Introduction
Most of my work contains a high level of research, especially Sweet Tooth’s Tour of Asia and my debate between the route of an MA or a PhD during my second year of my five year plan. Research has been a crucial part of organising the Tour of Asia, from both a cultural perspective as well as a financial and logistical stance. Asia’s culture in general tends to be where the most cultural misunderstandings occur, and in many Asian countries such misunderstandings are insulting. Therefore it is imperative that I am aware of such common mistakes as well as the basic cultural grounds of each country and their theatrical and performance industry. In regards to year two of my five year plan, there are several options and as a result many different debates. The first debate is MA Vs Phd, the second UK Masters Vs USA Masters, and the third is RADA Vs Guildhall. Having an offer from a top university to undertake a PhD before taking an MA wasn’t something I anticipated when considering my second year, and it has thrown a spanner in the works. A PhD was something I always wanted to do, but imagined I would do it later on in life, however now the opportunity has arisen I feel I should consider it as a serious option. Going back into education during my second year was always a given, and yet it has been difficult to narrow down the route I wish to take, despite knowing where I want to end up.
Tour of Asia
In order to organise the tour of asia, the first thing I needed to secure was funding. After my experience with Red Rose Chain in their funding department (See Appendix 1) & having spoken to several producers and those in the financial industry. I came to the conclusion that while I should still apply for funding, I needed to find a way of coming up with the money myself. We looked at taking a previous studio production that I wrote (See Appendix 2) called Forget Me Not, and hosting it as a fundraiser. However when we looked at dates and time limits, we came to the conclusion that another fundraising method was needed.
My first step was to put together a financial plan, costing up the workshops and price of travel (Appendix 3). I needed to understand how much money I needed to raise, and by doing so I could look to see how I could raise such funds. Half way through putting together these costs I noticed how much I was spending on flights and hotels, and at the same time many different organisations were starting to express their interest in my intentions. I suddenly became very daunted and disheartened by the large figures, to the point I almost gave up. However when I was working with Jo Carrick, Artistic Director of Red Rose Chain Film & Theatre Company there was a phrase she would repeat; “Unless you have something to work towards, you’re never going to have a successful group. It’s kind of a golden ingredient...” This reminded me that in order for Sweet Tooth Theatre Company to go on, I needed to have something to work towards, whether it was workshops and performances in the UK or abroad. And so I set my mind to creating theatre in the UK.
Coming out of a violent relationship at this time was ideal timing, and shortly afterwards I found myself in a debate with my father about the gang rape in India and the help available to these women. It wasn’t long for things to click into place in my brain and I started researching on the internet for shelters and hotlines available to these women in India. I eventually branched out to other areas in Asia. And I realised this was where my passion lay, and this was what I needed to do. I just had to find a way to make it happen. A routine email came through one day from a company called I-to-I, where they were advertising TEFL, it caught my eye, and reading several articles across the internet showed that Japan, South Korea, Taiwan and China were the best locations when comparing living costs and average salaries (See Appendix 4.) It didn’t take me long to settle on South Korea as my base, and so I put together a financial plan for workshops if I were based in South Korea. (Appendix 5) Excited, I quickly started my application process through Dan Hendrikson at TeachESLKorea.
South Korea Workshops
Many of the countries I intend to visit have very similar common misconceptions in regards to their cultures. Many people are a little scared or hesitant with both Korean and Japanese culture as it so different. Reading books such as Lonely Planet’s “Korea” and “Living and Working in South Korea” by Alain Howes has given me an insight into understanding Korean culture; “In the west it’s frowned upon if you go out and get hammered with work colleagues and superiors, but in Korea it’s the opposite.....drinking is a huge part of their culture.” The popular blog EatYourKimchi has also helped me understand the Korean culture a lot more, and has helped me prepare for life out there.
Most of my work contains a high level of research, especially Sweet Tooth’s Tour of Asia and my debate between the route of an MA or a PhD during my second year of my five year plan. Research has been a crucial part of organising the Tour of Asia, from both a cultural perspective as well as a financial and logistical stance. Asia’s culture in general tends to be where the most cultural misunderstandings occur, and in many Asian countries such misunderstandings are insulting. Therefore it is imperative that I am aware of such common mistakes as well as the basic cultural grounds of each country and their theatrical and performance industry. In regards to year two of my five year plan, there are several options and as a result many different debates. The first debate is MA Vs Phd, the second UK Masters Vs USA Masters, and the third is RADA Vs Guildhall. Having an offer from a top university to undertake a PhD before taking an MA wasn’t something I anticipated when considering my second year, and it has thrown a spanner in the works. A PhD was something I always wanted to do, but imagined I would do it later on in life, however now the opportunity has arisen I feel I should consider it as a serious option. Going back into education during my second year was always a given, and yet it has been difficult to narrow down the route I wish to take, despite knowing where I want to end up.
Tour of Asia
In order to organise the tour of asia, the first thing I needed to secure was funding. After my experience with Red Rose Chain in their funding department (See Appendix 1) & having spoken to several producers and those in the financial industry. I came to the conclusion that while I should still apply for funding, I needed to find a way of coming up with the money myself. We looked at taking a previous studio production that I wrote (See Appendix 2) called Forget Me Not, and hosting it as a fundraiser. However when we looked at dates and time limits, we came to the conclusion that another fundraising method was needed.
My first step was to put together a financial plan, costing up the workshops and price of travel (Appendix 3). I needed to understand how much money I needed to raise, and by doing so I could look to see how I could raise such funds. Half way through putting together these costs I noticed how much I was spending on flights and hotels, and at the same time many different organisations were starting to express their interest in my intentions. I suddenly became very daunted and disheartened by the large figures, to the point I almost gave up. However when I was working with Jo Carrick, Artistic Director of Red Rose Chain Film & Theatre Company there was a phrase she would repeat; “Unless you have something to work towards, you’re never going to have a successful group. It’s kind of a golden ingredient...” This reminded me that in order for Sweet Tooth Theatre Company to go on, I needed to have something to work towards, whether it was workshops and performances in the UK or abroad. And so I set my mind to creating theatre in the UK.
Coming out of a violent relationship at this time was ideal timing, and shortly afterwards I found myself in a debate with my father about the gang rape in India and the help available to these women. It wasn’t long for things to click into place in my brain and I started researching on the internet for shelters and hotlines available to these women in India. I eventually branched out to other areas in Asia. And I realised this was where my passion lay, and this was what I needed to do. I just had to find a way to make it happen. A routine email came through one day from a company called I-to-I, where they were advertising TEFL, it caught my eye, and reading several articles across the internet showed that Japan, South Korea, Taiwan and China were the best locations when comparing living costs and average salaries (See Appendix 4.) It didn’t take me long to settle on South Korea as my base, and so I put together a financial plan for workshops if I were based in South Korea. (Appendix 5) Excited, I quickly started my application process through Dan Hendrikson at TeachESLKorea.
South Korea Workshops
Many of the countries I intend to visit have very similar common misconceptions in regards to their cultures. Many people are a little scared or hesitant with both Korean and Japanese culture as it so different. Reading books such as Lonely Planet’s “Korea” and “Living and Working in South Korea” by Alain Howes has given me an insight into understanding Korean culture; “In the west it’s frowned upon if you go out and get hammered with work colleagues and superiors, but in Korea it’s the opposite.....drinking is a huge part of their culture.” The popular blog EatYourKimchi has also helped me understand the Korean culture a lot more, and has helped me prepare for life out there.
EatYourKimchi’s blog has given me the opportunity to read about Korean culture and pick up tips for my workshops. After reading one of their blogs on Hand Games (See Appendix 6), I came up with the idea of using native games as an icebreaker. I’d like them to teach me a new game, so I thought the best way to get them interested is to start with a simple game of Kai Bai Boh. I am in discussion with Korean Women’s Hotline and other shelters for taking these workshops as well as a few schools.
Japan Workshops
Japanese culture has many similar elements to Korean culture, primarily due to their history and closeness of locations. Similarly to Korean culture, you should accept all invitations, never say no say ‘I’m sorry” if you must decline, always accept gifts and try to eat a little in front of the gift giver & always take things with two hands. The Japanese like the Korean’s are a nation proud of their country, and as a result, when working as a workshop or class leader you must be careful not to say anything that could reflect negatively on their culture. While this won’t get you into political danger, if you say something that could reflect badly or might appear like you are trying to get them to ‘badmouth’ their country you are likely to upset a lot of people. There are blogs highlighting experiences like this in their number across the internet (See Appendix 7). There are many examples similar to the one shown in Appendix 8 for both Japan and Korea, and in all of them it is made very clear how easy it is to offend people. Japan is famous for Kabuki theatre, I am interested during these workshops in trying to incorporate such theatrical traditions with Shakespeare or physical theatre.
Vietnam Workshops
Vietnam is famous for their water puppets theatre, and I am in the early stages of looking to see if I can collaborate with some puppeteers out there to create a water puppet performance of a Shakespearean text. I am also looking at the possibility to placing the puppeteers in the water with the puppets, creating a physical movement piece alongside the puppets. I am yet to know if this is even possible, and this is the very early stages of developing such an idea.
The Vietnamese are renowned for being a friendly and welcoming nation, but their culture is still very different to the British and there are strong resemblance's to other Asian cultures. For example, similarly to the Korean and Japanese culture, greeting people with a bow is expected and it is considered rude not to. Touching children or adults on their heads is not considered an acceptable trait unless you are that child’s parent or grandparent, and as a result icebreakers such as duck, duck, goose need to be changed. Beckoning someone with the palm of your hand facing upwards is considered exceptionally rude, you must beckon people with the palm of your hand faced downward otherwise you are using the same gesture as you would for a dog.
Basic culture lessons like theses are vital to learn, so that when I am running the workshops and rehearsals I will be creating an environment that will welcome the participants. The last thing I want to do is offend them, and if I do offend them it could be detrimental to the workshops. Offending the participants would change the atmosphere of the space from being safe to unsafe, and as a result is likely to reduce the level of creativity and openness in the room.
India Workshops
In India the majority of my work will occur in some form of shelter or orphanage. The intention is to stay in one or two shelters, and in the discussions I am currently having they will offer accommodation and food at the shelter. This would maximize the work I could do with these women and children, as well as help out on the financial side of things. As a result I need to keep up with the culture of India, which differs from Korea and other South East Asian Countries. India and the UK have many connections culturally, mainly linked from the history of our colonies.
India also has a huge interest in Shakespeare and theatre, and is regularly seeking collaboration with British companies both in the UK and in India. The most famous collaboration came from the Shakespeare Globe’s around the world summer performances during the Olympics in 2012, and Footsbarn have rekindled this collaboration for a weeks performance between 29th July 2013 and 3rd August 2013. The Globe’s introduction to Footsbarn highlights why many institutions in India are so excited about the collaboration and culture collision aspect of my interdiscipinary work; “Footsbarn return to the Globe with their heady mix of street theatre, circus, mime, shadow play and carnival.” (See Appendix 8) Having such a vital link makes creating interest in my work somewhat easier than the South East Asian countries, primarily I believe because theatre with similar intentions is already starting to be created. However, finding institutions who work with those who have experienced domestic abuse and understanding how my work can benefit the individuals they work with, is not impossible but is proving difficult. It is for this exact reason that I intend to stay in India for one to two months depending on how many shelters I stay with, having longer with the individuals will provide better results for them, as well as the potential to create a full blown performance.
MA Vs PhD
The Masters degrees I am looking at, are either one to three years long. They provide practical training in Acting as well as a higher educational level on theatre and performance. The PhD I have an opportunity to complete is at York university, and unlike a normal PhD, this one is creating research through creative practice.
The doctorate would be specialising in Acting for Theatre which involves creating a professional portfolio, a 20,000 word dissertation and three full length performances. (See Appendix 9). I have always been interested in completing a PhD, however always assumed I would complete my Masters degree first. Since being offered the opportunity to complete a PhD now, without a Masters, it has certainly become an interest to me.
From a time perspective it would mean studying for three years for a PhD, instead of potentially another 6 years including the PhD and Masters. From an immediate financial perspective, the MA is perhaps a better option.
However when considering my work across Asia as well as my Acting career, the Masters degree would probably be the most sensible decision. Taking a year out of my Acting career to tour across Asia is a risky but worthy decision. Then subsequently taking another year or three out for a Masters degree is again risky, however because this Masters degree is to develop my Acting skills further, and will provide me with a showcase upon completion outweighs the negatives. (See Appendix 10)
If I were to start a PhD so soon after graduating, I fear I shall have to sacrifice my Acting career to a certain degree in order to take a life in the academic circles. The other issue I am currently facing in this ongoing debate is that my current PhD proposal (See Appendix 11) might be full of potential and exceptionally interesting, however after returning from the exciting work I have created throughout Asia, it is likely that I will have other areas that I will be interested in exploring, and that could potentially be ground-breaking. For example, looking at Shakespeare and the Modern Actor, linking the techniques and colliding this with different cultures, much like what was created in the Playing Shakespeare episodes (See Appendix 12) but combining it with Asian culture.
As a result I can’t help but feel that perhaps I will be better off waiting to see what happens while I am out in Asia before I make any final decision. However considering the current frame of mind I am in, I feel that because of the route I want my career to go down I would benefit from completing a Masters degree. I would still like to complete a PhD but I can’t help but feel my initial instinct of completing a PhD later on in my career will be a more sensible decision.
UK Vs USA
Originally I planned to undertake a Masters degree in the UK, however with my interest in travel and theatre across the Globe, Karl Rouse during my second year mentioned looking at the Fulbright Commission. According to their website, this organisation was “created by treaty on 22 September 1948” and was created to foster “mutual cultural understanding through educational exchange between both nations.” It gives students the opportunity to study across the pond, both UK students study in the USA and USA students study in the UK.
Fulbright not only gives advise on the process for applying to universities abroad but also offers commission awards. I am specifically looking at their Postgraduate Student Awards which according to their website, their “funding is intended as a contribution towards any institutional fees, travel to/from the US, accommodation and general maintenance costs while in the US.” The selection criteria is not entirely specific and the timeline of applications takes about a year and a half. (See Appendix 13 & 14) The process is lengthy and intricate with vicious competition, but one that would give me a once in a lifetime experience, the opportunity to work with artists who have a different culture, gain a greater understanding of the performance and theatre scene in the USA and get world-class training. If I were to receive a Fulbright Award, the financial side of things would still be high, and I would have the benefit of the help I was receiving with funds would not be a loan.
In the UK however I would need to take out a Career Development Loan, alongside savings in order to be able to afford a Masters degree. The institutions I am looking at in the UK include mainly the Royal Academy of Dramatic Art and Guildhall. If I were to stay in the UK and gain a place at one of these institutions I would be gaining world-class training in a location I am familiar with and with an industry I am already in touch with.
The costs might be lower in toto in comparison to the USA, but with more scholarships available in the USA it will be a case of applying to both and hope I gain an award or scholarship for one or the other.
RADA Vs Guildhall
There is a big different between the two courses at these institutions, however there is a vital underlying strand, in that the ultimate outcome is to leave your Masters training as a performer.
The course at the Royal Academy of Dramatic Art is the Theatre Lab course, which is specific for those who wish to perform in an experimental framework, and training incorporates the classic training RADA is famous for alongside the contemporary experimental scene. This course lasts one year, and costs £10,000 a year in course fees. The focus is on “equipping the student with the skills necessary to contribute to the widest range of theatre and performance practice” according to their website, and there are three main components to this course.
The first component is Acting and Performance, and it is during this module where you see the classical training RADA is famous for, working with the Stanislavskian system as well as with Brecht, Chekhov and Meisner. This is seen as a module for building the basics of performance, and those on this course are “encouraged to use these as a basis for their own experimentation in developing performance practice.” And it is that statement on their website that made me the most excited about this course. This course would give me the opportunity to learn Acting basics from the masters of their craft, with the intention of combining it with more experimental theatre such as the physical theatre and cultural collision theatre I am incorporating in my workshops throughout Asia.
The second component to the course comes under the title of ‘Skills Development,’ which incorporates building on our current performance experience, and this looks at developing skills such as improvisation, circus and dance. Learning skills such as circus and developing my dance and improvisation skills further will boost the quality of the body of my work with both Sweet Tooth Theatre Company and as a professional Actor. These classes are incorporated with scene work study, so would offer me the opportunity to incorporate the use of text with these disciplines.
The third component is Scene Study, which “draws together the skills being developed in acting classes and skills classes, and provides a forum for students to develop and experiment with the techniques they are learning.”
At Guildhall, the Masters course is a three years straight Acting course, which while it may not appeal directly to my experimental and interdisciplinary frame of mind, it would give me the in-depth and focused acting training I am interested in developing.
During Year One I would study basic voice and speech techniques as well as movement and a rehearsal project. It is also vital that to complete the Masters element of the course critical evaluation and personal development is also worked on as well as studying the background of theatre.
During Year Two again there are basic classes in voice and speech as well as movement techniques. There is another rehearsal project and a presentation must be given which according to Guildhall’s website “draws on workshops attended at the end of Year 2.”
During Year Three I would continue with my training as well as perform in several public productions and create a career plan including research into the acting profession.
There is a very clear different between the two courses, and neither can be described as better than the other. However I feel that the Theatre Lab course at RADA would be more suited to me and the type of work I wish to create with Sweet Tooth, while also providing me with the skills as an actor that I wish to develop. The course at Guildhall would provide me with the skills as an actor, however is lacking enormously when it comes to initiative, imagination and creativity in creating a performance. And I feel that this missing element could be detrimental to my work with Sweet Tooth Theatre Company. From a financial perspective they are both in London and full time courses, so living costs are similar, however the course fees differ. RADA is £10,000 for 1 year and Guildhall is £23,470 for the three years.
Potential Companies to work with.
As an actor there are many companies I would like to work with, and while it is tricky to narrow down which I would like to work with in the next five years, I have looked at those I am interested in working with in the next ten years.
I am currently in the process of organising to work with several companies in South Korea as both an actor as well as with Sweet Tooth Theatre Company. Daegu Theatre Troupe is on of these, and is a theatre company close to where I shall be based. This will keep me and Sweet Tooth active while I am not traveling. Seoul Shakespeare Company is another I am in contact with, and I am particularly interested in working with them as they work in a collaborative and collective way looking at crossing cultural boundaries. BH Productions is based in Seoul and also performs overseas and is another I am hoping to collaborate with during a trip to Seoul, along with Cut Glass Theatre which looks at modern classics and creating performances to reach the majority of society.
Upon returning to the UK, and having completed a Masters I am interested in working with both the Royal Shakespeare Company, Shakespeare Globe, Out of Joint and National Theatre during the next ten years. The standard of these companies and the experience is a dream and my ultimate aim in my theatre work.
Grassroots Theatre Company is one I have been in awe in since I discovered their work. Based in Zimbabwe, they specialize in Theatre for Development, and have very similar ethics to Sweet Tooth Theatre Company as they look at Theatre as a method to empower local communities and audiences. Occasionally they can be found in the UK and they sometimes tour as well as create theatre over here, this is something I am really interested in getting into.
The two companies I am most interested in performing with as soon as I return to the UK and get back into the Acting industry is Sell A Door Theatre Company and Lazarus Theatre Company. These are great companies who perform critically acclaimed productions, and are a great launch pad for newer actors.
I am interested in working with The Principal Theatre Company as they specialize in outdoor performance, and I would love to develop this skill further. This is another reason I would like to work with Red Rose Chain Film & Theatre Company on one of their Shakespeare in the Woods performances.
I would love to work with Barefaced Theatre Company because of their strength and interest in female roles in the theatre as well as deconstructing societies conflicts through theatre and performance. I find their work fascinating and feel I could learn a lot as both an actor and as Artistic Director of Sweet Tooth Theatre Company.
As both an Actor and Artistic Director of Sweet Tooth I am interested in working with Border Crossing and Footsbarn. From a directors perspective, I would love to work as an Actor with Vanda Butkovic, Sasha Milavic Davies, Jessica Swale, Caitlin McLeod and Alex Thorpe (who graduated from BA Theatre Practice)
From a film and television perspective, my ambition to perform in a BBC drama after five years is very much in the process of happening. I am also interested in performing with Film4, E4, ITV, Working Pictures and Disney. I have already worked with Working Pictures and Disney during this last year, however I would like to work with them again in the next ten years.
Skills & Accents
The key skill I hope to develop during my time in Asia is an understanding of language barriers in theatre, and looking at the communication structure (See Appendix 15) laid out in Pfister’s “The Theory and Analysis of Drama,” it suggests that unless you understand the language and what the actor is expressing through the verbal side of the performance you won’t understand the performance. My theory however is that this table can be altered to be heavier on the non-verbal side, and as a result makes it easier for everybody to understand and takes out the potential language barrier.
Skills are a key asset to any actor, and having as many good quality skills as possible is vital to see off your competition. Whilst in Korea I will continue my dance training through running my own classes, yoga and pilates will also continue with classes in my local district. Upon my return I intend to continue my Saxophone training to take me from beginner to intermediate level, as well as continue my Piano and Flute training too. I would like to be what is often known as a triple threat, so I would like to sing, dance and act. As a result upon my return I shall be taking singing classes with City Academy. My dance classes will return to normal when I am in the UK, and I will continue training in Ballet, Modern, Jazz, Contemporary, Latin American, Ballroom and Salsa at Pineapple Studios as well as Central School of Ballet. I hope to start to learn how to tap dance too. Upon my return to the UK I hope to complete my RADA certificates and gain a Yoga qualification.
In regards to accents, my training and learning process will continue while I am in Asia, and over the next five years I will learn the following accents; New York, Manchester, Yorkshire, Birmingham, Welsh, Scottish and Irish. I will continue my work in Asia with “Accents & Dialects for stage and screen” by Paul Meier, and upon my return to the UK I intend to take up classes with a vocal coach such as Helen Ashton.
Conclusion
Thus, in conclusion there are many elements within my five year plan that are still undecided, for example between taking a masters in the UK or the USA. However I feel that the work I will be achieving at the end of the five years will be of a higher standard by keeping factors like this open. I have however discovered that I would prefer to undertake a Masters degree after returning to the UK instead of going straight into a PhD. I feel this is an important decision to have made so my application process during the next year can be more focussed, and will allow me to concentrate on my work with Sweet Tooth Theatre Company. While there are so many practitioners who influence my work, many of them have escaped a mention during this research essay as I felt there were more important factors to discuss. I have discovered how vital it is to learn about the culture of the country before I go to Asia, and as a result my pre-departure plan has altered from looking at lesson plans and workshop plans to focussing more on learning about the culture of where I am going. Having said that this would not have been a possible change if I wasn’t confident in my workshop plans. Putting together these workshops plans and running mock trail workshops has helped enormously in sorting out the content of the workshops, but this shows how vital the situation of the work is too.
Bibliography
Websites
Henrickson, Dan. (2009). Getting to Korea. Available: http://www.teacheslkorea.com/?gclid=CPrplNXW17cCFTMdtAodFVUA_w#. Last accessed 7th June 2013.
Numbeo. (2009). Living Costs India. Available: http://www.numbeo.com/cost-of-living/country_result.jsp?country=India. Last accessed 03rd may 2013.
Numbeo. (2009). Living Costs in Japan. Available: http://www.numbeo.com/cost-of-living/country_result.jsp?country=Japan. Last accessed 03rd May 2013.
Numbeo. (2009). Cost of Living in South Korea. Available: http://www.numbeo.com/cost-of-living/country_result.jsp?country=South+Korea. Last accessed 03rd May 2013.
Numbeo. (2009). Living Costs Vietnam. Available: http://www.numbeo.com/cost-of-living/country_result.jsp?country=Vietnam. Last accessed 03rd may 2013.
Richards, Adam. (2012). What are your best “Japanese mistake” stories? I’ll start. Available: http://www.mutantfrog.com/2012/07/16/what-are-your-best-japanese-mistake-stories-ill-start/. Last accessed 2nd June 2013.
Stawski, Simon & Stawski, Martina. (2010). Eat Your Kimchi Blog. Available: http://www.eatyourkimchi.com/korea-faq/. Last accessed 7th June 2013.
Unknown. (2013). I-to-I TEFL. Available: http://www.i-to-i.com/tefl/. Last accessed 18th May 2013.
Books
Bhatia, Nandi (2011). Modern Indian Theatre: A Reader. Oxford: OUP
Bozon, Adrian (2012). The A-Z Guide to Teaching English in South Korea. South Korea: Crazy Chopstick Publication.
Garcia, Hector (2011). A Geek in Japan: Discovering the Land of Manga, Anime, ZEN, and the Tea Ceremony. Tokyo: Tuttle Shokai Inc.
Gopalakrishnan, Sudha (2012). Kutiyattam: The Heritage Theatre of India. Delhi: Niyogi Books.
Keene, D (1990). No and Bunraku: Two Forms of Japanese Theatre. Columbia: Columbia University Press.
Kim, Suk Young (2010). Illusive Utopia: Theater, Film, and Everyday Performance in North Korea . Michigan: The University of Michigan Press.
Ngoc, Huu & Lady Borton (2006). Roi Nuoc / Water Puppets (Vietnamese Culture: Frequently Asked Questions). Vietnam: The Gioi Publishers
Meier, Paul (2011). Accents and Dialects for Stage and Screen. New York: Paul Meier Dialect Services.
Pfister, Manfred (1988). The Theory and Analysis of Drama. Cambridge: Cambridge University Press.
Scott, A. C. (2012). The Kabuki Theatre of Japan. New York: Dover Publications Inc.
Tudor, Daniel (2012). Korea: The Impossible Country. Hong Kong: Periplus Editions
Van Zile, Judy (2001). Perspectives on Korean Dance. Wesleyan: Wesleyan University Press
The Flying Post. (2012). The Tempest. Available: http://www.theflyingpost.com/article.php?id=52. Last accessed 21st April 2013.
The Flying Post. (2012). The Tempest. Available: http://www.theflyingpost.com/article.php?id=52. Last accessed 21st April 2013.
The Flying Post. (2012). The Tempest. Available: http://www.theflyingpost.com/article.php?id=52. Last accessed 21st April 2013.
Grogan, Jane. (2012). Review of The Indian Tempest. Available: http://exeuntmagazine.com/reviews/the-indian-tempest/. Last accessed 21st April 2013.
Appendix 1: Funding Application Extract
appendix 2: Forget ME NOT extract
Appendix 3: workshops from uk to asia finances
Appendix 4: Salary averages Vs Living costs
appendix 5: workshop plan
appendix 6: eat your kimchi blog extract
appendix 7: Mutantfrog blog link
appendix 8: Footsbarn performance photographs
appendix 9: York PhD details
appendix 10: RADA MA theatre lab details
appendix 11: phd proposal for york
appendix 12: playing shakespeare: The Two traditions
appendix 13: fulbright selection criteria
Selection Criteria
The Fulbright Awards Programme is looking not only for academic excellence but also:
Selection committees and the interview panels will also be looking for clear reasons for selecting your US university preferences. As a publicly-funded organisation, the Fulbright Awards Programme expects candidates to conduct a thorough university search and to identify institutions which provide cost-effective study opportunities and are a strong fit for their academic, personal and professional goals.
Minimum eligibility for this Award category:
As our aim is to foster cultural understanding between the US and UK, some preference will be given to applicants who do not have extensive experience in the US (6 months). If this applies to you, we still encourage you to apply and explain in your application how further experience in the US will fulfil the Fulbright mission and not be a duplication of prior visits.
Please read the Terms and Conditions and FAQs for this Award before making an application. Awards are not available for peripatetic visits or attendance at conferences only, nor for projects based outside of the United States.
*Non-UK citizens are encouraged to use our advisory service in the UK, but to apply for Fulbright scholarships through the office in their country of citizenship (see http://fulbright.state.gov/participating-countries.html). US nationals, those with dual US-UK citizenship and those resident in the US may not apply in this Award category.
The Fulbright Awards Programme is looking not only for academic excellence but also:
- demonstrable ambassadorial skills with evidence of cultural sensitivity and a genuine desire to learn more about the United States and share with American citizens aspects of British culture,
- experience and interest in a range of extracurricular and community activities,
- leadership potential, and
- a desire to further the Fulbright Programme and give back to your home country upon returning.
Selection committees and the interview panels will also be looking for clear reasons for selecting your US university preferences. As a publicly-funded organisation, the Fulbright Awards Programme expects candidates to conduct a thorough university search and to identify institutions which provide cost-effective study opportunities and are a strong fit for their academic, personal and professional goals.
Minimum eligibility for this Award category:
- UK citizen* (resident anywhere except the United States), and
- hold or expect to obtain a minimum 2:1 honours undergraduate degree or the equivalent prior to your anticipated enrolment with a US university.
As our aim is to foster cultural understanding between the US and UK, some preference will be given to applicants who do not have extensive experience in the US (6 months). If this applies to you, we still encourage you to apply and explain in your application how further experience in the US will fulfil the Fulbright mission and not be a duplication of prior visits.
Please read the Terms and Conditions and FAQs for this Award before making an application. Awards are not available for peripatetic visits or attendance at conferences only, nor for projects based outside of the United States.
*Non-UK citizens are encouraged to use our advisory service in the UK, but to apply for Fulbright scholarships through the office in their country of citizenship (see http://fulbright.state.gov/participating-countries.html). US nationals, those with dual US-UK citizenship and those resident in the US may not apply in this Award category.
appendix 14: fulbright timeline
Timeline
1 August - Competition opens, applications available
29 September - Applicants encouraged to attend College Day to visit the Fulbright Awards booth with questions, and to see the breadth of the US education system with over 100 universities exhibiting on the day
16 October - Applicants encouraged to attend Grad School Day to learn about US postgrad admissions processes
15 November - Application deadline
November-January - Applications evaluated, short-list drawn up
mid-January - Short-listed candidates invited to interview
28 Jan-15 Feb - Fulbright interviews
late February - Notification, finalists invited to Fulbright Workshop
18 March - Fulbright Finalist’s Workshop in London
March-June - Fulbright and J1 visa paperwork
week of 8-12 July - Fulbright Pre-Departure Orientation
From mid-July 2013 to 30 April 2014 - Independent departures, Your Fulbright Exchange begins!
As a British Fulbright Scholar, you will be invited to participate in a wide range of exciting events. The Commission works hard to open doors for its scholars and below is just a taster of what is typically on offer each year.
Finalists Workshop
Each October, the Commission arranges a one-day Fulbright Finalists Workshop bringing together scholars from almost all UK awards categories to get to know each another and Commission staff at the start of the long process leading up to departure. Postgraduate Student Scholars will benefit from a thorough briefing on the US university application process and all Scholars will come away with a clear understanding of the paperwork and US visa processes and, we hope, a group of new colleagues to interact with before, during and after their Fulbright experiences.
Preparing for Your Move
In addition to Fulbright and US visa paperwork, Commission staff will be available to assist you in your planning to relocate to the US, including offering help in opening a US bank account up to six weeks before you depart ensuring you hit the ground running.
Pre-departure Orientation
Every summer we bring together all British Fulbright Scholars from that year to participate in a three-day pre-departure Orientation aimed at providing practical information as they prepare for their time as a student, researcher or lecturer in the US. ‘Nuts and bolts’ sessions on grant administration, visa interviews, US point of entry procedures and mandatory Fulbright reports are complimented by interactive meetings on culture shock and alumni opportunities. The events conclude with a formal reception (pictured).
Grantees also receive a free Elsevier scholar support package, which includes access to the entire suite of SciVerse products (ScienceDirect, Scopus, Applications), subject-specific databases (Embase, Compendex, BrainNavigator, Reaxys) and a wide range of online journals (including The Lancet).
Your Fulbright Twin
By early summer, most scholars are paired a soon-to-arrive American counterpart and sent an introductory email. Throughout the year, both are encouraged to exchange emails, asking practical questions, or offering recommendations. Your Fulbright Twin can be a close confident, a professional pen pal, or the happy recipient of an infrequent friendly hello – the relationship is what you make of it.
Support On-the-Ground
Before you arrive in the US, you will be assigned an IIE Student Support Officer (for Postgraduate Student Scholars) or a CIES Programme Officer (for Scholars and Fellows). Your Officer will be your first point of contact during your Fulbright grant period, and will assist you in getting settled, accessing enrichment activities, extending your visa (if necessary), answering tax questions and exploring internships or work experience opportunities. You will also still be in touch with Commission staff during this time.
Interim and Final Reports
In addition to reports and paperwork that will be requested by IIE and CIES, the Commission requires reports from all grantees. Postgraduate Student Scholars will complete an interim report by the end of January and a final report by the end of July, Scholars and Fellows will complete only a final report and Special Programmes participants will usually complete an evaluation form. Police Research reports will be permanently stored at the National Police Library and the Scottish Police College for the good of the wider community. All reports and evaluations help us account for the spending of UK and US government funds, and ensure quality control.
Re-entry Sessions
Once Your Fulbright Year is complete it’s important you get back in touch with Commission staff so that we can update your file, ensure you are in contact with the British Fulbright Scholars Association (BFSA), and so that one day we can ask for your help in selecting Fulbright Scholars. The Commission can also assist you in communicating your findings whilst in the US throughout the UK. We'll also invite you to one of our popular 'returners' soirees' so that you can reconnect with other recently returned scholars and meet some from other programme years. Upon returning home, please contact the Fulbright Awards team.
BFSA
During Your Fulbright Year, the British Fulbright Scholars Association (BFSA) offers a Travel Award, through open competition, to allow one British scholar the chance to undertake a cultural experience in the US unrelated to their academic project. Your alumni association, the BFSA, has developed an international network enabling all Fulbright scholars to be involved in transatlantic and international relations after their initial Fulbright project has ended. You are encouraged to remain in contact by joining the BFSA when you return home.
1 August - Competition opens, applications available
29 September - Applicants encouraged to attend College Day to visit the Fulbright Awards booth with questions, and to see the breadth of the US education system with over 100 universities exhibiting on the day
16 October - Applicants encouraged to attend Grad School Day to learn about US postgrad admissions processes
15 November - Application deadline
November-January - Applications evaluated, short-list drawn up
mid-January - Short-listed candidates invited to interview
28 Jan-15 Feb - Fulbright interviews
late February - Notification, finalists invited to Fulbright Workshop
18 March - Fulbright Finalist’s Workshop in London
March-June - Fulbright and J1 visa paperwork
week of 8-12 July - Fulbright Pre-Departure Orientation
From mid-July 2013 to 30 April 2014 - Independent departures, Your Fulbright Exchange begins!
As a British Fulbright Scholar, you will be invited to participate in a wide range of exciting events. The Commission works hard to open doors for its scholars and below is just a taster of what is typically on offer each year.
Finalists Workshop
Each October, the Commission arranges a one-day Fulbright Finalists Workshop bringing together scholars from almost all UK awards categories to get to know each another and Commission staff at the start of the long process leading up to departure. Postgraduate Student Scholars will benefit from a thorough briefing on the US university application process and all Scholars will come away with a clear understanding of the paperwork and US visa processes and, we hope, a group of new colleagues to interact with before, during and after their Fulbright experiences.
Preparing for Your Move
In addition to Fulbright and US visa paperwork, Commission staff will be available to assist you in your planning to relocate to the US, including offering help in opening a US bank account up to six weeks before you depart ensuring you hit the ground running.
Pre-departure Orientation
Every summer we bring together all British Fulbright Scholars from that year to participate in a three-day pre-departure Orientation aimed at providing practical information as they prepare for their time as a student, researcher or lecturer in the US. ‘Nuts and bolts’ sessions on grant administration, visa interviews, US point of entry procedures and mandatory Fulbright reports are complimented by interactive meetings on culture shock and alumni opportunities. The events conclude with a formal reception (pictured).
Grantees also receive a free Elsevier scholar support package, which includes access to the entire suite of SciVerse products (ScienceDirect, Scopus, Applications), subject-specific databases (Embase, Compendex, BrainNavigator, Reaxys) and a wide range of online journals (including The Lancet).
Your Fulbright Twin
By early summer, most scholars are paired a soon-to-arrive American counterpart and sent an introductory email. Throughout the year, both are encouraged to exchange emails, asking practical questions, or offering recommendations. Your Fulbright Twin can be a close confident, a professional pen pal, or the happy recipient of an infrequent friendly hello – the relationship is what you make of it.
Support On-the-Ground
Before you arrive in the US, you will be assigned an IIE Student Support Officer (for Postgraduate Student Scholars) or a CIES Programme Officer (for Scholars and Fellows). Your Officer will be your first point of contact during your Fulbright grant period, and will assist you in getting settled, accessing enrichment activities, extending your visa (if necessary), answering tax questions and exploring internships or work experience opportunities. You will also still be in touch with Commission staff during this time.
Interim and Final Reports
In addition to reports and paperwork that will be requested by IIE and CIES, the Commission requires reports from all grantees. Postgraduate Student Scholars will complete an interim report by the end of January and a final report by the end of July, Scholars and Fellows will complete only a final report and Special Programmes participants will usually complete an evaluation form. Police Research reports will be permanently stored at the National Police Library and the Scottish Police College for the good of the wider community. All reports and evaluations help us account for the spending of UK and US government funds, and ensure quality control.
Re-entry Sessions
Once Your Fulbright Year is complete it’s important you get back in touch with Commission staff so that we can update your file, ensure you are in contact with the British Fulbright Scholars Association (BFSA), and so that one day we can ask for your help in selecting Fulbright Scholars. The Commission can also assist you in communicating your findings whilst in the US throughout the UK. We'll also invite you to one of our popular 'returners' soirees' so that you can reconnect with other recently returned scholars and meet some from other programme years. Upon returning home, please contact the Fulbright Awards team.
BFSA
During Your Fulbright Year, the British Fulbright Scholars Association (BFSA) offers a Travel Award, through open competition, to allow one British scholar the chance to undertake a cultural experience in the US unrelated to their academic project. Your alumni association, the BFSA, has developed an international network enabling all Fulbright scholars to be involved in transatlantic and international relations after their initial Fulbright project has ended. You are encouraged to remain in contact by joining the BFSA when you return home.