Relevant personnel may include: | agentsdirectorsproducersfellow performersmentorsteacherscoacheschoreographersmusical directorsconductors. |
Aspects of character role may include: | what other characters say about your character what the writer details in stage directionsclues to the character from the dialogue, punctuation and rhythm of the text of the character references and resonances to other stories, archetypes, symbols and metaphors. |
Elements may include: | movementmusicsongsdanceactingdramatic elements, such as:climaxcontrastmoodrhythmsoundspacesymboltiming tensionfocus. |
Principles of characterisation may include: | voice, such as:accenttimbrepitchphysicalitynon-verbal communication and body languagestyle, such as:naturalisticmelodramatic. |
Direction refers to: | advice and instruction from:directorsmusical directorschoreographersstage managers. |
Dynamics of the human voice may include: | rangesoundtoneaccentrelease of the jawfloor of the breathfloor of the sound. |
Materialsmay include: | accessoriesaudiovisual equipment costumes, including footwearhairstyle requirementsmake-up requirementsprops. |
Warm-up and cool-down proceduresmay include: | aerobic activitiesanaerobic exercisescoordinated breathing activities exercises to loosen mouth, such as:tonguelipssoft palateexercises to loosen face muscles, such as:cheekeyejawflexibility exercisesfloor workgentle open vowel singingjoint-mobility exercisesstretchingvocalising exercises beginning in mid-range, before extending to upper and lower registers. |
Strategies to overcome performance anxiety may include: | adequate rehearsalfocusing on a single element or action at a timerelaxation techniques, such as:meditationimagery and conscious visualisationaffirmationsstretchingdeep breathinglight aerobic exercisesmaintaining a work-life balance mental rehearsalwarm-up routines. |
Venuesmay include: | small and large theatresstadiums and arenascommunity hallsurban and rural outdoor performance spaces. |
Performance techniquesmay refer to: | control of stageenergy and attackimprovisationmovement. |
Contingenciesmay include: | forgetting lines or routinesfailure of technical equipmentprovocation from the audiencesudden injury of self or fellow performers. |
Feedbackmay include: | director’s notesaudience feedbackdiscussion with other performersobservations from peers. |
Professional work ethicmay refer to: | attentive behaviour in creative practiceawareness of:substance abuseaddictive behavioursexpectations of otherseating disorderseffective management of personal financesbalanced dietenergy levels and personal limitationsstage and theatre etiquettedeveloping strategies to:cope with performance anxietymaintain motivationeffective personal hygiene habits, such as:clean and short nailsclean and tied-up hairclean handsongoing dedication to a physical conditioning exercise programmaintaining concentration, focus and physical alertness in performance activitiesmaintaining costumes and other apparelmaintaining a work-life balancepunctuality and reliabilityworking creatively with individual differences. |
Extending scope of performance practice may include: | working effectively with tutor or coachparticipating in professional development and other learning opportunitiesundertaking training coursespractising systemicallyparticipating in relevant groups or associationsexperimenting with own performancecommunicating with peersbeing involved in a range of relevant performance activitiesviewing and reviewing relevant performance events and activities. |
Regimes and artistic strategies may include: | lecturesseminarsconferencessymposiumsmaster classes professional organisationspractical workshopsperformance rehearsalsindividual training. |