How do we do what we do?
So I feel quite stuck with my inquiry topic at the moment and painfully aware of that being phase 1 of module 2 and feeling like I really need to hurry up and get focused. So here I am!
My head keeps floating around the areas in this oh-so-beautiful diagram. I know I want to know more about something in there, but trying to figure what exactly is driving me up the wall.
Looking at it closely, I think I'm most curious about what happens in the phase between working the day job and getting that next audition or performance job. That is, in my opinion, the danger zone. What I mean by that is that's where motivation can falter, depending on how long it takes you to get that next audition or job, where you can start to question your chosen path, lose your momentum, where your monologues can get outdated and rusty in your head, your voice and body can be neglected and you can just lose inspiration in general. That's what I think of when I look at that part of the cycle. BUT, maybe I'm looking at it wrong? Maybe I'm making a tonne of assumptions there that aren't other people's experience at all?
Whilst I've been contemplating what my real focus is with this inquiry proposal, I've been scanning the internet for what's already out there on this kind of thing. The results were a little frustrating. I searched 'musical theatre motivation/staying creative', ' performers work/ life balance' 'day jobs' etc and kept finding the same kind of articles that I've always seen. I read one on 'OnStage Blog' by Gretchen Midgley entitled Life After a Musical Theatre Degree, and although it's familiar and probably good advice, it didn't really get to the heart of the matter. In the article, Midgley talks about life after the safety blanket of training, how to keep yourself motivated and creative (which I know is huge in my practice) when you don't have constant classes and your fellow performers around and are performing all the time. In a nutshell, she says
1) Keep practicing
2) Dance, dance, dance
3) Networking with other graduates
I think these are solid guidelines to follow, if you can. Money is something that sprang to my mind reading this. She briefly mentions that dance classes are expensive but what I took from what she was saying was, you just have to get on with it or else lose your skills. The thing is, dance classes can be pricey, singing lessons on top of that can be pricey, acting classes can be pricey. Yes, there are some free resources out there (thank goodness!) and the odd free workshop offered by the likes of Spotlight. But is that enough to keep all those skills ticking over? Do you just have to find the money if you really want to get anywhere?
Another huge factor is time. When do you find the time to practice and audition and get to classes if you need a full time day job to pay the rent? Where do you find that energy and space in your schedule to find new rep, stretch, learn a new monologue, read a play, learn a new skill, meet up with your performer friends, go see theatre? I spoke to a lovely actor once, who'd been in the business for decades and worked regularly on stage and written and directed her own work and asked how on earth she found time? She laughed and said she lived on her own so mostly ignored the housework to read and write new things. That's probably one way to get things done but I personally can't think properly surrounded by piles of laundry and dishes.
I think it goes without saying that we can't devote every waking second to our craft. As much as we love what we do, there are other things that need tending: our overall physical health and mental health need looking after with good sleep, exercise, healthy meals and socialising. And hobbies!! I came out of the other end of my musical theatre qualification with no hobbies left! Apart from drinking down the pub, that was it!
One thing from the article that I do think is both doable and brilliant is leaning on your networks. Some of my actor friends and I set up an accountability group during one of the lockdowns (they're all blurring together!) and it really helped us refocus and get some things we'd been meaning to do for ages done! I find just talking to other people in creative industries so inspiring and helpful.
Day jobs are a really important factor in all this. I think unless you're a renaissance artist with a wealthy patron, you probably need a day job to see you through. But does your choice of day job have any say in your creativity and motivational levels? Or is it just down to you? Is it about your pre or post work ritual or maybe weekend routine? I've had so many different day jobs and my motivation levels were so different in each. In one bar job I couldn't stand, I know I used to listen to the best playlist I could before my shift to get in the right frame of mind. I would try remind myself it wasn't forever. I would tell myself to use the opportunity for people watching. But I'd come out of the shift as drained as ever. I just don't think bar work suits me. Whereas I worked with another actor there who LOVED coming in, switching off his brain, and just pulling pint after pint. Different strokes for different folks!
Sorry for the length of this post! I would love to hear other people's thoughts on this.
Hi Shelley, I loved reading this blog. It reminded me of how difficult it was when I left college. All my friends had already received jobs, and I had to choose between moving home (where I could work in my parents pub but was 1 hour away from London) or move to London (where I would be surrounded by opportunities but it was pricey). I remember feeling so confused and scared, so I moved home, commuted 4 times a week to London and worked in the pub (which I also hated). When I look back, I recognise that I was over worked, putting too much pressure on myself and was loosing motivation. I was fortunate enough to have family who were able to give me work so I could fund this, but I understand many people are not so lucky. It’s crazy how to ‘succeed’, you need to have a balance between practice, job, and personal life… most people only have to worry about work and personal life. I was not the most motivated person during lockdown, but I recognised the people who were motivated on social media. These people were using their free time and online platforms to collaborate and share. But maybe these people were more creative in the first place? Such an interesting topic. I look forward to reading more about your research!
ReplyDeleteThanks Alice! I was in a similar boat when I graduated, I had to choose between staying in London (when all my friends I'd trained with had already scattered around the globe and it was both lonely and expensive but where the work was) or go back home to Dublin and start getting experience in low budget/student projects from the comfort of home. I ended up moving back to Ireland and I don't regret that move at all. Although I wasn't where all the work was, I gained a lot of experience, took classes and didn't have to stress about huge rent. But again, not everyone has that luxury! I'm lucky that my mother has been very supportive of my chosen path.
ReplyDeleteSince this blog, I've actually changed direction with my inquiry but different people's motivation is still something that interests me!