In this portfolio, I will be reflecting on my development within Screen acting classes and my chosen skill, advanced dance. Through evidence, I have been able to examine not just my progress, but also areas for improvement, be that physical or mental. I will be evaluating how I have developed both old and new skills and the overall impact this has had on me as a performer.
Screen acting
Screen acting was a completely new subject of study for me going into this year, and one I was excited to explore. This module has helped me understand the key differences between acting for stage and screen and has given me the opportunity to put this knowledge into practice. It also introduced me to the world behind the camera, helping to make “the silver screen come alive” (Brilliant Film Academy, 2024). In our first class, we were spoken through a few key roles involved in screen work. This includes: the actors, the director, camera operator, continuity, lighting, and sound. Each week, everyone was to take on a different task during class in order to explore each of these elements.
My first role was directing a scene between Amelia and Josh (Appendix 1). This involved not only directing the actors’ and interpreting the script, but also considering the most effective ways to shoot the scene. I found this process particularly enjoyable, as it gave me control over how the scene looked read to an audience. The experience also allowed me to explore the key differences between directing for stage and screen. As Hishon (n.d) explains, when directing live theatre, factors such as “the location of the audience” and “the size of the theatre” must be considered, as this influences how exaggerated the performance needs to be for those at the back to see. However, I found that directing for screen offered greater creative freedom, allowing for a more intimate environment in which the actors could connect and their expressions be seen clearly. I believe this translated effectively on camera, with close-up shots ensuring their storytelling was the key focus of the shot. The mic also allowed them to speak quieter, creating a more intense and intimate connection. This directing experience enlightened me, and helped me develop a clearer understanding of how I want my own work to appear to an audience. I also found it to be something I would like to explore further, possibly through taking a course outside of university.
Another role I undertook during this module was ‘camera operator’, described by DeGuzman (2022) as, someone who “literally operates the camera… looking through the viewfinder and hitting the record button”. Although I initially expected this role to be relatively simple, I found it to be the most challenging class in the module. In this, I was responsible for filming Lily’s scene of choice (Appendix 2). The director decided that the scene required a face on camera, as well as an overhead shot designed to resemble CCTV footage. While the straight-on shot was fairly easy to frame, I found the overhead particularly difficult. It required careful control of the camera’s angle and height, along with subtle and infrequent zooms, intended to replicate CCTV. Thus, I struggled to achieve the correct levels, resulting in zooms that were too fast and too close, meaning the final footage did not align with the director’s vision. Despite these challenges, I found the experience useful. It allowed me to gain a deeper understanding of the technical aspects of camera operation, as well as gain insight into how I want to appear on screen myself. This knowledge later benefitted my monologue filming, as I was able to communicate how I wanted to be filmed regarding camera position, height, and focus. For my piece (Appendix 3), I chose to centre myself on the main camera, with an additional zoomed-in shot on my left. I also incorporated the direct address to the lens, seen in Lily’s scene. Through research, I found that this creates a deeper connection to the actor, and enhance audience engagement. Auperle (2024) states that “Direct address makes viewers feel included… to participate rather than just observe, fostering a stronger emotional connection.”. This is something I wanted to carry forward into my own work as my monologue was set in a therapy session, it was essential to establish a strong sense of empathy. Overall, this experience contributed to strong framing in my monologue, and a final result I was proud of.
In addition to learning about the technical aspects behind the camera, we all experienced acting for screen and the specific techniques required. Much like directing, there were significant differences between stage and screen. On stage, it can often feel as though you are doing too much, however on screen I initially felt I was not doing enough. This took time to adjust to, as screen acting requires subtler facial expressions and different vocal dynamics, particularly as there is no need to project in the same way. I found this process challenging and is certainty a skill I was able to build upon throughout the term. This development is evident when comparing my first acting scene in September (Appendix 4), to my final monologue (Appendix 3). As seen in my initial piece, I appear self-conscious, as I focus on line delivery rather than connecting to my scene partner. My vocal dynamics were also too big for the space, which was unrealistic to a real-life scenario. However, in my monologue my delivery is much more detailed, making it more interesting to watch. I also lowered my voice and focused on creating space between thoughts, contributing to a more gripping piece made for screen not stage.
Another key lesson I will take away from these classes is a better understanding of the screen audition process. In one lesson, Keely led ‘mock auditions,’ in which we were required to sight-read a script on camera (Appendix 5). Through this exercise, I learned that most initial screen auditions are conducted seated and tend to feel more relaxed than stage auditions. This was entirely new to me, as auditions for stage can feel intimidating and formal. There were also a number of people in the room not on the panel, such as the camera operator and those reading in for scenes. This class was valuable in highlighting the different types of auditions one can come across in the industry and helped provide me with knowledge about their structure and process.
Lastly, a key role assigned was someone to be in charge of ‘Scene Continuity’. Masterclass (2020) defines this as “the principle of making sure that all details in a film or TV show are consistent from shot to shot.”, meaning all line changes and slip ups need to be noted down in order for the actors to be able to replicate the scene for the next take. This is important as most scenes are shot multiple times from various angles before being edited together. I enjoyed taking on this role, it involved identifying line inconsistencies, noting down changes, and ensuring that actors’ movements remained consistent in pace and action. The lessons I learnt in this class have proved valuable to my acting progress in general. It has made me more aware of slip ups, improved my ability to take a mental note of mistakes, and has ensured I am able to create a seamless piece of work.
Advanced Dance
The specialist skill I chose to explore this year was ‘Advanced Dance’, which involved lessons in commercial and contemporary as well as additional, more challenging ballet and tap classes. My main discoveries in this module were; an improvement in my pick up, overall technique, versatility and my ability to improvise and explore movement freely. The skills I developed in this module I found to be transferable across all styles of dance and helped me gain more confidence heading into my graduate year.
Pick up and retention
When I began my training, my pick-up was slow and I struggled to learn and retain choreography. Much of this is due to having dyslexic tendencies, meaning I process information differently from my classmates. Butcher (2020) notes that “dyslexics may process information slightly more slowly and have difficulty with memory and information retention”, which I feel reflects my own experience. However, what this module allowed me to do, though having extra dance with a small number of students, was discover the techniques that work for me.
At the start of the year, I struggled mentally with the challenges of pick up, particularly in tap. Therefore, I decided to research reasons as to why this may be, as well as find ways to combat it. In doing so, I found that while “most people have approximately 6–9 seconds of working memory” (Williams, 2023), the 10% of the population (Elias, 2023) with dyslexia may have only 2–3 seconds (Williams, 2023). This makes remembering combinations and linking steps particularly challenging. I also found that this difficulty is actually heightened in tap, as “the sound of the steps can interfere with verbal memory”, which is already slower than the average persons (Daunt, 2023). Understanding these facts was reassuring, as it helped explain why I had been struggling so much in this area.
Initially, I thought the way I learnt tap was through listening, thus I started recording myself scatting the sounds. However, I found that this didn’t translate to physical movement and therefore, I struggled when attempting to re-create the steps (Appendix 6). As seen in the video, I have to focus on Harriet’s feet and movement and I am often beats behind, meaning my timing is off. However, since the start of term, I have been working hard on finding new ways to learn.
I went on to explore strategies to help me overcome these challenges. One approach suggested by Daunt (2023) was the “repeat, revise and recall” method, which became a key focus of mine for the year. I applied this by recording my dances, regularly revisiting material, and committing to additional practice in order to better retain choreography and keep up with my classmates. I started to notice the positive effects of this practice in November, where we were taught a short routine to ‘The Book of Mormon’. The routine’s length and repeated movements allowed me to revise the choreography more before performing in groups. Additionally, I filmed myself drilling the routine with the class (Appendix 7), and watched the video back during the lesson to analyse before performing in front of the others. This helped me not only to recap the choreography but also to identify and correct mistakes (Appendix 8). As a result, there is a clear improvement in both my performance and confidence going into small groups. Despite still making mistakes, I appear more comfortable and engaged, something which will benefit me greatly when it comes to dance auditions.
Lastly, although not directly relevant to my research, I discovered another effective learning strategy in commercial class, as I began positioning myself on the front row. This allowed me to focus solely on Sophie and highlighted a habit of mine, relying too much on others. This is evident at the start of the year during tech drills, where I copied peoples mistakes and become distracted, stunting my progress (Appendix 9). However, after changing my position in the space, I noticed a significant improvement in my ability to pick up choreography, as I was relying on my own memory rather than following those in front of me (Appendix 10). This difference is clearly visible when comparing appendix 9 and 10. In the second, I demonstrate a stronger embodiment of the moves and am able to perform due to having more confidence with the choreography.
The progress I have made in my ability to pick up choreography will be beneficial as I move into the industry, particularly in audition settings where self-reliance is key. Actorhub (2025) suggests that audition panels look for performers who can “interpret and embody a musical piece” and “add their own personal stamp to it”. Improved pick-up skills will support me in achieving this, by allowing me to focus less on remembering movement, and more on performing. It will also help me to feel calmer upon entering an audition room, thus allowing me to do my best.
Versatility and Technique
I believe that Advanced Dance has enabled me to discover skills I didn’t know I had through new and challenging classes. Prior to this academic year, I only believed myself to be a skilled jazz and ballet dancer. However, through this module I have discovered a love for Commercial, something I wish to pursue outside of university. Despite finding the style particularly challenging, due to its speed and level of detail, I thoroughly enjoyed the classes and feel I have made significant progress in my performance and technique.
As shown in Appendix 11, recorded at the beginning of the year, I have a lack of stylistic understanding in hip hop. My arms are weak, there is limited precision in my movement and my upper body appears stiff, particularly my neck. Hip hop requires high levels of stamina and endurance, meaning I often struggled to complete full routines. Melodica Music Academy (2024) states that incorporating exercises such as yoga and cardiovascular training outside of dance classes, can help address these challenges. As a result, I joined a gym and began attending regular fitness classes to improve my stamina and support my development within this style. This improvement is evident in Appendix 10, where I demonstrate a stronger sense of style, increased arm strength, and a more physically engaged performance.
This lifestyle change also had a positive impact on my ballet, a discipline that demands consistent strength, control, and precision. I have often struggled with ‘Grand Allegro’, meaning “large, expansive jumps” (Grand, 2020), with the difficulty stemming from a lack of strength. However, by improving my overall physical health, I have seen noticeable progress in this area. This is evident when comparing Appendix 12, recorded at the beginning of the year, to Appendix 13, where you can see a clear improvement in my elevation. In addition to this, taking advanced dance has meant being faced with more challenging ballet exercises than what I am used to, meaning I was pushed out of my comfort zone more. When combining this with my work outside of class, I believe I have become a stronger and healthier dancer.
Finally, I have found that joining the gym has positively impacted all areas of my training. For example, during the swing project I found it easier to dance and sing simultaneously, I have improved my abdominal support in singing, and have better overall stamina. This is going to benefit me greatly going into my Dance Cabaret, as it requires us to Dance continuity for 10 minutes, something I believe I otherwise would find very difficult.
Exploration and improvisation
One of my key takeaways from this module is a newfound appreciation for improvisation and exploring movement within my body. This development emerged from my contemporary classes, which focused on both technique and improvisation. In one session, Ed introduced an exercise in which we crossed the floor while maintaining constant connection with a partner (Appendix 14). This task was extremely useful as it allowed me to explore how my body moves freely in space without set choreography, as well as see how I respond to another person.
I found this experience to be transferable to my partner work classes, particularly when learning to waltz. Here I found out that a waltz requires constant connection and mutual trust (Top, 2014). I found myself reflecting on Ed’s contemporary exercise during this, thinking about how I responded to Beth’s movements and how this interaction might be perceived by an audience. This consequently put me in a strong position when dancing with my waltz partner, as I already had a sense of how it felt to move with another dancer.
Contemporary training also encouraged me to consider the use of levels within my movement, particularly through floor work. Each week, Ed led across-the-floor exercises that involved travelling through swings, rolls, and crawls. Initially, I did not fully understand the purpose of these exercises. However, in a lesson with Carley, we were asked to improvise for a minute at the end of a sequence (Appendix 15), where I realised that Ed’s classes had prepared me for exploring a range of levels I hadn’t in other dance styles. To my surprise, I found this improvisation task enjoyable and it allowed me to see how previous lessons had equipped me with the skills required for floor work and dynamic movement. This ultimately made my dancing feel more free and expressive and proved vital when choreographing my dance cabaret piece, as I was able to add a range of dynamics, ultimately improving the overall choreography.
Conclusion
In conclusion, this module has provided me with the confidence to enter the theatre industry. Through smaller class sizes and the challenging nature of the lessons, I was able to identify learning techniques that work for me and improve my overall technique both in acting and dance. This development was also supported by an expansion of my overall knowledge, including exposure to a wider range of dance styles, as well as a deeper understanding of the different roles involved in film. I can confidently state that the skills gained throughout this module have left me in a strong position to enter the rest of my third year, and have prepared for a future as a well-rounded confident musical theatre performer.
Bibliography
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