Lydia Twigger
Artistic Development: Arts Industry Portfolio
Introduction
This portfolio collates my industry research. I discuss the impact of my training and my interest in types of theatre. My research is motivated by my interest in media scrutiny and social change in this industry, notably, ongoing developments in intimacy choreography. I use quotes to support my research in the context of the industry currently.
I focus on the marketing materials I have created and explain my stylistic choices. I consider my skill sets in a fiercely competitive industry and the need for versatility within the casting process.
Industry Research
Appendix 1
Appendix 2
Appendix 3
Types of Theatre
Prior to my conservatoire training, I believed that being cast in commercial productions such as Richard II, Les Miserables and Prima Facie, was the primary avenue into theatre work. Whilst involved in Subsidised Theatre from a young age, the majority of later work I was exposed to featured large scale commercial productions in West End locations. My experience and research has awakened my interest in multiple theatre styles, professionally and recreationally. When working with Dark Horse Theatre Company, I valued the sense of community and shared creativity. Having been supported by my acting academy during conservatoire auditions, I recognise the value of all theatre styles.
Deepening my knowledge will build my confidence in pursuing a range of opportunities. I am passionate about collaboration and providing IC support to smaller, emerging branches of theatre. Following sessions with visiting artist Ruth Cooper-Rowan, I better understand the foundations of Subsidised Theatre, hence my interest in exploring theatre-making in my career.
Theatre Venues
I chose to research theatres and the categories of theatre work typically produced. The purpose of this, to network and generate opportunities for myself. I have considered my interest in acting and singing when choosing the venues: Crewe Lyceum (local to home) is recognised for its longevity, and presentation of music acts and plays. From Robin Herford’s ‘The Woman in Black’, commended for its technical elements, (1) to Bee Gees tribute act ‘You Win Again’. I have approached the theatre for voluntary opportunities and am connected with a director. I prioritise horizontal networking; building relationships and promoting our third year season.
Intimacy Choreography (IC)
The importance of this role cannot be understated. It encourages communication between individuals and seeks to advocate for actors’ autonomy in a range of roles (such as period, comedy and drama.) ‘Spotlight’ (2022) interviewed Intimacy Choreographer Lizzy Talbot, addressing the value of an IC on set: “We choreograph it so there aren’t any surprises for the actor. If you don’t have this, the actor isn’t going to commit and every move will have an air of awkwardness about it. If an actor is confident on where they can touch someone and the quality of touch that they can give, they can really commit to it.” (2)
This goes to show the validity of the role and supports my own perspective; actors feel confident in their performance and engage authentically with audiences.
I have learned more about IC courses; cost, duration and content. I aim to train soon after graduating, seeking acting and choreography opportunities. Training is a financial investment and I will devise a robust budgeting plan.
‘Filming in England’ (2026,) “the need for better practices and protocols around ‘intimate’ scenes has always existed. However, the conversation gained real momentum in the mid-2010s, largely driven by the #MeToo movement and increased media scrutiny of harassment within the entertainment industry.” (3)
I have been invited to be Assistant Director for a production in the 2026 Leeds MA Theatre Festival. I aspire to apply IC techniques I learnt in classes and from research.
Photographer Research
Appendix 4
To begin my headshot research, I studied the headshots of Dame Maggie Smith, with whom I am advised I share a similar casting type. I chose her as we share similar physical characteristics, specifically warm hair colour and a pale, cool complexion. This research helped me to understand which clothing and backdrop colours might complement me. I noticed that, in later headshots, her face is unobstructed (specifically, her hands do not come into shot.) I have learned that keeping the face clear can show casting directors that I have nothing to hide, helping them to cast more accurately. I find that hands in a headshot look posed and unnatural.
When choosing my headshot photographer, location and value were as important as the photographer’s portfolio. Having no experience in headshot photography, it was important that I research. I arranged a longer session time so that I could explore different outfits, hairstyles, poses & backdrops, and work in depth with my photographer to ascertain what best suited me. Ultimately, I chose Dan Collins Photography, for his stylistic choices and the aforementioned parameters.
Appendix 5
A selection of my third year headshots
During my session, my photographer advised me on stylistic choices and what to avoid when choosing future headshot photographers. Referencing the use of hands in a headshot, Dan advised that because the photographs are taken close-up, hands should be placed compactly to fit into the frame which can make the subject look awkward. I now feel more confident about having headshots taken and I have learned about the value of photographer direction.
Biography
appendix 6
When writing drafts of my acting biography, I faced some obstacles in terms of phrasing, grammatical person and which information was relevant, based on where the biography would be located; for example, on my CV, my Spotlight profile, or a personal website.
I sent my first draft to a tutor for feedback and this gave me lots to think about. When writing this draft, I included information which was not helpful for the reader, such as my interest in acting since childhood. From this feedback, I have learned that the biography must not be overwritten, containing highlights and key facts only. With the limited time casting directors spend reading CVs, it is the key information (such as past, present & future projects and other skills relevant to my craft, such as singing) which will promote me.
Following this feedback, I removed the comments from my ‘Our Town’ audition as that information was subjective and may limit my casting potential.
I read current Leeds Conservatoire students’ marketing material, as they have accessible Spotlight pages and the experience of performing for industry professionals. These examples helped me shape my own biography. For example, one current student decided to write their name in bold throughout their biography, in order to remain fresh in the reader’s mind. Additionally, I understand industry professionals may view many biographies during a casting process, so ensuring my name stands out can help a casting director link my industry experience with my name.
I have temporarily included my scene from my Shakespeare assessment as a credit. I will swap this for a credit in my third year showcase.
CV
appendix 7
When building my acting CV, I researched the profiles of actors both in their final year of training at Leeds Conservatoire and out in the industry. Specifically, I wanted to focus on actors recognised for period, comedic and dramatic castings, as these are areas I am interested in auditioning for once I have graduated. This research has helped me organise my own acting cv.
I am highly skilled in ensemble and solo singing, so I am also interested in acting roles which require these. Therefore, I have included information about these skills in my acting CV and created a separate more detailed singing CV.
appendix 8
I chose to display my stage name in a different font to the rest of the information on the document so that it stands out to the reader. I am still deciding on my final stage name and will change this on my marketing materials in due course. All the relevant information has been organised into sections so that it is accessible to the reader. In the initial stages of building this CV, I had included a lot more information in the details section, such as actual age, hair and eye colour, because I was not sure which information would be needed in this document as opposed to my Spotlight profile. Including a colour headshot at the top of the document meant I was able to remove some of the physical appearance information, making the CV less wordy.
This CV is a work in progress; I will add my Spotlight link when I have created a profile and swap out my Shakespeare assessment for a third year season credit plus my work in the 2026 Leeds MA Theatre Festival. In CV examples I researched (appendix 7) I noticed that the artist’s representation details were commonly found at the top of the CV. As I have created a CV for both singing and acting, I also decided to add social media details for these disciplines at the bottom of both of my profiles. I would like my two CVs to introduce my singing and acting to the industry side-by-side. I have chosen a light neutral colour on this CV as I want my headshot and the information to be the main points of focus. I also chose this colour to tie in with whichever headshot I chose to add at the top.
I understand this CV may be an industry professional’s introduction to me. On that basis, I chose this headshot because the reader can see my entire face and my expression is neutral. I feel this headshot shows I am suitable for a wider range of roles., therefore not limiting me in terms of casting. I will be including more of my headshots in my Spotlight profile.
appendix 9
I am currently visiting venues in Cheshire and Yorkshire to promote myself for gig bookings. I recently designed and printed business cards for these venues and I decided to build my singing CV with a similar design to my cards. This CV was initially intended for booking gigs at weddings, private parties and pubs. I have since added relevant qualifications at the top of the information section as I want to be recognised for my singing alongside my acting in the industry.
The photo I have used was for my final performance during my course at LIPA Sixth Form College in 2021. As this CV is a work-in-progress, my next step would be to swap out this photo for a more recent one.
This CV’s colour scheme matches that of my business cards, to achieve coherency within my brand. I am currently in contact with studio owners based in Cheshire, as I would like to record some covers to share on my social media platforms. Once I have this audio content, I will add these credits. I have copied the biography on my business cards to this CV, however I may shorten the biography section in the future. Currently, my aim is for my brand to be easily identifiable and memorable.
Summative Statement
Honing My Craft in F.M.
I was cast as Constance Lindell from Romulus Linney’s ‘F.M.’. I devised a short improvised scene from a day in my character’s life. Devising this piece from my perspective of the character helped me connect more deeply with her and bring the character more dimension. I was directed to break the fourth wall and bring the audience into my character’s world. After using the studio mirrors to style my hair in-character, I was then asked to pick a different reference point. In turn, I felt less connected to my character’s actions and this showed in my performance because my reference point moved noticeably throughout the piece. I’ve applied the feedback I had from this exercise at later points in my training: in screen classes when addressing a character off-camera. Also onstage: playing the role of Myrtle Webb in my ‘Established Repertoire’ project. I was directed to address some of my lines to the wall, depicting looking into a mirror. Initially, I struggled to remember the location of my reference point, especially when running the scene with different intentions and paces. I have learned that I work best by establishing reference points early in the rehearsal process and commit them to memory. In my assessment feedback, I was told I showed a strong sense of place. This technique has helped me feel connected to my storytelling. I look forward to playing with this technique during my Mary and The Hyenas project, in line with my director’s vision. My next step is to integrate this technique into the initial stages of developing my character and the spaces which they inhabit. Fostering this technique will equip me with the ability to make bold choices and paint a more vivid picture of my character’s world in future auditions.
Exploring My Boundaries in Intimacy Choreography
The intimacy training workshops with intimacy choreographer Leanne Rowley gave me an insight into the responsibilities of a professional in this field, along with the boundary language used between actors and choreographers. During these sessions, I chose to work with an actor I do not often collaborate with to begin to understand the experience of working with future scene partners who I may meet on the day of a job.
Prior to these sessions, I believed I would be confident to communicate my boundaries, however, even when working with one of my peers, I felt burdensome when sharing my boundaries. Upon reflection, this stems from my interest in being an easy actor to work with. As I continue to familiarise and work with the resources I have taken from the sessions, I feel this will help me to become more comfortable in emotionally and physically intimate scenes because communicating my boundaries will become increasingly easy. I know that that this area of my acting needs some work and I would benefit from further intimacy training sessions.
I’d like to pursue Intimacy Choreography after I graduate because I enjoy collaborating with others and taking initiative in a rehearsal room. Furthermore, working in this role will help me to stay active in my creative career while juggling separate employment. I spoke with Leanne about avenues into Intimacy Choreography and she pointed me to the NFTS North, a school which offers a course in Intimacy Choreography and is led by Haley Muraleedharan, who is also associated with the conservatoire. The next step in this area of my training is to connect with Haley and other Northern-based choreographers to join intimacy workshops. I will also continue my research into choreography qualifications, including the NFTS North, London Film School (offering a one-day introduction to Intimacy Choreography) and Moving Body Arts, offering a year-long training. I understand this will be a financial commitment and loan support is not available. I will make a budgeting plan to accommodate this, as I hope to begin training as soon after graduation as possible.
Acting With Sensitivity and Imagination
A key learning moment during project one was tapping into my listening and storytelling skills when performing a childhood memory of my exercise partner. When listening to my partner, I felt focused on the story and asked questions to gain as much detail as possible. My priority was to perform conscientiously to reflect the value of the story being shared. Following my performance, my partner noted my depiction of the small details which I emphasised, making the performance more personal. Despite not relating to the story myself, I showed sensitivity and thoughtfulness in my acting. I demonstrated that I am capable of noticing the small details in a story through being proactive and asking questions.
When sharing my own memory, I considered sharing a story which was a negative experience in my childhood. Reflectively, I didn’t consider how watching that performance that may have affected me. I think I did this because I was putting the audience’s engagement and interest in my story before my boundaries. I do not yet have an answer as to why I prioritised this. It is important that I get to the bottom of this thought process and reshape it, as I don’t want to make artistic decisions in my career which may breach my boundaries. This goal also lends itself to my pursuit of intimacy choreography. I recognise that I would be unable to equip other actors with the tools they need without first being able to make acting choices prioritising my wellbeing. It is my priority to approach storytelling with awareness and a foundation of empathy towards myself and others. Through my training, I have learned it is important to tell stories depicting complex situations and emotions, however this should be done with a detachment between myself and my character in order to be sustainable long-term. I observed the benefits of our group check-in before the exercise; creating a sense of trust among the group which remained for the entirety of the project. Out in the industry, I will consider these benefits when shaping my own intimacy choreography approach .
Later in the project, our company re-explored the relationships between the play’s characters. This exercise helped refresh the dynamics between mine and other characters and make fresh choices. However, when reflecting on the exercise, I began to feel overwhelmed to the point that I had to leave the room. This was a new experience in my training but was a positive moment because I recognised my boundaries and was considerate of the effect this may have had on the group’s focus. Post-training, this experience will lend itself to my experience in professional rooms because I will be equipped to work sustainably.
Conclusion
Throughout second year, forming new industry connections and nurturing creative relationships has been at the forefront of my development. I’ve also been offered opportunities as a result of supporting fellow artists’ work. Working with industry professionals has broadened my knowledge of types of theatre I may pursue in my career and the venues I will network with. Having an increased knowledge of theatre categories will enable me to pursue a wider range of opportunities in this competitive industry.
Alongside forming connections, I’ve been active in choosing the material I consume, especially recommendations by peers and tutors. I’ve moved away from watching work suggested by streaming service algorithms. This has been fundamental in my artistic development and in finding the types of roles I wish to pursue.
Principally, pinpointing the types of work I want to be associated with in the industry is an ongoing task. Learning about my boundaries in intimacy choreography sessions and performing with empathy has highlighted my capability in telling stories of emotional complexity and close connections. I would like to be involved in political projects. My political views are still developing and whilst I am learning more about the political climate through the arts, it remains important to me to enter a professional room able to contribute and discuss my own ideas.
Finally, I have recognised that I feel secure when performing comedy and have often opted for comedic texts in rehearsal practices. This became clear when I performed a monologue about care home workers in scene study. My feedback suggested I hadn’t done enough work towards sense of place and images the words created. Since this class, I have actively sought out monologues with more emotional depth and continue sharpening my skills in analysing text: identifying the stakes, objectives, tactics, address and given circumstances to connect more deeply to the piece. This practice will continue into my final year and will encourage me to pursue more challenging texts in the future.
