Marketing Portfolio
Introduction
As I approach the end of my second year at Leeds Conservatoire, I’ve been thinking a lot about what it means to step into the professional world. Training has given me the tools and confidence to perform, but I’m realising that success also comes from knowing how to navigate the industry, finding the right opportunities, building connections, and presenting myself effectively. This portfolio is a reflection of the steps I’ve taken so far, the research I’ve done, and the plans I’m making to continue growing as a performer.
Understanding how to move from a student mindset to a professional one is now essential. While the classroom and conservatoire rehearsal rooms have provided the foundation for my craft, I recognise the importance of developing professional habits, such as networking, showreel creation, and self-tape preparation. This portfolio demonstrates how I am beginning to integrate these practices, reflecting on opportunities I have sought out, the strategies I have used, and the connections I am building to navigate the industry successfully.
Industry Research (Targeting the area in which I want to work)
Through researching the performing arts industry, I have identified the areas in which I want to develop my career after graduation. My primary focus is screen acting, including film, television, and commercial work, while also exploring regional and independent theatre, particularly productions involving movement or puppetry. Mapping the different sectors has helped me understand how to position myself strategically and link opportunities directly to my ongoing training.
The screen and television sector is competitive but expanding due to streaming platforms and independent production companies. Entry often begins with short films, student projects, or independent productions. This year, I participated in three student short films, which helped me develop on-camera skills and create material for my professional showreel. Screen acting requires subtlety, awareness of framing, and continuity, all of which differ significantly from stage performance. These skills were strengthened during screen acting modules and practical filming sessions, where I focused on controlled expression, timing, and adapting performance for the lens. I also auditioned for Scream Bloody Evil, a dark indie horror short directed by Kevin McDonagh (Rotunda Films). Although I was not cast, the experience provided valuable insights into professional casting, script interpretation, and industry expectations, reinforcing the importance of resilience and adaptability in pursuing screen roles. I felt more prepared for future auditions, especially afrer series of mock auditions over this term during Artistic Development sessions.
Commercial work is a particular area of interest due to its fast-paced, expressive nature. Many UK commercials are cast via Spotlight, Mandy.com, Casting Networks, and Backstage, while production companies such as Blink Productions emphasise storytelling and performance even in short-form content. I view my Eastern European accent as a strength, supported by evidence of growing demand for authentic and diverse voices in campaigns (e.g., Unstereotype Alliance, 2024; Trebor “Own It” campaign). My strategy is to build a short commercial showreel, refine self-taping skills, and target agencies that value accent diversity, aligning directly with the professional development focus of my conservatoire training.
In theatre, I am drawn to Sheffield Theatres, which includes the Crucible, Lyceum, and Playhouse, and offers the Talent Development programme, providing residencies, open script submissions, and rehearsal observation opportunities. I plan to engage with this scheme to better understand professional rehearsal practices, network with practitioners, and gain insight into regional theatre operations. To develop puppetry and movement skills, I participated last summer in The Herds workshop at Factory International, Manchester, and recently contacted Noisy Cow Creative to express interest in their Creative Bank, after meeting their team at a Rebel Roots networking event in Leeds.
Additionally, I have been actively auditioning for the Leeds 2026 MA Festival, including Flightless by Jason Wolff, Life Behind Bars by Lizzie Lawton, and You, Me & The Rest of the World by Hollie Cassar, while remaining engaged in the ongoing audition process. These experiences have enhanced my confidence, versatility, and ability to collaborate with creative teams. I have also explored independent organisations such as the Ukrainian Independent Theatre in the UK and Hooligan Art Community, whose interdisciplinary work demonstrates the potential for collaborative development in non-traditional spaces.
Overall, my research shows that my career can combine screen acting, commercials, puppetry, and independent theatre, each area complementing my conservatoire study. By continuing to develop practical skills, build a showreel, and network strategically, I am actively preparing to access these interconnected opportunities after graduation.
Industry Research: Agents
As part of preparing for entry into the industry, I began researching talent agencies that could potentially represent me after graduation. To do this, I explored agency websites, looked at actors’ Spotlight profiles, and followed several agents and agencies on social media in order to better understand the types of performers they represent and the work their clients are booking. Through this process I started compiling a list of agencies that align with my interests in screen acting and that appear open to representing emerging actors.
When selecting agencies to research more closely, I tried to focus on those that felt realistic for my current stage of career development. As a graduating actor, I am particularly interested in agencies that represent early-career performers, work regularly in television and film, and support actors from a range of cultural backgrounds. Because I am based between Leeds and Chesterfield, I also paid attention to agencies operating in the North of England, including Yorkshire and Manchester, as these may be more accessible for networking and meetings.
Several agencies stood out during this research. For example, Jonathan Arun Group appears to have strong connections with television and streaming platforms, which aligns with my interest in building a screen career. Articulate Agency also interested me as I am aware of a graduate actor who has recently joined them and has already begun booking commercial work, suggesting that they are supportive of emerging talent. I also researched Vika Ilina, a Ukrainian talent agent based in the UK, as I felt they may understand my cultural background and potentially represent more Eastern European performers. Larger and more established agencies such as Independent Talent Group and Sharon Henry Management were also included in my research due to their reputation within the industry and their visible commitment to representing diverse actors.
Creating this list has helped me understand the range of representation available and has allowed me to start thinking strategically about where I may realistically fit within the industry.
Overall, this research process has been useful in helping me identify agencies whose values, client lists, and areas of work align with my interests in screen acting. It has also encouraged me to begin building awareness of industry professionals and to consider who I may wish to invite to graduate showcases or performances in the future.
Headshot Research
At the start of the year, I reflected on my previous headshots and identified several areas for improvement. My earlier images had clothing that blended into the background and hair that obscured facial features, which reduced their effectiveness for casting purposes. To address this, I conducted research into industry standards, looking at professional examples such as Aimee Lou Wood’s headshots and third-year student Clara Abdilla Joslin’s work. I noted that even photographers who were not specifically acting specialists could create strong images, provided they understood the importance of highlighting facial features, expression, and emotional range.
I chose to work with a photographer I already had experience with, a friend specialising in fashion and family photography, whose style I admire and whose services are affordable. I carefully communicated the types of roles I aim to pursue, including edgy, alternative, and character-driven casting such as detectives, spies, or tech-savvy outliers. I sought feedback from my screen and stage acting teachers, as well as peers during screen acting classes, to better understand which expressions, poses, and clothing choices best reflect my range.
As a result, I experimented with darker clothing for strong, assertive characters and lighter colours to present softer, approachable roles, alongside varied backdrops to ensure contrast and clarity. Although I have only received a few images so far, the difference from my previous headshots is significant, and I can already see how these choices better showcase my versatility, personality, and professional readiness for both screen and stage opportunities.
CV
At the beginning of the year, I brought a working CV from college, which I had been developing over time, to Leeds Conservatoire. Early on, I asked Claire Eden for feedback on how to improve it. She suggested a new headshot, moving all statistics such as hair and eye colour to the top of the page, and refining stylistic elements, including colour and layout. Taking this advice on board, I decided to create a mono-colour CV, as a single tone makes it easier to read and presents the information more clearly.
I also reviewed examples from the industry, including Aimee Lou Wood’s CV (Independent Talent), noting its clear structure, strong credits across theatre, television, and film, and easy navigation. I reflected on third-year student Clara Abdilla Joslin’s CV and realised that my profile section was essentially a bio, which could be removed. I reorganised my CV to list film first, followed by theatre, commercials, and events, and simplified the skills section by removing general terms such as teamwork and leadership.
Using Canva, I created a clean, readable design with bold headings and structured layout to highlight my most relevant information at the top. This process has helped me understand how presentation, clarity, and professional consistency can make a CV more impactful for industry readers.
Biography
When preparing my professional biography for industry use, I researched examples from recent graduates’ Spotlight profiles and other actor portfolios. This helped me understand the typical structure and tone used within the industry. As I am still in training, I chose to focus primarily on my education, key performance experiences, and practical skills. I also noticed that most professional biographies are relatively concise, usually around 100-150 words, which makes them clear and accessible for casting directors. For this reason, I structured my biography to present essential information about my training, interests, and developing screen experience, while keeping the language straightforward and professional. I aimed to create a bio that introduces me clearly while reflecting my current stage of career development.
Contracts and Professional Boundaries
An important area of industry knowledge this year was developing an understanding of contracts and how to protect myself professionally within them. Through analysing examples such as the BBC/Equity Television Agreement, I began to recognise how essential it is not only to secure work, but to fully understand the terms attached to it.
One key learning point was the structure of working hours and expectations. Clauses outlining the length of the working day, rest periods, and scheduling highlighted the level of discipline required in professional environments. This made me more aware of the physical and mental demands of screen work, and the importance of maintaining wellbeing alongside performance.
I also found the section on publicity and promotion particularly useful, as it reinforced that an actor’s role extends beyond performance into representing the project publicly. This links directly to my understanding of personal branding and professionalism within the industry.
Learning about rights, consent, and boundaries, particularly regarding sensitive material, shifted my perspective. The requirement for explicit consent and protections around usage made me more confident in advocating for myself. This has encouraged me to think proactively about setting boundaries and communicating them clearly, ensuring that I enter the industry with both awareness and confidence.
Summative Statement
This year has marked a significant shift in my development as an actor, particularly in how I understand and apply my training. My key learning has been moving from treating voice, movement, and acting as separate disciplines to integrating them into one adaptable performance process. Through a range of projects at Leeds Conservatoire, I have begun to understand how these elements support each other, allowing me to create more truthful, confident, and responsive work.
A major part of this development came through the American project, The Rimers of Eldritch, directed by Jess Milward from Sheffield Theatres. This process challenged me both technically and creatively. Working on a General American accent with hints of Southern intonation required consistency, clarity, and the ability to stay emotionally connected while managing technique. Initially, I approached the accent as a technical task; however, I realised that focusing too heavily on pronunciation risked disconnecting me from the truth of the scene. Through continuous practice, tutor feedback, and self-recording, I became more able to sustain the accent while remaining present with my scene partner and objectives. This experience reinforced the importance of balancing technical control with emotional authenticity, which is valuable across both stage and screen performance.
Within the same project, I applied Stanislavski techniques, Laban Movement qualities, and elements of Uta Hagen’s practice to develop my character, Cora. I used Stanislavski’s given circumstances and objectives to understand her emotional journey, while Laban’s qualities, such as Press and Dab, helped me explore her grounded authority and sharp energy. I also used Hagen’s “moment before” exercise to enter scenes with stronger emotional stakes. Animal study work further helped me to physicalise her maturity and status through posture and rhythm. These methods showed me that voice, body, and intention must align to create a believable character.
Additionally, my role as Dramatic Combat Captain allowed me to combine my martial arts background with performance. I helped choreograph and rehearse moments of staged violence safely and clearly, while supporting other actors in the process. This developed my leadership, communication, and ensemble awareness. It also highlighted a potential professional pathway for me in action-based performance, fight captain work, stunt-related training, or physically demanding theatre roles alongside acting.
My work on Shakespeare, particularly as Lady Macbeth, further developed my vocal clarity and understanding of how to communicate heightened text truthfully. Initially, I found myself becoming overly demonstrative due to the weight often placed on Shakespeare’s language. However, through scansion work, breath support, thought units, and analysing objectives within each line, I learned to prioritise intention rather than trying to “perform” the verse. This allowed me to speak the text with more freedom, subtlety, and confidence. I began to understand that when thought is clear, the voice follows naturally.
Movement training has also played a key role in my progress. Learning the galliard, alongside jazz technique and pirouettes, improved my coordination, stamina, and confidence in my body. Although some aspects were physically challenging at first, I became more aware of how movement supports character, rhythm, and stage presence. This has been especially useful for my interest in physical theatre and puppetry. During the Herds puppetry workshop at Factory International, I used movement awareness, focus, and ensemble listening to communicate story non-verbally. This experience increased my confidence in pursuing more physical and visually led performance work.
Alongside training, I have developed a clearer understanding of my casting and professional identity. Feedback from tutors and peers during screen acting classes suggested a range of potential casting types, including edgy or alternative characters, detectives, politically driven figures, and outsiders. This has encouraged me to move beyond safe choices and embrace a broader range. Auditioning this year for student films, theatre projects, and musicals has also built resilience. While rejection is part of the industry, I have also seen encouraging results, securing several student film opportunities and professional creative connections.
Importantly, this year has shifted my mindset towards professional practice. Developing my CV, headshots, and showreel material, while building links with companies such as Noisy Cow, has shown me the value of persistence and preparation. Securing a role with them and preparing for upcoming performance work has reminded me that consistently putting myself forward can lead to real opportunities. It has motivated me to continue applying widely and treating every audition as progress.
Overall, this year has been about integration, risk-taking, and trusting my process. I have learned to combine my skills more effectively, to make bolder creative choices, and to approach opportunities with greater professionalism. Moving into third year, I aim to continue integrating all areas of my training into my process, strengthen my screen work, and actively pursue opportunities that align with my strengths and ambitions.
Conclusion
In conclusion, this portfolio reflects an important stage in my development as both an actor and an emerging professional throughout my studies. Throughout second year, I have strengthened my skills in screen acting, voice, movement, and text work, while beginning to understand how these disciplines connect within performance.
A key outcome of this year has been learning to integrate my training. Projects such as The Rimers of Eldritch, Shakespeare work, and movement classes helped me combine technical skill with truthful storytelling. External opportunities, including auditions and workshops, also developed my confidence and adaptability.
Alongside practical training, I have gained a clearer understanding of the industry through developing my CV, headshots, showreel material, and researching agencies and career pathways. This has helped me begin bridging the gap between training and professional practice.
Moving into my third year, I aim to continue refining my screen acting skills, expanding my professional network, and approaching opportunities with confidence, realism, and ambition.
