Características de la teoría implícita en el quehacer

Performing Arts Industry – 1st _{Interview Questions}

• Please describe your role at the theatre. Outline the major responsibilities and activities of your role? What’s entailed?

• How do you know this is going well? Give examples? • How many high school musicals have you worked on?

• Can you give an example of working on productions with members of performing arts education? (Be specific where you can about the Iona productions)

• What are your expectations when working with education staff (specific to your role) during the coming 10 days? Does this back up or contradict your past experiences with working with Performing Arts education?

• Can you give me some specific example/s?

• How does the experience of working with education staff on a musical compare with that of working with other industry professionals on a similar type of theatrical production?

• In what ways may have this experience played out differently if the person in the role was an industry professional rather than an education staff member?

• What are the benefits (if any) to the theatre and the wider Performing Arts Industry of having school’s like Iona stage their musical in a professional venue such as this?

Performing Arts Industry – 2nd _{Interview Questions} • How did the musical go? Tell me about it.

• How was the experience of working with school performing arts staff during their time in the venue for the musical?

• Did you find these experiences familiar or unfamiliar when compared to working with members of the performing arts industry in similar roles?

• Describe a significant experience (something that stuck out in your mind) of

collaborating/ interaction during the musical with a performing arts staff at the school. • How did this interaction feel and why do you think you felt this way? (enabling or

constraining)?

• You have described a specific instance of working with education staff on the

musical. In what ways (if any) may have this interaction played out differently with a staff member from a professional company in the same role as the education staff member?

• Do you treat members of the Performing Arts Industry differently to school staff? In what ways? Can you give me an example?

• In what ways do industry staff’s attitudes towards working on a school musical with Performing Arts education staff impact on the quality of the partnerships between the two sectors?

• If you could give one piece of advice (a do and/or a don’t) to a school that was looking to stage their musical in a professional venue similar to the theatre - what would that be?

• What are the benefits to the local arts industry of this type of model where schools stage their arts events in professional venues rather than in their own theatres and halls?

128 • Has the quality of the school’s musical been enhanced or hampered by using the a

professional venue rather than say their own venue? Can you give me an example? • What can teachers and industry professionals learn from each other, i.e., what is

mutually beneficial?

• In what ways were the school student cast and crew impacted by the partnerships between adult industry and education members?

• Would you like to see more schools coming to the theatre to stage their events? If so, what type of stipulation would you place on the school/s?

• What can we do to improve partnerships between arts industry and education in the context of a high school musical?

Performing Arts Education – 1st _{Interview Questions}

• Please describe your role at the theatre. Outline the major responsibilities and activities of your role? What’s entailed?

• How do you know its’ going well? Give examples.

• How many musicals have you worked on in the past? Did you play a similar role? • What formal training if any have you had for this role?

• What types of interaction will you have with the venue staff during the rehearsal and performance period for the musical? Give examples?

• In your role/s, what are your expectations of venue staff/ industry members while you are in the venue?

• Can you give me some a specific example/s when you foresee (over the next 10 days) that you will be engaged in direct partnerships with the venue staff?

• Compare the experience of working with industry professionals with that of working with non- professionals and/or volunteers in similar roles whilst working on a musical production?

• Can you give an example of both a rewarding and a challenging experience when collaborating on a musical with members of Arts industry from your past

experiences?

• In what ways do the quality of partnerships between education and industry staff impact or make an impression on the students whilst they are in the venue? Give examples.

Performing Arts Education – 2nd _{Interview Questions} • How did the musical go? Tell me about is?

• How was the experience of working with industry professionals during your time in the venue?

• Describe a significant (something that stuck out in your mind) experience of collaborating/interacting on a high school musical with venue or other professional industry staff?

• How did this interaction feel and why do you think you felt this way (enabling or constraining)?

• Have the experiences over the past ten days altered or reinforced your perceptions of collaborating with industry? Give examples.

• Has the quality of the Iona musical been enhanced by using the theatre rather than their own venue? In what ways?

129 • What are the benefits/disadvantages to schools where professional venues and

industry staff are used to stage high school musicals rather than use their own theatres and halls?

• What can we do to improve partnerships between arts industry and education in the context of a high school musical? What may this look like with specific reference to your role?

• In what ways are the students impacted by the partnerships between adult industry and education members i.e., does the quality of the partnerships make an impression on the students. In what ways? Can you give an example?

• If you could give one piece of advice (a do and/or a don’t) to a professional industry member that was working with a school in a venue similar to the theatre- what would that be?

• In what ways do people’s attitudes impact on quality partnerships between performing arts education and industry? For example, did you feel that you were treated

differently because you were from a school and the production being staged was a high school musical?

• What can teachers and industry professionals learn from each other, i.e., what is mutually beneficial?

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