential action and said there were different levels of experience. I believe the more performance opportunities that arise for me the more educational benefits there are to be had.  As a performer reflection is a perpetual process that allows me to feel fulfilled and continue to contribute as a well rounded individual. I am always evaluating each performance and considering if I gave a good performance or question whether if I needed to change anything the next night.

Dewey saw ‘reflective thought’ as

‘active, persistent, and careful consideration of any belief or supposed form of knowledge in the light of the grounds that support it and the further conclusions to which it tends’ (Dewey, 1933).

This “careful consideration” Dewey speaks of is very true to the way in which I approach my reflection process. Being a performer I am constantly re evaluating performances looking for new ways to interact and connect with an audience.

 I like to be able to make snap judgements as well which comes from putting careful consideration into practice over a long period of time. The more I come across situation the more times I have to deal and adapt with it. I think having over five years of professional experience certain things just become an unconscious reaction just the other day half way through the opening number of our show we had a power cut which knocked out all sound for the singers and dancers. Collectively all six dancers continued with the tap routine rhythm until we came to a point where we deemed it necessary to exit as it was apparent the music wasn’t going to come back on anytime soon. This experience would maybe once have really fazed me and possibly put me in the wrong mind set but looking at how I dealt with the situation I realised that unknowingly I was very calm and applied  ‘active experimentation’ I instinctively I knew what to do.

I think these processes aren’t just specific to my performances and can spill over into everyday life as well as the stage due to my personality. Where is the line from person to performer drawn?  I don’t feel there can be a clear line drawn being under constant scrutiny and judgement on stage, in rehearsals and auditions has made my professional attitude becoming a constant. Linking back to my management of my facebook account being aware how I’m viewed even when I’m not aware.

DEWEY, J. 1916. Democracy and education : an introduction to the philosophy of

education, New York, Macmillan.

DEWEY, J. 1933. How we think : a restatement of the relation of reflective thinking

to the educative process, Boston, Mass, D.C. Heath.

Task 2b Journal Writing experience

The day I have chosen to write about was last Saturday 4th December.I spent the day teaching and preparing pupils for their exams then in the evening rushed to the theatre for another performance of Puttin on the Ritz.

Once I had completed my first few journal entries I was surprised to find how easily I found it to emphasise when I looked at my days from other peoples perspectives.I have always known I had a very vivid imagination but hadn't realised how this could help me when writing my journal. Looking at Moon's quote "To deepen the quality of learning, in the form of critical thinking or developing a questioning attitude"I found this quite significant in the way I approached my journal entries.Critical thinking to me sounds somewhat negative so I tried to look at how this could be a positive/constructive way of assessing my daily experiences. 


When it came to the 'What if' section considering what could of happened during my day I thought about what could have gone wrong particularly during the show.In the past before a show I've felt nervous as we all do at times I'm sure but just ignored the nerves and accepted them as part of the process you go through.Instead of this negative approach acknowledging these feelings and creating different scenarios in the 'What if' section helped me to realise that its ok to feel nervous. Imagining that the worst happened for example I did fall over during a performance it was easier to see in the bigger picture if it happened I could just get up and carry on it wouldn't be so bad and I can learn from this by questioning what had gone wrong and seeing what I can learn from this. So instead of spending my time worrying about what might happen I can now free my mind and focus on what will happen with are more positive mind set.


Each time I start a new show the same reservations appear I think because I want to be the best I can be. Looking back I can see a correlation with these feeling in the past. Now using the 'What if' process imagining the worst case scenario's has already made me have more control over each situation which I've found somewhat cathartic.


In Moon's discussions she says journal entries are a way "To provide an alternative'voice' for those not good at expressing themselves".I really identified with this as I found in my journal I could write so much freely and free from worry about organising it there and then.How ever I recalled things I just wrote about them then afterwards I am able to critically reflect on them and make more sense of these experiences.My inner voice becoming uncensored and brutally honest helps me use the information to see from every angle in turn giving me a deeper understanding.
  
Using these different techniques to vary the way in which I write in my reflective diary has made me realise I am a deep thinker.I've had people say this but never really understood or appreciated how until now reading over my journal entries.I feel human nature means you don't necessarily question what is normal to you, might appear un normal to others until you reflect and analyse yourself.


Writing about an professional disagreement/discrepancy from my perspective then the other perspective showed me how when I stand my ground even if the other person is struggling honesty is the best policy.By staying calm and in control I was able to resolve the situation. I had questioned my initial reaction but now after reflecting on it I can see I was right to trust my instincts.


I found the initial reflection,what if  and another view style of writing very insightful and effective.I will definitely use these styles in my journal entries as I feel these will give me a well rounded view of my days and help me to approach my professional conduct well equipped for any situation.


A quote which I heard many years ago "Feel the fear but do it anyway" has recently struck a cord with me when looking over some of my entries I hope this phrase will help me remember these experiences leading to making me stronger as a Professional.As Moon has said "To enhance the personal valuing of the self towards self empowerment"feels important to me right now.

Task 2a Journal writing experiences so far

I have really enjoyed starting to make entries into my journal, who knew I could have so much to say.I have never considered writng a journal with the view to look at my professional conduct before.I have kept diaries/scrap books in the past but only to mark a particular event with photographs usually for sentimental reasons.
If for instance a difficult situation arose at work I am the type of person who would try to deal with it there and then so I could put it to rest and not have it playing on my mind.Now having an actual account that I can reflect on when I'm in a different mind set has opened my eyes to the potential benefit these journal entries can have.Hindsight is a great thing and I've found myself thinking I wish I would had said something else or acted differently afterwards. I intend to use each entry to learn more about my professional behaviour and take positive steps to understanding my actions/reactions and use the lessons I learn for positive change.

Putting pen to paper in the past has been challenging but with this task the words seem to flow easily I really have found a way in which I can express my feelings without caution or fear of being judged as they are private to me. 

Are there any downsides to Web 2.0 based technologies and how would I handle them?

I am a big believer that first impressions are the most important especially within the performance industry. The pressure is on right away when using web 2.0 based technologies to find the right balance whether it be in a professional capacity or personal.

When an employer receives hundreds of Cv's they undoubtedly will glance over them judging each photograph and brief experience in an instant. This isn't always a fair way to truly get to know a performer but its human nature to judge straight away. Everyone wants to make their CV as eye catching as possible using web based technologies to adjust and send them but there is only so much you can do to achieve this.

I have found that using web 2.0 technologies such as facebook to be a great ‘tool’ for people to get a good idea of the type of person you are as long as these technologies are used responsibly and honestly. My initial reluctance to join facebook was mainly down to the fact that I am a fairly private person. I feel it has become to easy to freely share information online with many seemingly giving a minute by minute account of peoples lives wherever they may be in the world. I can see for some that this can be somewhat therapeutic for people but I often wonder if they are aware that their openness leaves them venerable for people using this information to form an opinion and not always a positive one without even meeting the person. I have tried to handle this since joining facebook by limiting all information and photographs I share with people in the hope of retaining a certain amount of privacy and professional reputation. If a potential employer were to view my profile I would feel confident that there wouldn’t be any information they could see that would be harmful towards an application.

The advantages to Web 2.0 based technologies like facebook are the magnitude of free information and connections to employers worldwide. The way in which technology has progressed means if I am to stay up to date with modern technologies I must embrace this new networking tool to maximise my career opportunities.

I have to agree after reading Cerys’s blog we shared many of the same thoughts and concerns when it comes to using Facebook and blogging. A disadvantage of web 2.0 technologies has to be the way in which with such ease we all believe everything we read on a person’s blog and Cv without question. I’ve actually known performers to use photographs that are over twelve years old to use in an application. To me this is a big disadvantage to web based technologies by hiding behind technology itself. Until you meet that person you assume they will look like their picture so a certain amount of trust has to be given.

I had a friend who applied for a job via video audition she had made six months earlier and was offered the job. When she arrived for rehearsals she had changed so much that she lost the contract because she was dishonest about her change in appearance. For me personally I think honesty must work both ways. As performers we wouldn’t deem it acceptable if an employer promised things and then didn’t deliver so as a performer I can’t ethically do the same.

The dangers for dishonesty hiding behind web 2.0 technologies tools is apparent on both sides of the industry for employers and performers alike. So taking into consideration these advantages and disadvantages I believe if I use common sense and air on the side of caution when in doubt I can still benefit from Web 2.0 based technologies as a resourceful industry tool.

Starting out on a ba (hons)professional practice

Check out this SlideShare Presentation:
Task 1c Audio Visual Task

Starting out on a ba (hons)professional practice

View more presentations from rebeccajane24.

Task 1c Audio Visual Youtube Video

I have given this task much time and thought in the hope of providing an in depth explanation of my initial thoughts Starting out on BAPP course. I have uploaded a presentation to youtube via the link below. I intend a a later stage to record a audio voice over to support this presentation hopefully giving a more personal perspective. For now any comments are appreciated.


http://www.youtube.com/watch?v=fBFPr_iPZEs

My Visual CV

After posting some photographs of previous performances and rehearsals on flickr as part of task 1d I realised that I could also use this new tool as a more effective way to present myself as a performer.  Before today I hadn't used flickr let alone considered its usefulness as a professional tool.  I have now used flickr to create a portfolio slide show to send to professionals as a visual CV in the hope that this would be more effective for casting directors to make a clearer evaluation of me along side my professional profile. Please find the link for this below any comments would be greatly received.

http://www.flickr.com/photos/rebecca-jane/sets/72157625507237818/show/

Task 1d My Flickr Portfolio

I have spent some time collecting  pictures and uploading them onto flickr.I have finally finished please find below a link showing some of my performance and rehearsal photographs from previous show I have been in. Hopefully this will give you a deeper insight into the type of performer I am.I haven't been able as yet to upload any photographs from the current show as I need special permission so hopefully watch out for more photographs soon.

http://www.flickr.com/photos/rebecca-jane/sets/72157625377109437/show/with/5221413187/

More Thoughts on Professional Communication Technologies Reader Task 1b

After reading the course reader on Professional Communications Technology I wondered where I had used either web 1.0 or web 2.0 technologies in my professional practice before starting this course the answer I got was yes. When looking for a job and searching for auditions some of the main sites I used were The Stage, Spotlight,Entsweb and Equity. The information posted on these sites were from the creator and there for the readers to consume so was web 1.0 based.

In what way do you I use web 2.0 and social media to present my professional profile?

More recently I have used sites like facebook where users can communicate openly posting comments and leave messages regarding auditions. Using facebook has made me realise the main difference from web 1.0 to 2.0 helping me to become interactive this progression in technology meant I unknowingly become a creator as well as a reader making this site web 2.0 based. 

I have found a major benefit of web based 2.0 and Social media sites such Facebook recently using the ability to communicate with a prospective employer leading to me being offered a contract. With the use of facebook I was able to contact this perspective employer and change the time of the audition giving me a private audition so I could attend. In the past on sites such as The Stage I would have just taken the time stated for an audition as final and not questioned it due to the site being Web 1.0 but by using facebook I was able to contact the employer and was then able to make the audition. For me I can see this as an advantage to web 2.0 tools giving me more control with my professional communication technologies.

On Facebook I am very aware prospective employers may view my profile so I try to control my account and not let any information or photographs that may give an unprofessional impression of me be viewed.

My initial thoughts on Communication Technologies

After reading the Course Reader on Professional Communication Technologies I now understand the difference from the web tools 1.0 to 2.0 and I can see how reliant on these tools I have become. I feel nowadays the performance industry is so fast paced and without realising it I have become very reliant on the Web using it everyday as a very important tool. As a performer I am constantly using web 2.0 tools to communicate with potential employers to maximise my career potential. I find the need to have constant access in particular to my email, facebook in order for me to increase my chances in securing work and making important contacts. I have found that a lot of opportunities can be missed if a quick response isn’t given.  My eyes have definitely been opened to the importance of Web 2.0 with its place in professional practice and how and I should use it to develop my own career.  

Professional Profile 1a Second Draft

I trained at the Hammond School, Chester on a Combined Classical & Musical Theatre Course graduating in 2005 with a National Diploma in Professional Dance.

Over this time I had the opportunity to perform in a wide variety of performances with my training credits including; ‘Diana Morales’ in Chorus Line (Theatre Clwyd); Hot Box Girl, ‘Guy & Dolls’(Gateway Theatre); Soloist and Vocalist Taudevin (Uk Tour); Dancer/Ensemble in adapted ‘Footloose’, ‘Hairspray’ and ‘42^nd Street’ production (Theatre Clwyd).

I have worked professionally for over five years as a Singer/Dancer. My Theatre credits including: Dancer/Ensemble, ‘Night of Stars' for the Tsunami Appeal (Palace Theatre, Manchester). This was a Celebrity Charity event showcasing scenes from musicals including ‘Oliver’,' Chicago' and ‘Grease'. This was a very rare opportunity for me to work alongside truly inspiring people and one which will stay with me for a long time.

Other credits include Cabaret shows with LucyScott Productions (Lead Singer/Dancer) learning over 12 full shows performing 6 nights a week; Worldwide corporate events for Universal Dance Creations (UDC).My Television credits Include: ‘Night of Stars for Tsunami Appeal’ (GMTV) Interview and a full dance routine from the show choreographed by 'Danny Crossley'

Most recently I have had the opportunity to become Choreographer and Lead vocalist for Pulse media in the National Theatre Touring Show 'Summer Night City'. I have had a very creative input from costume design to the more technical side dealing with lighting and sounds checks which has really opened up a new side of Theatre for me.

Alongside performing I have always kept a connection with my love of teaching in a wide variation of styles from Classical Ballet to Singing. I get so much enjoyment and satisfaction from passing on my knowledge to others and watching their continued progression.

Re write of my Teaching Experience for Cv

Rebecca Jane Gaskell

Teacher/Choreographer

·         West Cheshire College 2005-2006: Senior Tap Teacher- Beginners-Advanced

·         Spikes Management 20006-2008: Vocal Coach/Street Dance Teacher/Cheerleading Instructor

·         WS Education 2006-2008: Fitness Instructor/Aerobics Instructor/Line Dancing Instructor/Salsa Instructor

·         Sunshine Studios Summer 2008: Ballet Teacher/Jazz Teacher/Tap Teacher

·         Carol May School Of Dance & Performing Arts 2008-Present: Singing Teacher/ Musical Theatre Instructor

·         Summer Night City Theatre Tour 2010-Present: Choreographer

After reading Aby's blog I have decided to re-write my profile.When it came to writing my first draft I wasn't sure where the differences between a biography and profile lay and whether or not to give people a more personal understanding of me.After reading through many profiles I decided on a more personal approach because that is what I found I enjoyed when viewing others.

I thought I had covered all of my experiences and was happy with my first draft. Now after reading Aby's profile it made me realise I hadn't considered all of my teaching experience because I had condensed the information down and put it on my performance Cv.
Therefore my profile was from a Cv which had missing information so it didn't show all of my teaching experience.I don't want to give an inaccurate impression of myself so in order to write a more accurate profile I have decided to separate them so I can write a second draft of my profile while seeing both my performing and teaching experiences in a clearer format.

So I will now go away and write a up my Teaching Cv and then attempt version number two of my Professional Profile. 

My Current Professional CV

Rebecca Jane Collins

Dancer/Singer/Actress/Choreographer

Spotlight link: http://www.spotlight.com/interactive/cv/1930-6756-6388

D.O.B- 24.02.86 Dress size- 8     Eye Colour-Green           Height- 5ft 5

Hair Colour- Auburn    Vocal Range- A flat below middle C - Top C-Strong Belt Soprano

Training:  2003-2005 The Hammond School Combined Classical and Musical Theatre Dance Course

                 1997-2003 The Hammond School Lower School Vocational Dance Course

Performance Experience:

Job Title/Type

Production/Director

Company/Venue

Summer Night City ‘Frida’	Abba Tribute	Pulse Media UK/International Theatre Tour
Dancer ‘Jazz Kick’	Musical Theatre Adage Group Sarah Spearing	Universal Dance Creations
Dancer	Winter Ball -‘Lucyscott Productions	Lucyscott Productions Ribby Hall Village
Street Dancer Skills Crew	Britvic Skills Crew	Britvic Echo Arena
Singer/Dancer Company 6 Shows a week	Funky Fever, Cinemagic Fun Time Variety Pop Goes the Decades Rock 'N' Soul Lucy Gallagher	Lucyscott Productions Ribby Hall Village
Dancer Event	Las Vegas Show Girls Lucy Gallagher	Lucyscott Productions Manchester Airport
Singer/Dancer 6 Shows a week	Pop Goes the Decades/Fun Time Variety/Cinemagic/Funky Fever Lucy Gallagher	Lucyscott Productions Central Pier  Blackpool
Dancer Event	Sony European Conference Tour Sarah Spearing	Universal Dance Creations Barcelona
Singer/Dancer Company	Bananmania Carol Mounsey	Spikes Management Bananarama Tribute UK/Ireland Tour
Backing Dancer Event	PA	Spikes Management Jumping Jacks Night Club
Fitness Co-ordinator Event	Street Athletics	Manchester Council Manchester Town Hall-Outside Arena
Dancer/Choreographer Event	Jazz Festival	WS Education Northwest Tour
Dancer Event	The Moulin Rouge Experience Emma Kayad	Kayad Productions Musical Theatre Tour
Dancer/Backing Singer Company 2/3 Shows a week	The Las Vegas Show Emma Kayad	Kayad Productions UK Tour
Singer/Dancer Company	Bananmania Carol Mounsey	Spikes Management Bananarama Tribute
Dancer/Ensemble Company	Moulin Rouge Sarah Spearing	Universal Dance Creations Tour of York/Leeds/ Manchester
Classical Dancer Company	White Space	Taudevin UK Tour
Soloist/Singer/Dancer Company	Taudevin	Taudevin UK Tour
Dancer Event	Night of Stars Tsunami Appeal	Taudevin The Palace Theatre
Lead Vocalist/Dancer Musical Theatre	Encore-Footloose/Hairspray Alison Hughes	Theatre Clwyd
Singer/Dancer ‘Diana Moralis’	Chorus Line	Theatre Clwyd
Singer/Dancer Hotbox Girl	Guys and Dolls	Taudevin The Gateway Theatre
Singer/Dancer	Godspell	The Gateway Theatre

Qualifications:

National Diploma in Professional Dance
3Yr Musical Theatre Course

Advanced 1 RAD +ISTD Ballet
Advanced 1 Modern ISTD
Advanced 2 Tap ISTD
Spanish Dance Segundo Ano Level 2
Intermediate Level in Music Performance-Royal School of Music

A Levels: - Music Technology, Theatre Studies

Acting Credits:

The Magic Tree: Educational Play for Children-Lucyscott Productions

2009 -Waterloo Road-Native French speaking Lecturer (speaking part)

2009-Hollyoaks-Waitress

Additional Skills:

Adage, Classical Ballet- Pointe, Contemporary, Cheerleading, Jazz, Modern, Spanish, Street, Tap, Salsa, Lindy Hop, Line Dancing, Rock n Roll.
Vocals: Musical Theatre/ Pop/ Jazz

Choreographer/Dance Instructor