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.
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 (Horgan, 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 two hour 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 also particularly revelatory to my development as an actor (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 (see Source D). Given the exacting nature of the course, some of these represent research I look forward to expanding upon after graduation. Others, as can be seen in paragraph 5, were fundamental to my progress 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 A, 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.
Throughout the term, the extent to which the elements within the advanced dance specialist skills module interacted and enhanced one another became increasingly apparent. Training in ballet, commercial and tap initially felt compartmentalised due to their distinct technical and stylistic demands; however, over time these differences contributed to a more holistic understanding of dance as a whole. Engaging with contrasting disciplines encouraged greater bodily awareness, adaptability and resilience, all of which are essential for professional musical theatre practice.
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, 2015). I found a variety of exercises to add to my weekly sessions within my own personal practice, compiled into the list seen in source B. The improvement I’ve found since implementing this in my weekly routine has been noticeable,
Throughout the term, the extent to which the elements within the advanced dance specialist skills module interacted and enhanced one another became increasingly apparent. Training in ballet, commercial and tap initially felt compartmentalised due to their distinct technical and stylistic demands; however, over time these differences contributed to a more holistic understanding of dance as a whole. Engaging with contrasting disciplines encouraged greater bodily awareness, adaptability and resilience, all of which are essential for professional musical theatre practice.
Ballet was the discipline in which I had the most prior experience, providing a strong foundational understanding of alignment, turnout, muscular engagement and foot articulation. During the term, my focus within ballet centred on enhancing turnout and musculature, refining alignment, and improving foot articulation. This technical grounding supported a deeper awareness of anatomy and movement efficiency, which in turn informed my understanding of proxemics and spatial clarity across performance disciplines. To support my development, I implemented supplementary strengthening exercises outside of class, as can be seen in source F. 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. Despite these challenges, the strengthening achieved through ballet training benefitted other classes, particularly jazz warm-ups, where increased stability and control were evident (see sources F).
In addition, I found it useful to create focus plans prior to class, drawing from notes taken during sessions (see photo evidence). This strategy proved effective in optimising class time, enabling quicker corrections and more focused engagement. I also attended additional external classes, including Project Resurgence sessions and Northern Ballet classes, alongside strength and conditioning work. While these opportunities were costly and difficult to maintain consistently throughout the year, they were highly beneficial in supporting overall improvement and pick-up speed.
Commercial dance presented a stark contrast to ballet in terms of physicality, posture and dynamic quality. Initially, I assumed that my background in ballet might hinder my progress in commercial styles due to their opposing alignments and movement qualities. However, I ultimately found that the relationship between the two disciplines was mutually beneficial. Engaging with contrasting postures and dynamics deepened my understanding of my body’s capabilities and limitations, encouraging greater adaptability.
The physical discipline developed through ballet supported sharper execution within commercial drills, as evidenced through filmed material. Conversely, the dynamic changes and grounded movement required in commercial styles highlighted the importance of variety and musicality within ballet. This comparison also prompted reflection on mindset. While I had developed strategies to challenge self-criticism within ballet, the unfamiliar structure of commercial classes exposed lingering beliefs about my own capability. Unfortunately, this realisation occurred later in the term; however, it has informed clear intentions moving forward, including applying the same focus, preparation and commitment used in ballet to commercial training and attending additional classes where possible.
Tap training this year focused heavily on rhythm, line and pick-up speed. These elements proved particularly challenging due to my limited experience within the discipline, yet were essential to my development as a musical theatre performer. Pick-up speed, in particular, is crucial within audition contexts and contributes significantly to employability across dance disciplines.
To improve pick-up, I adopted the practice of revisiting material for five minutes at the end of each class, captured through video evidence. This strategy was efficient and effective in reinforcing retention; however, evaluation revealed that it did not fully address pick-up in high-pressure environments. To support this, I focused on breaking down the process of pick-up, as discussed in class, distinguishing whether material was best approached through rhythm or shape (see photographic notes). This approach helped to reduce feelings of overwhelm and supported clearer learning.
Improving line and isolation within tap was also a key focus. Drawing on research from second-year contextual studies and external classes with Robbie McMillan, I developed greater awareness of line quality and stylistic clarity. Writing notes following these sessions further reinforced learning. The rhythmic demands of tap also supported development in other disciplines, particularly contemporary movement exploration.
Across both screen acting and advanced dance training, recurring themes of mindset, adaptability and self-discipline emerged. Screen acting required restraint, precision and trust, while advanced dance demanded physical versatility and resilience. In both areas, filmed evidence played a crucial role in enabling objective self-evaluation and encouraging autonomy in learning.
The integration of these disciplines has enhanced my understanding of myself as a performer, highlighting the importance of confronting discomfort and challenging self-imposed limitations. Ballet provided foundational knowledge, acommercial developed dynamic versatility, tap strengthened rhythmic awareness, and screen acting refined subtlety and focus. Collectively, these skills contribute to my readiness for professional musical theatre practice.
Overall, the Specialist Skills module has significantly supported my development as a Musical Theatre Performer, encouraging greater self-awareness, independence and employability. By engaging critically with both screen acting and advanced dance, I have begun to bridge gaps within my training and move forward with clearer intentions as I prepare to enter the industry.
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