PERFORMING ARTS OCR LEVEL 2 CAMBRIDGE TECHNICAL. Cambridge TECHNICALS THE PERFORMING ARTS INDUSTRY CERTIFICATE/DIPLOMA IN R/505/1327 LEVEL 2 UNIT 1

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1 Cambridge TECHNICALS OCR LEVEL 2 CAMBRIDGE TECHNICAL CERTIFICATE/DIPLOMA IN PERFORMING ARTS THE PERFORMING ARTS INDUSTRY R/505/1327 LEVEL 2 UNIT 1 GUIDED LEARNING HOURS: 60 UNIT CREDIT VALUE: 5

2 THE PERFORMING ARTS INDUSTRY R/505/1327 LEVEL 2 UNIT 1 AIM OF UNIT To embark on a vocation in learners will need to have a broad knowledge and understanding of the and how it functions. Whether they want to be an actor, musical theatre performer or stage manager, they will need to know how the business works and operates. This unit will introduce learners to the organisations and roles in this rich and very diverse landscape. It will also enable them to contemplate their place in that landscape and the possibilities for a future career. 2

3 The Performing Arts Industry Level 2 Unit 1 ASSESSMENT AND GRADING CRITERIA Learning Outcome (LO) Pass Merit Distinction The learner will: The assessment criteria are the pass requirements for this unit. The learner can: To achieve a merit the evidence must show that, in addition to the pass criteria, the learner is able to: To achieve a distinction the evidence must show that, in addition to the pass and merit criteria, the learner is able to: 1 Know the different types of organisation in 2 Understand roles in 3 Be able to define entry routes into P1 describe different types of organisation in P2 describe roles in P3 produce a professional plan for entry into M1 compare and contrast different organisations in M2 explain a specific role in D1 contextualise a specific role in terms of personal development 3

4 TEACHING CONTENT Know the different types of organisation in the Performing Arts How Performing Arts are organised and funded, e.g. DCMS, Arts Council, regional and local funding. Commercial and subsidised funding Types of Venues, e.g. theatres; producing and receiving, art centres, music pubs, Opera and Ballet Houses Types of company, e.g. touring, small scale, TIE, orchestras, dance Professional organisations, e.g. Unions, Independent Theatre Association, Theatre Managers Association, PRS Services and administration, e.g. lighting companies, agents, marketing, public relations, A&R Festivals and events, e.g. Edinburgh Festival, V festival, Glastonbury Comparing organisations, e.g. scale, capacity, funding, artistic policies, audience profiles. Understand roles in Artistic, e.g. actors, musicians dancers, performance artists, extras. Technical and creative team members, e.g. light, set and costume designers; sound technicians; stage managers; make-up artists and protheticians; roadies and stage hands. Administrators, e.g. funding consultants, venue managers, producers, agents and personal managers Marketing, e.g. Promoters, publicists. Be able to define entry routes into Education and training: apprenticeships, degrees, preprofessional schools and conservatoires CPD and off-course opportunities, e.g. dance classes, Youth Theatres, bands, work experience Self-discipline and focus, e.g. professional practice, fitness and stamina Networking, e.g. interviews with professionals and local organisations Self-directed and self-publishing routes, e.g. internships, freelance Use of social media and digital music distribution, e.g. YouTube, itunes. 4

5 The Performing Arts Industry Level 2 Unit 1 DELIVERY GUIDANCE Know the different types of organisation in the Performing Arts Delivery of this unit could be divided between lectures and classroom delivery and guided research for learners. It should take account of the local creative environment and learners should be encouraged to visit and conduct surveys of the local Performing Arts. They could then disseminate information and knowledge in group discussions and individual presentations. Teachers can choose to further structure the delivery and learner research by proscribing the scope to two organisations of varying scale or artform or by giving specific assessment tasks and questions. Understand roles in As well as lectures and classroom delivery, learners should be encouraged to seek out individual professionals in order to conduct interviews. One-to-one is preferable but in areas where this is difficult, and web-based interviews could be used. Learners could present results of interviews in group discussions and seminars or more formal presentations. Talks and demonstrations by visiting professionals could also contribute to delivery. Be able to define entry routes into Delivery of this outcome will be determined by the predominant artform taught at the centre and could start with whole group talks and discussions scoping both the nascent plans of learners and the general professional landscape and prospects of a specific arts career. It could be, however, that learners will have wide opinions about where they might eventually focus their plans and the intention in this outcome is for individual learners to be given guidance on how they might tentatively begin a journey. This could be done in one-to-one tutorial sessions. Guidance on professional practice in classes that might affect their employability, the appropriateness of further training and possibly direct entry into a professional area could be amongst the areas discussed. 5

6 SUGGESTED ASSESSMENT SCENARIOS AND GUIDANCE ON ASSESSMENT Assessment and Grading Criteria P1, M1, P2, M2, D1 Learners should keep portfolios of their research on the Performing Arts. These can include reports, interviews, notes on lectures and demonstrations but learners should avoid the un-annotated inclusion of flyers, prospectuses and internet downloads as well as general handouts from organisations. Although there are no prescribed demands in the assessment of this criterion, after delivering the general landscape of the Performing Arts, teachers can choose to set briefs to learners that limit the scope of the research and provide for more structured evidence in the portfolios. Learners could include evidence in their portfolios of more detailed comparisons between two organisations of different scale, artform or locality. They could combine this with a detailed analysis of one job role. The portfolio should not be considered a general repository for material but could be structured, as indicated above, by responses to briefs set and also be structured as a completed document with a framing contents pages, introductions and conclusions. Observations, reports and witness statements could also be included. Assessment and Grading Criteria P3 Learners should produce plans outlining an entry route into. This could start with general case studies in their chosen area but should eventually concentrate on their own chosen vocational route. Given their current place it is not expected that evidence should include -ready CVs, photographs and showreels although on-going drafting and practice with these formats could be included. There could be accounts of training routes, relevant degrees and pre-professional diplomas, dance to theatre schools that suit their artistic preferences and fitness regimes. These and further documents such as work experience reports and technical designs from Youth Theatre work could be kept in a professional portfolio. Commentaries from teachers and suitably qualified observers could also be included. To achieve P3 learners should produce evidence of plans that can be presented and clearly articulated to a third party. To achieve P1 Learners should utilise independent research to select and outline characteristics of at least two organisations. For M1 Learners should draw upon these two organisations to compare and contrast key elements such as structure, funding, target market and how this impacts on the processes within the organisations. For P2 Learners should choose one specific role from within each organisation and highlight the key features of these roles. M2 requires the learner to produce a detailed account of one of the job roles with more in depth analysis of all aspects of the role. This should demonstrate evidence of self-directed research and a perspective that begins to frame more clearly their own chosen vocational route. D1 should be awarded when the Learner identifies a context for their own vocational aspirations within the chosen role and the development they may need to undertake to fulfil them. 6

7 The Performing Arts Industry Level 2 Unit 1 RESOURCES Internet sites LINKS TO NOS Suite Ref National Occupational Standard. CCSFL 4 Develop and implement a marketing and communications strategy for your freelance work in creative and cultural industries. 7

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