LINKS OF INTEREST - thinking with Kolb's theory.

Performances With Expressed Emotion.
I have a passion for performances that combine Dance and Drama. Although a good performance generally should have a story behind the motivation of the dance I prefer to see this boldly to create a reaction and emotion from the audience it is being performed to.

Kolb closely links the phases watching and doing together and feeling and thinking together as they work hand in hand with each other and compliment the results. Out of these two I can see that although my feelings impact me from watching the videos, it is my sense of watching and doing that I have most impact from. The videos offer me influence in to my own choreography and teachings. It is here that I learn my mistakes and battle any obstacles that may occur during the doing process.


HALLOWEEN INSPIRATION!
This is the perfect example of putting mood and character in to performance. It has given me exceptional inspiration for Halloween events and future performances.

TASK C : My Experiences using Kolbs learning Theorys.

From my experience I can relate Kolbs styles and methods of learning through my class warm ups commencing my acting and dancing workshops. Kolbs ideas apply to everyday experiences which we can analyse and enhance by applying past experiences and knowledge from our own teachings( reflective observation). We subconsciously pass through new situations where we make use of our own education in past circumstances (concrete experience). By taking a moment to examine what is happening throughout the teaching of professional dance, can enable us to develop and improve our techniques and methods in applying our work (abstract conceptualization and active experimentation).

Dance Warm-ups.
Concrete Experience.

When preparing a class warm up I take into consideration health and safety concerns. I have a sound knowledge of this in dance and a full understanding of the severe outcome if it is not taken seriously. Many of my own experiences in training and injuries due to insufficient warm ups at stage school and auditions have taught me to prioritise to avoid bad results. Whilst at stage school I suffered with a knee injury due to a lack of warming and stretching the muscles so I have a deeper physical understanding of the importance of a thorough warm up. By attending different dance classes I have learnt a number of unique exercises to limber each limb and muscle of the body.
These past events can be viewed as concrete experiences because they hold no emotion and they have actually happened in my past. They will contribute towards my active experimentation because they hold techniques I can apply to future references. With this understanding I approach the stage of Kolbs theory of Reflective Observation.


Reflective Observation.


In past experiences when reviewing and assessing warm ups I discovered that I suffered injury when I proceeded with a halfhearted warm up . I found that bouncing movements to stretch can force too much pressure on the muscles. This can lead to injury and therefore the stretch should be held and worked from the head down to the toe. In past classes I discovered that where a warm up was absent so was my motivation. Therefore I was disappointed with myself for not reaching my full potential in the session.
When the warm ups were structured in a set routine with certain pieces of music set to them, it excelled my performance and made the lesson more enjoyable.




Abstract Conceptualisation.


From the Reflective Observation I discovered that certain changes in my past warm ups can enhance my students progress and benefit their learning.
When reviewing and assessing past warm ups I discovered that starting with slow and gentle stretching exercises will prevent any muscle tear or injury and warming the body will cause the muscles to become more agile creating a safe manner of exercise.
If I set several pieces of music to the warm up with a routine that the students will eventually become familiar with, they will not only adopt a safe way to prepare for performances but also develop a sense of performance. I am currently constructing a questionnaire to support my idea that warm up requiring performance enhances the students work and is more enjoyable. Doing this I can conduct a warm up that is more suited towards my students interests.
From this I have displayed how past experiences can contribute to my teachings today and how, through constructive criticism, I can set exercises that will benefit the class.

Active Experimentation.

From all the stages of kolbs theory I have learnt how to compose a range of exercises and beneficial stretches. I put these in to practice at the beginning of each dance workshop and although I have learnt via my own experiences I am still learning new techniques and methods each day to enhance my teaching. I start at the head doing sustained neck stretches through to strengthening the ankles. My usual warm up regime is as follows:

Basic Warm Up Schedule.

• Basic Isolations- warming and stretching the neck, shoulders, ribs, hips, legs and ankles.


• Arm co-ordination routine- warming the arms muscles and arm joints.


• Leg stretch combination- stretches all the muscles in the leg.


• Sitting in Straddle position- Hanging over the leg and holding the body over centre, strengthening the hips.


• Stomach Exercises- lying on the back, lifting the legs and chest to form a "V" position. Lying on back, lift to sit at 90 degrees with a straight back. lower body over legs, resume back to straight back and lower back back to lying. A wide range of sit ups. All stomach exercises strengthen back and stomach muscles improving basic posture.


• Plank- with body weight being lifted and sustained off the ground by support from the feet and lower arm. Tones body all over and develops core strength.


• Press ups.


• Side stretches- whilst standing, stand astride with the hands behind the head and lower body from side to side at a range of speeds and motions. Develops strength down the side of the body and helps enhance the abdominal muscles.

My set warm ups change and are varied from session to session depending on the capability and performance standard.
This has taught me to instruct a thorough warm up lasting around twenty minutes, long enough to warm the entire body but not to exceed the class time to learn new techniques.

The following website has helped me design my workshop warm ups and given me ideas towards other techniques and routines for my classes.

http://dance.about.com/od/stepsandmoves/qt/Self_Warm_Up.htm

Kolb's Theory!

As I was unable to attend the last lecture on 13.10.09, I have researched David Kolb's Theories and methods of learning to form a greater understanding of the course and discover what the work required of me.

David Kolb published his learning styles model in 1984. The model gave rise to two related terms in particular:

• Kolbs Experimental Learning Theory's (ELT)
  




• Kolbs Learning Styles Inventory (LSI)

He discovered fundamental concepts towards understanding human learning behaviour and towards helping others learn. From this stemmed the:

Four Stage Learning Cycle
(training cycle)

1. Immediate or concrete experiences



2. Observations and reflections



3. Abstract concepts



4. Actively tested
   
   In more depths Kolb formed:

Stage 1: Concrete experience (Doing, having the experience)We learnt that this is a fact that has happened, with no emotional attachment.


Stage 2: Reflective observation (Reviewing, reflecting on the experience)This is what we have seen, witnessed, experienced...


Stage 3: Abstract conceptualisation (Concluding, learning from the experience)This is what you have learnt from the experience.


Stage 4: Active experimentation (Planning, trying out what you have learnt)Putting into practice what we have learnt.

There are four words to describe this learning cycle: Experiencing, Reflecting, Thinking and Acting.

Kolb believed that different people prefered a certain single learning style. He believed that our style of teaching developed from three different stages throughout our maturing:

1. Acquisition- Birth to adolescence

2. Specialization- Schooling, early work and personal experiences of adult hood.

3.Integration- mid-career to later life.

Whatever influences the choice of styles the product can be displayed by two separate 'choices'
that we make:

Concrete Experience- CE (feeling)----V---- Abstract Conceptualization- AC (thinking)

Active Experimentation - AE (doing)----V---- Reflective Observation- RO (watching)

This can also be clearly demonstrated via Kolbs learning style diagram.

In our learning journals/ diary's the following instructions must be considered when entering accounts:

-Honest
-Cue Memory
-Enjoyable
-Evaluate
-Descriptive
-Reflective
-Focus, notice re-occurrences
-Develop action
-Give evidence to back up thoughts

If the diary does not contain these elements, then it is worthless as it cannot be used in the future, or be reflected on, and experiences will not be able to be drawn upon.

LINKS OF INTEREST!

Gym and Exercise.

Since I discovered I wanted to develop a career in performance at the age of sixteen I attended a gym to tone my muscles and develop my strength. It is vitally important to maintain a healthy exercise regime, especially for dancing, to support stamina, flexibility and to avoid any injury.

The first gym I attended was Alan Higgs and Excel where I attended sessions as a guest two times a week for hourly sessions in the gymnasium. After being shown how to use all the equipment correctly I structured a work out program which benefited me as an individual and followed this program each time I returned. At this stage I found it very hard to sustain stamina on the treadmill therefore spent most of my time on the cross trainer.

When I moved to London two years later I began using a YMCA Gym which we were free to access as often as we pleased. I found that when I started a more intense dance training course my gym regime also became more intense. At this gym I would use the treadmill for 20 minutes, cross trainer for 20minutes, the rower for 10minutes and many other machines which worked on toning and building the muscles, mainly the ones that worked on the abdominals to develop core strength. This routine I maintained for the three years I was at stage school for and then continued with this work out when I returned home.

I am now a member at Brandon Hall fitness centre. This gym, unlike the others I have attended, is relatively quite and employers treats their customers almost like friends with a more personal relationship. There is a personal trainer who designs the best fitness regime for me to suit my particular needs. They put extra effort in to reach your needs by suggesting what exercise should be done in the pool and helpful advice towards your diet to blend with your lifestyle.

With out this source of exercise I do not believe that I would have the motivation I do from day to day towards the active career I have chosen. I feel that it is important to keep exercise in your life because the work out causes the body to realise happy endorphins which keep you optimistic and prolong your livelihood.

This is a major interest and hobby of mine which I will pursue until I am no longer fit to. I feel that if you sustain your stamina and fitness you stay young. I also strongly stand by the belief, 'healthy body, healthy mind'.

Useful links to the gyms I have made use of:

http://www.visitcoventryandwarwickshire.co.uk/thedms.asp?dms=13¶m1=see&GroupId=4&venue=2711324

http://www.ymcaclub.co.uk/

LINKS OF INTEREST!

ACTORS CENTRE.

This organisation holds acting workshops for performers striving for a career in acting. Based in Covent Garden it is central to the performance industry and offers brilliant advice and feedback for those wanting to expand their knowledge and technique in acting.There is generally a maximum of twelve members enrolled on each workshop as well as a wide range of classes offering one-to-one tuition.

"The Actors Centre runs approximately 1700 classes and workshops a year, and,
thanks to the generosity of our funders, they are great value for money."

I have always found this establishment a marvelous resource. Not only does it teach me new methods of acting but acts a confidence booster. This is achieved by receiving constructive criticism about my performances whilst introducing me to other performers who share the same interest and passion to act.
It helps with audition technique and prepares you for future auditions allowing you to talk and interact with new people each session as you would when entering an audition.

The Actors Centre holds classes for all abilities, whether your a new beginner to acting or whether you currently work with in the industry. They also run classes for specific areas of acting like TV Presenting, theatre or film workshops. This can not only advantage your performance standard but also introduce you to new passions in different areas you never knew you had. For me it introduced me to new ideas of directing which was also influenced by Tim Burton's films and his creative directing in films. I was able to act upon my passion to direct at the Actor Centre when we worked on devised pieces of acting. With this experience it motivated me to become more involved in other areas of performance production.

The centre supplies information on talent searches, job openings, acting reviews and courses that may be beneficial towards a career in acting and how to apply and attend the different events.

I will always continue to attend classes here as I feel it has majorly benefitted my performance level and given me a broad knowledge of skills, methods and techniques to apply to my own teachings.

LINKS OF INTEREST!

This makes me cry... think its absolutely brilliant! if everyone could dance then life could be explained dancing and no words would have to be said at all!!!!!

PEOPLE I ADMIRE!

RUTHIE HENSHALL

http://www.ruthiehenshall.com/biography.php

"Award-winning singer, actress, dancer and TV personality Ruthie Henshall is familiar to millions through her work on stage and screen, and 2010 is set to be her busiest year yet with a whole host of recording, performing, presenting and writing commitments, ensuring her profile has never been higher. "



Aged 42 and leading a successful career in Musical Theatre, television and radio, Ruthie Henshall has been an admiration of mine for years. I have used Henshall's methods in singing and traits in her performance to complete my own performances.






Recently Ruthie was a star judge for ITV1'S 'Dancing on Ice'. As a successful professional with plenty of experience it is clear that her opinions are valued and constructive.



My ambition is to enhance my own performance skills through Henshall's influences and create inspirations for others via independent productions and my own teachings. I would like to think that perhaps one day I may create the same impact on someones life, similar to the impact she has had on me.





PEOPLE I ADMIRE!

STANISLAVSKI
http://www.stanislavskicentre.org.uk/


This historical practitioner has had a huge impact on my workshops and process of learning in drama. I discovered that by reading and following Stanislavski's methods I was able to adapt to my character in a deeper way.




METHODICAL ACTING


Developed in the early 20th century at the Moscow Art Theater, the Stanislavski method of acting is a set of techniques meant to create realistic portrayals of characters. The major goal of Stanislavski method is to have perfect understanding of the motivations and objective of your character in each moment. The technique is most often used for realistic plays, where the goal is to portray an accurate idea of normal life.

When beginning to adopt Stanislavski's methods actors usually review a script carefully looking for key identifying facts.
He believed that an actor should understand what his character wants, what is preventing him from getting it and how he will achieve this goal. These terms are frequently referred to as Objective, Obstacle and Method. The actor should understand where the scene takes place , what is in the room and he happenings outside the room.

This whole exercise explains Stanislavski's invention of the 'Given Circumstance' method. An easier way of remembering this method is Who, What, Where and When.


Stanislavsky Method Acting empowered many legendary Hollywood stars to create their most memorable work on stage and in films. Stella Adler, Anthony Quinn, Mala Powers, John Dehner, John Abbot, Akim Tamiroff, Gregory Peck, Julie Harris, Kim Stanley, Marlon Brando, Marilyn Monroe... - all Method actors.

I have introduced these methods in to my work many times and feel that the student can gain a better understanding of the script by following these theory's. This inspiration has created a major impact on my work.

“The main difference between the art of the actor and all other arts is that every other artist may create whenever he is in the mood of inspiration. But the artist of the stage must be the master of his own inspiration and must know how to call it forth when it is announced on the posters of the theatre. This is the chief secret of our art.”
- Konstantin Stanislavsky

PEOPLE I ADMIRE!

JULIA ROBERTS





For as long as I can remember this actress has always been an inspiration of mine. I feel she successfully captivates her audience with each performance she creates. As well as being adaptable to a variety of different characters through gesture and emotion she makes some of the best and most realistic screenings I have seen.
This is evident from her Hollywood film career which has continued for almost 30 years.

She became well known during the early 1900's after starring in the romantic comedy Pretty Woman opposite Richard Gere.
After receiving Academy Award nominations for Steel Magnolias in the 1990 and Pretty Woman in 1991, she won the Academy Award for best actress in 2001 for her performance in Erin Brockovich.
Her films, which also include romantic comedies such as My Best Friends Wedding, Mystic Pizza, Notting Hill, Runaway Bride and crime films such as The Pelican Brief and Oceans Eleven and Twelve have collectively brought box office receipts of over two billion dollars making her the most successful actress in terms of box office receipts.
From her success it is evident that she is an inspiration to many and not just through her acting talent but through her style and beauty she was awarded the first actress to appear as the face of Vogue Magazine.

Julia Roberts adopts the acting method as living the character. This is basically where in preparation for undertaking a character in acting, you fulfill all that the characters life style would require.

I believe that this inspiration gave me my motivation to commence acting and watching and understanding her work stimulated my own professional career.


Julia's profile and biography:
http://www.imdb.com/name/nm0000210/

One of her famous and Oscar winning performances:

Getting very frustrated!!!

Wondered if someone could help! SOS! Trying desperately to upload a video from you tube to one of my posts so I can publish a video but it wont let me put the URL in to upload. Can any one offer any help towards thos problem?? This could take days... oh no!

My Top Resources.

Casting Call Professionals








http://www.castingcallpro.com/

Casting call pro acts as an on line performers agency displaying the latest casting calls for dancing, television acting, theatre acting, commercials, presenters, dance and drama workshop leaders and much more work. Not only does it provide me with castings but also shares information on producers, directors, agencies an other performers within the industry.

I have worked well via this website and it consistently displays fresh information about the industry and useful links to materials and help that may be of use to others in the industry.

It is beneficial to me, because whilst I am working as a drama and dance teacher in various places and on various days, I am able to perform my self in short contracted jobs which do not disturb my teaching jobs.



Contacts

http://www.contactshandbook.com/buy.html


This is a reference book with over 5000 listings for performing agencies, photographers, photograph production companies, script writing agencies, performance venues, training schools and many other helpful resources a performer may need to advantage their success with in the industry. By using Contacts I was able to discover my first agent, Et-Nik-a, which provides me with good knowledge about the industry and its involvement and also sends me for many professional private west end auditions for television, film and theatre.

Contacts also referred me to a qualified writing editor who was able to correct and amend my episodic sit com script to a professional satisfactory standard.


CATS.

This is a costume design/ dress makers which I have used for fifteen years. As well as efficiently constructing outfits for several different performances, they also have created and supplied costumes for several Charity events I have directed around Coventry and Birmingham.

I have relied on CATS throughout my career and would have struggled to support my productions with out this company.


THE STAGE









http://www.thestage.co.uk/

This paper is a major resource for castings. It supplies information for the currant and lastest auditions in England regarding dance, acting and singing. I have been buying The Stage for over four years now and it has not only helped me achieve jobs but some of the best contacts for professional and personal interests. It has a brilliant reputation with all performers and I have always recommended it to people looking for work in the performing industry.

DRAMA SOURCES




http://www.dramaresource.com/

I have been using this sight for the past year and it has supplied me with exercises and inspired my ideas used with in my workshops. As well as displaying information for drama games, warm ups and acting methods it also designs courses and workshops for potential teachers. Many of the ideas used are published in guides which the website advertises as other useful resources. Overall this web sight greatly contributes to someone eager and determined in forming a sound career in teaching drama and has supported my workshops greatly.

MY PERFORMING CV

Rachel Lee Moore





Contact: rachel-lee-moore@hotmail.com



DOB: 06/04/1986





Height: 5’10



Eyes: Green



Hair: Dark Brown



Playing Age: 18-25



Training:

1988-2004: Abbey School of Dance.



2004-2007: Italia Conti Academy of Theatre Arts





Present Employment.



June 2009: Acting Tutor - Jago Performers - Worcester.


June 2009: Dance/ Drama Tutor - Abbey School of Dance - Coventry.


September 2009: Dance Workshop Leader - Aldermans Green Primary School - Coventry.


November 2009: Actor - Ocean Storm Films - London.




Theatre Experience:


Richard III - Lady Anne - Complete works Company (TIE tour)


Give Back Project Dancer - Arlene Philips and Nicki Kemp - Birmingham Theatres


Royal Masonic Variety Show - Dancer/ singer - Royal Albert Hall - Bonnie Lythgoe
A Chorus Line - Sheila - Avondale Theatre - Bonnie Lythgoe


Emotions is Taking Us Over - Actor/ dancer - New Wimbledon Theatre, Bonnie Lythgoe


South pacific - Liat Avondale Theatre - Chris Baldock


The Perfect Man For Me - Leanne - Avondale Theatre, David Willoughby



Television Experience:


The Brit Awards (2006 & 2007) - Dancer - ITV
Choreographers Ball 2006 - Dancer - Hammersmith Palace



Special Skills:
Accents: Coventry (native), Birmingham, Sheffield, Liverpool, RP, Standard American, London, Cockney, Yorkshire. Good ear for accents.


Singing: Alto


Dance: Advanced level ballet, jazz, tap, acrobatics, modern, street, commercial jazz and contemporary.

Instruments Played: Cello (grade 6) and electric organ (grade 4).

Other skills: Stage Combat, skiing, surfing, scuba-diving, full (clean) driving license, roller-blading, Ice-skating, horse-riding and acrobatic abilities.




ABOUT ME AND MY EXPERIENCE

My name is Rachel Adams, stage name Rachel Lee Moore.
I am currently furthering my education to become a drama teacher , preferably in a stage or acting school.

I started dancing at the age of three and acting at the age of seven but matured to discover and realise that these were strong talents of mine.
I began my performing career in Coventry, my home town, at the Abby School of dance. I furthered my training in London at the Italia Conti Academy of Theatre Arts on their three year Musical Theatre course. Here I studied and trained in many styles of dance, unique methods of acting and selection of techniques to apply when singing. This establishment enhanced my performance in all disciplines and highlighted my strengths and weakness' within the performance industry. I achieved the acting award for two years running which I found a major stimulant to my confidence and it was here that I firmly established my passion to direct and act. I gathered much experience from my training and performed at the Brit Awards, Hammersmith Palace and several productions at Avondale Theatre. I was also lucky enough to perform at the Prince Edward Theatre in ' The Royal Masonic Variety Performance' as a singer/dancer.

After graduating I achieved my first professional job as a backing dancer in 'The Give Back Project' managed by Arlene Philips and Niki Kemp. As well as superb performances the job demanded strong team work and physical self discipline.

This job led me to later accept a dance job in Paris where I worked as a choreographer and dance captain in shows and parades. Although I loved my work in dance and loved the sense of performing I missed the satisfaction I felt from acting and it was this feeling that inspired me to act.

I soon adapted a role in a new written play entitled 'The Perfect Man for Me' and later achieved a principal role in the short film 'The Pledge' produced by Ocean Storm Productions.

With all my experience and and motivation in acting I felt I would make a brilliant teacher with new ideologies that would enhance and inspire others in their acting.

I am now teaching acting and dance workshops for Jago Performers in Worcester and abbey school in Coventry as well as teaching hourly sessions at Aldermans Green Primary School for the younger generation. I still often audition for an independent performing career because I believe this will all contribute to my knowledge and experience in the industry; this being a major quality in my work of teaching.

It is my ambition to achieve as many skills possible to further my career and join a faculty in a successful and well established stage school, then perhaps one day build and run one of my own.

Midlesex's BAPP course will support me to do this and achieve my dream. I find the course a brilliant method to achieve this and a great encouragement. Already, I am thoroughly enjoying the course and would highly recommend the course to friends, family and future colleges.

Future Film.

http://www.oceanstormfilms.com/taxonomy/term/2