Specialist Skills Portfolio: VIM23083764 MTCH600CR-001

The process of developing and exploring a range of specialised skills throughout the first term of my third year was an experience I look forward to documenting. This module has provided an opportunity to broaden my versatility as an artist, explore wider aspects of employability within this industry and evaluate how the two interact. The primary and secondary sources referenced throughout are documented in full and appended to this portfolio.

Screen Acting

Defined as ‘the art of performing for camera’, screen acting was a discipline that was almost completely new to me before commencing my third year of training (Chaffey, 2024). The initial difficulty of approaching said discipline from the perspective of a mostly theatrically trained performer is definitely one that felt daunting at first. I realized the extent to which this would hinder my development as an artist in one of our first screen acting classes, when we started shooting one of my classmates’ scenes. The anxiety I felt at the prospect of doing the same was something I couldn’t have predicted, as I’ve never known myself to be particularly prone to reactions of the sort. Upon reflection, I recognised that this reaction stemmed from unfamiliarity with the medium and a lack of confidence in my technical understanding of screen acting. In response, I identified research as a key strategy to address this barrier; I found works like that of Micheal Caine’s Acting in Film to be particularly useful. In this hour-long, televised screen acting masterclass, one of the ‘world’s most recognisable actors’, depicted a very interesting analogy as to the difference between the stage and the screen (Ward, 2019). When portraying the craft of acting as a surgery, Caine describes theatre as ‘an operation with a scalpel’, and acting for camera as ‘an operation with a laser’ (Caine, 1987). While simple, this comparison clarified the heightened precision and restraint required when performing for camera, allowing me to recognise that my theatrical training was not an obstacle but rather something that could be adapted. This understanding enabled a shift in mindset, fostering a more optimistic and realistic approach to screen work and improving my engagement within the classroom.

Caine’s assertion that ‘the camera is on your side’ was particularly revelatory (ibid). Viewing the camera as a collaborative tool rather than a critical observer helped to reduce self-consciousness and encouraged greater presence and focus during filming. The extent to which these ideas improved my confidence in a class setting was significant, highlighting the importance of preparation, research and mindset within my practice. This realisation prompted me to compile a list of further reading relevant to areas of the industry I felt underprepared for, made of both lecturers suggestions as well as my own personal research (see Source A). Given the exacting nature of the course, I found it useful to give myself realistic deadlines within which to aim to finish reading these works. As soon as I began, I realised the importance and practical application of the material I was reading was easily underestimated when I was tired by the workload the course already entails. To combat this, I decided to extend those deadlines with an understanding that I was to summarise and annotate each of the works I was reading, not only to fully internalise the importance of the material but also to have something more accessible and digestible to look back to in times of need. As can be seen in Source A, some of these represent research I look forward to expanding upon after graduation, while others I’ve already summarised in documents and, as can be seen further within this portfolio, were fundamental to my progress within this module before then.

In addition to developing performance skills, the screen acting classes provided insight into professional practice on set through exposure to roles beyond that of an actor. On the first week, I was able to explore the importance of continuity on set, taking on the role of Script Supervisor. Defined as ‘one of the most important jobs on any set’, this role is said to ‘require a varied set of analytical and observational skills’ (Stephens, 2019). Given the fact our classes were limited to shooting singular scenes and not full scale productions, the role consisted more of ensuring the continuity within a scene; when specific lines were associated to actions, it was my responsibility to highlight whether this was consistent in each take. Undertaking this role allowed me to develop a stronger sense of attention to detail, deepening my appreciation for screen work as a collaborative art. This awareness has since informed my own screen acting practice, encouraging greater consistency and precision in performance as well as a sense of respect towards everyone involved in the process.

One of the skills I found to need particular attention and development within my screen acting audition skillset was cold reading. Defined by Charlie Sandlan as ‘the ultimate test of an actor’s instincts and craft’, cold reading constitutes a skill that is often required in both an audition and employment setting within acting for both screen and stage (Sandlan, 2025). To enhance this skill, I found it useful to volunteer as often as possible to read scripts I wasn’t familiar with in relatively high pressure environments. Recognising the potentially overwhelming nature of cold reading, I decided to break it down into smaller steps. Notably, I started by volunteering to read the stage directions of the short film Sweet Maddie Stone that we read through on week 2, due to the lack of acting choices required by it. This allowed me to practise sight reading without the additional challenge of emotional interpretation, building confidence before progressing further. This enabled me to engage more effectively in cold reading the following week, when we held mock auditions. After being given the scene, I tried to go towards the start of the class, in an attempt to replicate the often chaotic nature of a professional audition. After the audition, captured in Source B, I realised the skill is definitely one further work is necessary within; the amount of times I peered back to the script unfortunately distracted from the focus the scene requires. The higher pressure of the environment also held me back from making bolder choices within the scene in an organic manner. Repeatedly referring back to the script disrupted the focus of the scene, while the heightened pressure limited my ability to make bold, instinctive choices. Analysing the footage also highlighted a tendency to rush delivery and soften diction in pursuit of naturalism, a habit likely influenced by my theatrical background. These realisations brought me to further my research into how to hone cold reading, a craft that is widely practiced in many screen acting courses worldwide (Marsden, 2024). I found a variety of exercises to add to my weekly sessions within my own personal practice, compiled into the list seen in Source C. The improvement I’ve found since implementing this in my weekly routine has been noticeable, in both clarity of delivery as well as textual engagement.

Advanced Dance

The selection of the Advanced Dance Specialisation within this module wasn’t a decision I took lightly; the opportunity to receive classes in a small class setting within disciplines I’d not yet had the chance of developing felt like one I couldn’t ignore. This was given by a multitude of factors, including the importance of versatility in the current musical theatre industry. Retired Principal Dancer and Associate Artistic Director of the Australian Ballet Company Tegan Lowe describes versatility as ‘key’ and the trait of a ‘highly marketable performer’ (Lowe, 2017). While dance isn’t necessarily a discipline I consider myself skilled enough within to be employed for, the importance of movement in musical theatre is undeniable, with an increasing amount of first round dance call auditions overtaking the industry (Windhal, 2024). Given the vast spectrum of classes the module entails, its benefits in regard to versatility seemed evident, while it did not come without its challenges. Nonetheless, throughout the term, the extent to which the elements within the advanced dance specialist skills module interacted and enhanced one another became increasingly apparent. The classes offered in Ballet, Commercial, Tap and Contemporary initially felt compartmentalised because of their distinct technical and stylistic demands; however, over time these differences contributed to a more holistic understanding of dance as a whole. Where Ballet provided essential foundational knowledge, Commercial aimed to develop dynamic versatility, tap strengthened rhythmic awareness all the while contemporary challenged my understanding of proxemics and improvisational skills. Collectively, these skills contribute to my readiness for professional musical theatre practice and enrich my perception of the industry that awaits upon graduation.

Coined as ‘the foundation of all dance’, Ballet represented one of the dance disciplines I’d been trained in the most prior to my arrival at the conservatoire (Lowe, 2017) . While this has proved to be undeniably useful in a classroom setting, feedback from my Second Year assessments encouraged me to revolutionise my understanding of balletic technique as I knew it, specifically within the realm of turnout and alignment. Given the ambitious nature of the statement, I decided once again to use research and repetition of exercises as a tool to better my understanding of the discipline. As suggested by one of my lecturers, I read Inside Ballet Technique by Valerie Greig, a book that has been described as ‘the essential guide to body mechanics and the anatomical laws behind classical ballet’ (Potter, 2013). This reading did in fact challenge a lot of my previous understanding of balletic technique, that had mostly been limited to an aesthetic research of line and turnout. The holistic depiction of turnout as ‘a movement’ that isn’t limited to the hips and instead also sees the thigh, knee, calf and ankle as ‘dynamic partners’ was quite revelationary (Greig, 1994). By understanding what Greig defines as the ‘profoundly functional’ role of turnout, its’ relevance to increased stability, range of motion and strength within dance became evident (ibid). This knowledge aided me in turn to prioritise and target specific muscle groups within my individual exercises and practice that I did outside of class to complement our work within the advanced dance classes. Notably, Greig’s identification of the tensor fasciae latae (pictured in Source D), as ‘one of the very few that is not well served by traditional ballet settings’, whose weakness is ‘mostly responsible’ for dancers ‘sitting in their hip’, a criticism I often get in class, helped me prioritise specific exercises in my practice (ibid). The parallel Grand Battements, pictured in Source D, specifically aim to strengthen the tensor fasciae latae and thus became something I aimed to accomplish on a daily basis. While these exercises were effective in isolation, maintaining consistency alongside a demanding timetable proved challenging. This required a reassessment of expectations and a shift towards more realistic and sustainable goals. In turn, this brought me to momentarily change the frequency of these exercises; I decided on a full skills week I would aim to do these exercises three times a week instead. This shift significantly improved my ability to attain the goals I’d set out to accomplish, while still testing my self discipline within an already arguably hectic course. Despite these challenges, this research significantly contributed to my understanding of a healthier and more long term approach to ballet. This holistic view of alignment and anatomy significantly increased my awareness of proxemics and spatial clarity within my advanced dance ballet classes and well beyond that. Within our ballet classes, I was able to connect my lecturers’ feedback and instructions to the tangible anatomical knowledge, enabling me to healthily and steadily address my flaws instead of settling for unhealthy shape reproduction. This in turn gave me a newfound confidence when approaching aspects of dance I was perhaps less comfortable or familiar with. As a matter of fact, when approaching the exploration of space and improvisational exercises that our contemporary classes entailed, this increased awareness was essential to my improvement throughout the latter half of the term. When executing exercises of movement exploration in the latter part of the term, these often included exercises that expect you to stand still with your eyes closed and a partner to touch random parts of your body. The task lies in allowing your body to respond as naturally as possible, and, as unconventional as it may sound, having a greater anatomical understanding of my body empowered me to relax enough to respond accordingly. The reading also enriched my perspective and approach to dance as a whole; aiding me in prioritising the longevity of my career in this industry over a short term gain in aesthetic validation.

This research also led me to further expand my understanding of injury prevention and its importance within the musical theatre industry. These conversations were also prioritised in a classroom environment within the Advanced Dance module; within our aforementioned contemporary classes, the conversation of injury prevention was particularly relevant, given the oftentime challenging nature of the exercises we were presented with. Works like that of Safe Dance Practice by Edel Quin, Sonia Rafferty and Charlotte Tomlinson proved to be particularly useful to further cement the importance of these principles. In fact, within it, a multidisciplinary understanding of the workings of the human body and mind in relation to the specific context of dance is coined as ‘essential’ to the longevity of a dancer’s career (Quin et al., 2015). Through diagrams, such as the one pictured in Source E, the authors explain the importance of a Safe Dance Practice within the industry. The coverage of the approach to mindset and managing workload was incredibly interesting, but it was the depiction of common injuries, recovery and steps necessary for their prevention that I found to be essential to my development. As a matter of fact, the authors depict how dangerous the portrayal of injury as a ‘marker of what dancers are prepared to do to succeed’ can be (ibid). In retrospect, the toxicity of this mindset is arguably quite evident; all the same, it was unfortunately reflected in some of the training I’d received in previous institutions. Learning of the multitudes of scientific research that prove these statements to be harmful was, quite frankly, healing. It also was essential in highlighting how necessary a mindset shift really was within my training and motivated me even further to ensure a healthy approach to this industry. In turn, this led me to research relevant strength and conditioning classes to undertake that specifically cater towards dancers; thus, I auditioned and was selected to join Project Resurgence’s Associates Program, as can be seen in Source F and G. Other than providing further opportunity to hone and challenge my understanding of ballet in an unfamiliar environment, the Strength and Conditioning program they offered is specifically tailored to injury prevention and has greatly contributed to further my development within the Specialist Skills module. For example, the emphasis they placed on alignment was useful to understanding the preservation of my knee joints within a plié, a lesson further emphasised by the active role of turnout outlined in Greig’s works. To further motivate our progress, we were encouraged to film ourselves from the side while in second position. While exposing, the results before and after the exercises targeting pelvic alignment were rewarding, as can be seen in Source H. Given the physically exacting nature of the Advanced Dance pathway, this knowledge was essential in ensuring a sustainable approach to the term. While the results from attending these classes felt evident, the expensive nature of taking external classes meant this was only something I could afford to do within the first term of third year. Given this, I ensured to detail the classes in note form as thoroughly as possible, in order to hopefully continue to build on these exercises when approaching graduation.

The Specialist Skills module has served as a critical bridge between my foundational training and the specific, often exacting, demands of the professional industry. The transition from the ‘scalpel’ of the stage to the ‘laser’ of the camera taught me the value of internal truth over external projection; a lesson that was surprisingly reinforced in my dance training and my discovery of the relevance of anatomical precision (Caine, 1987). The integration of research, from the body mechanics of Valerie Greig to the safety principles of Safe Dance Practice, has empowered me to take autonomy over my development and prioritise diligence. The challenges faced, particularly regarding cold reading anxiety and the physical rigors of new dance styles, have undoubtedly reinforced the importance of diligence and repetition alongside the necessity of sustainable, safe practice. As I move toward graduation and entry into an increasingly competitive market, the self-reliance and technical command fostered within this module provide a clear roadmap for my career. I am entering the industry not just as a musical theatre performer, but as a versatile artist capable of understanding their own strengths as well as their limits. This module has fundamentally shifted my perspective from that of a student seeking validation to that of a professional seeking precision, longevity, and artistic agency.

Bibliography

Caine, M. (1987) Acting in Film. BBC 4. Available online: https://youtu.be/kMaKYw1TxBo?si= 1diiwR9vrA4LaEnp [Accessed 11 Feb. 2026].

Caine, M. (1997) Acting in film : an actor’s take on movie making. London: Applause.

Chaffey, K. (2024) What’s it like… Screen Acting? – Bristol Old Vic Theatre School. Bristol Old Vic Theatre School. Available online: https://oldvic.ac.uk/news/whats-it-like-screen-acting/1580.

Grieg, V. (1994) Inside Ballet Technique. Dance Horizons.

Lowe, T. (2017) Ballet: The Foundation For All Dance. Dance Informa Magazine. Available online: https://dancemagazine.com.au/2017/09/ballet-foundation-dance/.

Marsden, S. (2024) Choosing a Part-Time Acting Class | Spotlight. Spotlight. Available online: https://www.spotlight.com/news-and-advice/training/part-time-acting-courses-in-the-uk/.

Quin, E., Rafferty, S. and Tomlinson, C. (2015) Safe Dance Practice. Human Kinetics.

Windahl, L. (2024) Musical Theater and Dance: How Good Do You Need to Be to Make It on Broadway? Backstage.com. Available online: https://www.backstage.com/magazine/article/musical-theater-and-dance-advice-77138/.

Ward (2019) Michael Caine’s best roles. Thegentlemansjournal.com. Available online: https://www.thegentlemansjournal.com/article/michael-caine-best-films/ [Accessed 10 Dec 2025.].