Personal statement for Puppetry Masters application

Research of course, why do I want to study there?:

  • Specialist tuition from established team of professional design practitioners
  • Input from visiting professionals from around the world
  • Design positions in up to two College productions ranging from drama to musical theatre and opera – with opportunities to perform with our creations
  • Professional work placement opportunities
  • Public exhibition of your work for one week in Cardiff and four days in London, including industry nights for an invited audience of potential employers

Research of royal welsh collage :

  • “Royal Welsh College of Music & Drama is the National Conservatoire of Wales. It contributes to the cultural identity of Cardiff and Wales” – could talk about how much i have fallen in love with wales, ignited my welsh heritage how wales has very much become a part of my personal identity so being accepted as part of wales’ national conservatoire which is seen as integral to wales’ cultural identity would be extremely meaningful to me.
  • “provide specialist practical and performance-based training” – I am keen to learn these professional skills when it comes to build, but more importantly i want to broaden my performance experience as the performance element of puppetry is my passion and integral o my personal practice.
  • “compete alongside an international peer group of conservatoires and specialist arts colleges for the best students globally, enabling students to enter and influence the world of music, theatre and related professions.” – will broaden my horizons for my professional career and put me in good standing for work potentially around the world after my studies!
  • Artistic voice “aiming to give them not just the technical and craft skills they’ll need to succeed at the top levels of the profession, but also to help them to develop their individual artistic ‘voice’.” – use the term artistic voice in personal statement. how i want to have my voice heard loud and clear after my studies and royal wlesh are the people to do this!!
  • creative diversity “performances every year including orchestral concerts, recitals, drama, opera and musical theatre. The creative diversity of the College ensures a stimulating environment and broad experience for students of all disciplines.” – use this term also comment on how keen i am to learn and be inspired by the breadth of talent all under one roof that perfectly simulates all production elements.
  • pushing boundaries “The College is constantly pushing boundaries with innovative and exciting programmes of study tailored to the demands of contemporary arts and creative industries.” “including Welsh National Opera, BBC NOW, visiting artists and directors” – the collage is so well tailored to produce artists ready for industry that it is such a valuable learning experience.

Questions to help guide my writing:

  • Why do i want to study a Masters and how will it benefit me? – So far my specific puppetry skills are all self taught, specialising in puppetry for a masters will hone my skills and elevate my practice to a professional level.
  • How does the course fit my skill set? – Being self taught has not deterred me in anyway from ambitious puppetry projects, the first puppet I ever made was a large scale dragon puppet that did very successfully and toured around festivals for 2 consecutive summers. I am very confident in my own abilities to conjure a way to practically produce an idea into reality in my own creative way. However, what i desire now is to utilise my creative thought processes into specialised professional construction techniques.
  • How do I stand out from the crowd – e.g. work experience? – As mentioned I toured with my dragon for two summers. Each year of my degree I have made a new walkabout performance for my troop and I to tour UK festivals throughout summer. E.g. Boomtown, El Dorado Festival, One Tribe Festival, Big Love Festival. ​My final project of my degree is an amalgamation of my love for masks and puppetry. I am constructed three full body masks, with moving jaws and eyes. The idea of the project is based around physicality of the actor to convey intent visually rather than verbally, because of this i have designed the puppet heads / masks to be animated simply by the actors movements rather than internal mechanisms. The performance I have designed has already been accepted to perform at Big Love Festival this summer and my hope is to tour the performance around other festivals all over the UK. As well as these, I was selected to be part of the decor build team for Nozstock festival. As part of an intimate team we were solely responsible for the entire decor for one of the stage areas; Elephants Grave. I have since been invited back for this summers event to do decor for one of the main stages. 
  • What am I aspiring to be/do in my future career? – My dream would be to join a theatre company that creates work for events around the country; or quite possibly the world, and then tours and performs with their creations. I am really keen to be as much a part of the making side of productions as the performance as learning how to animate a puppet and watching them come to life as well as the effect that has on audiences is truly magical and is what drives my practice.
  • How can my work contribute to the department/University/society? – My practice is aimed at festivals and events rather than theatre productions of a conventional sense, over the past 4 years I have been building a network of contacts within the organisational sectors of these events, it is my hope to potentially build a partnership with the royal welshes vast industry knowledge and skills in production and performance, with some of the up and coming events I have become so close with. Its one thing for me to design my own small performance its another to work with a larger organisational body to create a full scale performance with potentially other contributors from multiple disciplines to birth something spectacular.

Draft 1:

intro:

I specialise in wearable art and performing objects. Festivals and events are my passion, are the focus for my art and are perfect for the immersive and interactive nature of my performances. My work is a seamless blend of the whimsical and uncanny. Watching these effects, that a large scale puppet or fully animated costume can have on an audience fuels my practice. So far my specific puppetry skills are all self taught, specialising in puppetry for a masters will hone my skills and elevate my practice to a professional level.

Why me? :

Being self taught has not deterred me in anyway from ambitious puppetry projects, the first puppet I ever made was a large scale dragon puppet that did very successfully and toured around festivals for 2 consecutive summers. I am very confident in my own abilities to conjure a way to practically produce an idea into reality in my own creative way. However, what I desire now is to utilise my creative thought processes into specialised, professional, construction techniques. Each year of my degree I have made a new walkabout performance for my troop and I to tour UK festivals throughout summer. (E.g. Boomtown, El Dorado Festival, One Tribe Festival, Big Love Festival.) ​My final project of my degree is an amalgamation of my love for masks and puppetry. I am constructing three full body masks, with moving jaws and eyes. The idea of the project is based around physicality of the actor to convey intent visually rather than verbally, because of this I have designed the puppet heads / masks to be animated simply by the actors movements rather than internal mechanisms in the hope of creating an innovative and fresh style of performance. This performance has already been accepted to perform at Big Love Festival this summer and my hope is to tour the performance around other festivals all over the UK. My passion for festivals also goes beyond performance based showcases into decor and even branching out to help organise our own festival. Over three summers my friends and I launched a community art event, called Beardyfest. Our aim was to bring a much-needed artistic, performative, platform to our home town of Newbury. My main role was curation of visual arts and decor. I used all up-cycled materials to decorate our homegrown festival via community workshops to involve and inspire local creatives. As well as sourcing and curating work to promote local artists to exhibit at our event. ​Decor wise, I was selected to be part of the build team for Nozstock festival last summer. As part of an intimate team we were solely responsible for the entire decor for one of the stage areas. I have since been invited back for this summers event to do decor for one of the larger main stages. My practice is aimed at festivals and events rather than theatre productions of a conventional sense, over the past 4 years I have been building a network of contacts within the organisational sectors of these events, it is my hope to potentially build a partnership with the Royal Welsh’s vast industry knowledge and skills in production and performance, with some of the up and coming events I have become so close with. Its one thing for me to design my own small performance its another to help organise and work with a larger organisational body to create a full scale performance with potentially other contributors from multiple disciplines to birth something spectacular. 

Why Royal Welsh?:

Since moving to Cardiff 4 years ago I have fallen in love with Wales, and have had my my Welsh heritage ignited. Wales has very much become a part of my personal identity, so being accepted as part of Wales’ national conservatoire would be extremely meaningful to me. Studying at the Royal Welsh Collage specifically would help elevate my practice even further due to its creative diversity and passion for pushing boundaries. The collage is so well tailored to produce artists ready for industry that it would be the most valuable learning experience. The Royal Welsh is known for specialist practical and performance-based training that I am desperate to learn, specifically when it comes to build, but more importantly I want to broaden my performance experience. My dream would be to join a theatre company that creates work for events around the country; or quite possibly the world, and then tours and performs with their creations. I am really keen to be as much a part of the making side of productions as the performance as learning how to animate a puppet and watching them come to life and the effect that has on audiences is truly magical and is the driving force of my practice.

Without the headings this is 4600 characters and I only have 4000 for the application. We have personal tutorials with Ingrid next week so I will email it to her to see what she thinks and if any parts could be cut or edited. After that tutorial I will re draft it.

Had a tutorial with Ingrid about my personal statement and she helped me edit it:

Studying Design and Performance at the Royal Welsh College would help elevate my practice due to its creative diversity and passion for pushing boundaries. Currently I specialise in wearable art and performing objects. Costume, performance  and puppetry are my passion, and have long been the focus for my practice on my BA Artist, Designer, Makers course. I am keen to continue to develop the immersive and interactive nature of my performances and learn how to use my skills to work within a broader professional context.   I feel that the college is well tailored to produce artists ready for industry that it would be the most valuable learning experience. The Royal Welsh is known for specialist practical and performance-based training that I am desperate to learn, specifically when it comes to build, but more importantly I want to broaden my performance experience. My dream would be to join a theatre company that creates work for events both nationally and globally. I am really keen to be as much a part of the making side of productions as the performance as learning how to animate a puppet and watching them come to life and the effect that has on audiences is truly magical and is the driving force of my practice. 

My work is a seamless blend of the whimsical and uncanny. Watching how  a large scale puppet or fully animated costume can impact an audience fuels my practice. My previous experience includes making a large scale dragon puppet that toured around festivals for 2 consecutive summers. I am very confident in my own abilities to conjure a way to practically produce an idea into reality as I possess a range of making and visualisation skills. However, what I desire now is to utilise my creative thought processes into specialised, professional, construction techniques. Each year of my degree I have made a new walkabout performance for my troop to tour UK festivals throughout summer. (E.g. Boomtown, El Dorado Festival, One Tribe Festival, Big Love Festival.) ​My final project of my degree is an amalgamation of my love for masks and puppetry. I am constructing three full body masks, with moving jaws and eyes. The idea of the project is based around physicality of the actor to convey intent visually rather than verbally, because of this I have designed the puppet heads / masks to be animated simply by the actors movements rather than internal mechanisms in the hope of creating an innovative and fresh style of performance. This performance has already been accepted to perform at Big Love Festival this summer and my hope is to tour the performance around other festivals all over the UK. My passion for festivals also goes beyond performance based showcases into decor and even branching out to help organise our own festival. Over three summers my friends and I launched a community art event, called Beardyfest. Our aim was to bring a much-needed artistic, performative, platform to our home town of Newbury. My main role was curation of visual arts and decor. I used all up-cycled materials to decorate our homegrown festival via community workshops to involve and inspire local creatives. As well as sourcing and curating work to promote local artists to exhibit at our event. ​Decor wise, I was selected to be part of the build team for Nozstock festival last summer. As part of an intimate team we were solely responsible for the entire decor for one of the stage areas. I have since been invited back for this summers event to do decor for one of the larger main stages. My practice is aimed at festivals and events rather than theatre productions of a conventional sense, over the past 4 years I have been building a network of contacts within the organisational sectors of these events, it is my hope to potentially build a partnership with the Royal Welsh’s vast industry knowledge and skills in production and performance, with some of the up and coming events I have become so close with. Its one thing for me to design my own small performance its another to help organise and work with a larger organisational body to create a full scale performance with potentially other contributors from multiple disciplines to birth something spectacular. 

Since moving to Cardiff 4 years ago I have fallen in love with Wales, and have had my my Welsh heritage ignited. Wales has very much become a part of my personal identity, so being accepted as part of Wales’ national conservatoire would be extremely meaningful to me.

Its defiantly much better now but still too long so I will edit it for the final draft. Here is that edited final draft:

The Design and Performance MA would help elevate my practice due to the Royal Welsh College’s creative diversity and passion for pushing boundaries. Currently I specialise in wearable art and performing objects. Costume, performance and puppetry are my passion, and have been the focus for my practice on my BA Artist, Designer, Maker course.  I am keen to continue to develop the immersive and interactive nature of my work and broaden my skills into a professional context. The College produces artists ready for industry and is known for the specialist practical and performance-based training that I am desperate to learn, specifically when it comes to build, and developing my performance experience. My dream would be to join a theatre company that creates work for events both nationally and globally. I am really keen to be as much a part of the making side of productions as the performance. Learning how to animate a puppet and watching them come to life and the effect that has on audiences is truly magical and is the driving force of my practice. 

My work is a blend of the whimsical and uncanny. Watching how a large scale puppet or fully animated costume can impact an audience fuels my practice. My experience includes making a large scale dragon puppet that toured around festivals for 2 consecutive summers. I am very confident in my abilities to practically produce an idea into reality and I have a range of making and visualisation skills. I want now to focus my creative direction into specialised, professional, construction techniques. Each year of my degree I have made a new walkabout performance for my troop to tour UK festivals throughout summer. (E.g. Boomtown, El Dorado Festival, One Tribe Festival, Big Love Festival.) ​My final project of my degree is an amalgamation of my love for masks and puppetry. I am constructing three full body masks, with moving jaws and eyes. The project depends on the physicality of the actor to convey intent visually rather than verbally. I have designed the puppet heads/masks to be animated by actor movements rather than internal mechanisms, creating an innovative and fresh style of performance. The project has already been accepted to perform at Big Love Festival this summer and I aim to tour the performance around other festivals all over the UK. 

My passion for festivals has also encompassed decor and organising our own festival. Over three summers my friends and I launched a community art event, called Beardyfest. Our aim was to bring a much-needed artistic, performative, platform to our home town Newbury. My main role was curation of visual arts and decor. I sourced and curated work from local artists to exhibit at our event and  I used up-cycled materials to decorate our festival via community workshops involving local creatives. 

I was selected to be part of the build team for Nozstock festival last summer. As part of an intimate team we were solely responsible for the entire decor for one of the stage areas. I have been invited back for this summer’s event to do decor for one of the larger main stages. My practice is aimed at festivals and events rather than theatre productions of a conventional sense. Over the past 4 years I have been building a network of organisational contacts for these events, it is my hope to build a partnership with the Royal Welsh’s vast industry knowledge and skills in production and performance, with some of the up and coming events I have become so close with. It’s one thing for me to design my own small performance – it’s another to help organise and work with a larger body to create a full scale performance with other contributors from multiple disciplines to birth something spectacular. 

Since moving to Cardiff 4 years ago I have fallen in love with Wales, and have enjoyed exploring my Welsh heritage. Wales has very much become a part of my personal identity, so being accepted as part of Wales’ national conservatoire would be extremely meaningful to me.

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