Who knew Bing Crosby was so ahead of the curve? There’s always one thing that gets us into the festive spirit, and that’s the sparkling films, telly, theatre, dance, and music on offer we can consume through whatever screens we have at our fingertips.
So, join us for a round-up of everything on the RCS’ radar happening this Christmas.
Streaming Sites
We all know we can easily jump straight onto Neftlix, mubi, Disney +, Hulu, Prime, or whatever we have log-ins into, to decide what and when we want to watch. Some highlights thrown our way have been;
Some of the huge selection box on Netflix where we can find films such as; The Christmas Chronicles, or if you’re in the mood for something animated Klaus, and if you need a little Bill Murray in your life why not try A Very Murray Christmas?
If all else fails you can’t beat a bit of Frozen on Disney+; where you can also find Noelle, literally described to me as, and I quote, ‘Anna Kendrick at Christmas, what more can you ask for?’
For some tinselly, zombie musical madness, check out Anna and the Apocalypse. Scottish made and streaming on Hulu.
For those end of year blues, do you crave bleak cathartic release? Charlie Brooker of Black Mirror has created a roundup of the year 2020. Death to 2020 will be released on Netflix soon.
And hey, if you don’t trust our selections from streaming sites, check out this Den of Geek articlewhich has every Christmas film listed alongside the service it’s hosted on.
https://www.youtube.com/watch?v=BxR9Zo36rbo
Festive Telly
Let’s be honest, flicking through endless websites is not what holiday entertainment is about. Sometimes it’s far easier to let the programming Gods decide what we need to plonk down and watch.
For a bit of sing your lungs out magic there’s the usual big hitters coming our way. Grease (BBC One, 27th Dec, 5pm), Chitty Chitty Bang Bang (Channel 5, Christmas Day, 3.10pm), The Sound of Music (BBC One, 27th Dec, 1.15pm). So grab a Christmas cracker microphone and sing the hits out loud enough for your neighbours to decide it’s easier to join in than tell you to simmer down.
Paddington 2 is on BBC One on Christmas Eve at 4.5pm. And it is a JOY.
We should never forget the classics as well. What would we do without It’s a Wonderful Life (Amazon Prime). And have you ever seen Some Like it Hot (BBC Two, Christmas Day, 1.15pm)?
Good old telly can also come to our aid with a selection of programmes that will be the perfect accompaniment to a box of mince pies and a glass of mulled wine.
CAKES. Yes you heard it. CHRISTMAS CAKES. The Great British Bake Off has a Christmas edition and you can watch it on Channel 4 on Christmas Eve, 7.40pm. Strictly Come Dancing dances itself into our homes on Christmas Day at 4.45pm. And if you are fans of task based comedy japery then Taskmaster on Channel 4 have a Christmas special (New Year’s day, 9pm),
A Little of the ‘Live’ Stuff
Now, it’s hard to replace the joy of seeing live performances but some of our friends across Scotland and further afield are making some truly wonderful Christmas performances that will be available to watch online. And we felt like it was our sacred duty to point some of these your way.
The Secret Theatre will be the first ever feature film from our friends over in Scottish Ballet. Starring characters from some of Scottish Ballet’s most popular festive ballets, The Secret Theatre promises to be a real festive treat. RCS has made a donation in our students name to support this work, so please do tune in – it’s sure to get you positively pirouetting!
https://www.youtube.com/watch?v=aOjBzOd7rn8&feature=emb_logo
National Theatre of Scotland is bringing to the party a new and site specific version of Rapunzel. Described as A Hairy Tale Adventure, it features a collection of RCS alumni as part of the creative team.
The Macrobert Arts Centre is cooking up a real mix of different things in the form of their production of The Magic of Christmas.
There's usually any number of A Christmas Carols on during December, and would you know it, this year is no different. The Old Vic seem to be leading the way with their big budget version written by Jack Thorne. Other A Christmas Carols are sure to be available.
Christmas is a also an opportunity to indulge in our more childlike side. The Tron’s popular show Ali the Magic Elfwill be available online, and newly formed company of RCS alumni The Audio Story Company bring out a wee free treat The Lost Reindeer. Something to transport us all back to simpler times.
And then for something a little different? A little scare instead of Santa? Original Theatre are offering a streaming version of their horror play The Haunting of Alice Bowles.
There’s also plenty of music being offered too. RSNO has a whole series of digital concerts that are available on their website, and also a special performance; The Night Before Christmas.
Last but not least, don’t forget we have our own Home from Home events at the RCS. So keep an eye on our website and your emails to see what you can get involved in – the Principal in a Santa outfit… yes please.
Also let’s not forget there’s also still some events happening around Glasgow that are sure to be worth setting out into the cold for. There might be a local market, some festive themed walks and businesses nearby who would be happy to see you - social distancing rules permitting of course. Please remember to keep yourself and others around you safe!
Wishing you all a very Merry Christmas and a Happy New Year!"
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string(7724) "Fourth year Contemporary Performance Practice student Maria J. Monteiro has written a letter to people who are thinking about applying to RCS to study this distinctive performance course. This epistle talks through her personal experience of her studies and her reflections as she prepares to graduate in 2021.
Dear you,
My name is Maria J. Monteiro, I am Portuguese and have been living in the UK for the past 7 years. I graduated from stage acting in Portugal, but I never felt like acting was exactly what I was looking for. I wanted to have a say on the work I was creating but also for it to be a response to contemporary events. Ultimately, I was looking for artistic freedom and that was when I stumbled upon CPP. To be honest, I joined CPP because of one module. While going through the programme I noticed that the second year was focused on social practice. That sounded interesting and relevant to my arts practice however, I was not sure what I was going to take from it. Regardless, I knew I wanted to know more.
I remember vividly my first day. I was quite nervous and wondering if I, as a mature student, would be able to fit in with my younger classmates. If you’re in the same boat don’t worry, there is a space for everyone and that is what makes this programme so unique. Also, Contemporary Performance was not a familiar term for me, therefore, I was unsure about what the four years ahead of me were going to be. Well, that is why I am writing you.
First year is the year to dive in! You look at the background of performance art and engage with it from a critical point of view. This is relevant to lay a foundation on what your following three years will be. This is also the time where you get to meet the people who you’ll be working with for the next three years. Although it is a busy timetable, there is a lot of space to get to know your peers. I would describe this year as the discovery year – but this will become more evident as you move forward.
Second year comes in a blink of an eye and, certainly it was one of the most challenging years for me. Partly because I was working while studying, but also because it is a year full of thought-provoking discussions! After a first year focused on you as an artist, the second year asks you to widen your horizons and look at performance from a social practice lens. Before I joined the course, I have had experience of facilitation and working with young people, however during this year, you connect with other practitioners/facilitators and theories while putting all this theory into practice (e.g. directing and collaborating with a group of P6 students in a primary school).
[caption id="attachment_94577" align="aligncenter" width="720"] Collaborating with P6 students at Oakwood Primary School[/caption]
I see this as a crucial year as it demands you to connect with other people from different backgrounds, ages and who might not be familiar with performance art. I recall doing a street performance around Queen's Park where I was exploring how can we create connections with strangers. I dressed as a waitress and was handing out wax-sealed letters with poems from Portuguese poets on a silver platter. Within my personal life, I noticed a lack of sensitivity towards foreign people but also a lack of geographical knowledge in particular regarding Portugal. I saw this as an opportunity to teach something about myself, my home but, also a chance to create a real connection with strangers. The outcome of these interactions was quite precious. One of the letters ended up in the hands of a man who asked me to read it to him, while he was waiting for the bus (he didn’t have his reading glasses). Quickly this captured the attention of other people at the bus stop and, as I read the poem, a little audience gathered around the man and I. Another man read the poem and said he was going to read it back to his wife. Another lady, proudly announced that she knew the name of a Portuguese writer. All of these singular interactions created a chain of unique moments and that brings a lot of interesting conversations about the role of art within society.
[caption id="attachment_94579" align="alignleft" width="190"] CPP3 Performance Writing[/caption]
Just like that you reach third year. At this point you start to have more autonomy and be more in charge of your learning. I started by doing a placement with a company called Hidden Giants. They work within educational settings and that was the cherry on top after a whole socially-engaged year. That experience allowed me look at my learning with a more thought-provoking spirit and deeply question my learning so far, but also what were my aims as an artist? During this year, you collaborate with some of your classmates and devise a show, as well as dive into research and writing. Half way through the year, the UK entered lockdown and we had to digitally devise a performance from our homes. I ended up live streaming from my bathtub exploring religious rituals. The nature of CPP allows us to look at this challenge and very quickly adapt. All of these learning moments heavily influenced my decision to do a postgraduate once I graduate.
This leads us to now: me writing you this letter. I’m in fourth year, closer than ever to graduating, working on my degree show for the Into the New Festival and looking forward for my last module “Arts in Prison”.
Reading all this might feel slightly overwhelming but let me give you some insights of how I feel. Once you reach fourth year, you feel ready. You have gone on a three-year journey and the course and tutors give you so much space to explore, as well as to be in charge of your own learning.
By the time you get where I am, you will feel energised to take the lead and to start making your own performance work (what a great thing to feel right?!). You are in charge of your development and you have tutors available to support you and guide you at every step of the way.
I look at my first day now and I get emotional. I wasn’t too old for this programme. I was as right as any of my friends. I will graduate knowing that I got to work alongside excellent artists and I am lucky enough to call them friends!
As a prospective student, all I can say to you is to give it a shot. This course isn’t a one-fit-for-all kind of learning. You will need to be independent, but you will also have inspiring practitioners supporting and listening to your needs. Be open to experiment, to receive feedback, to connect with others but mostly: be daring and if you fail… use that!
[caption id="attachment_94573" align="alignleft" width="225"] Into the New (an on-going process)[/caption]
Wishing you an exciting journey,
Maria"
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string(6214) "I’m John, an actor-in-training, from Thurso! I took the Introduction to Actor Training course (ITAT) whilst I was in my second year at college and I was incredibly fortunate to start my actor training on RCS’s BA Acting programme the following year. I’m now in my third and final year.
A little bit about Introduction to Actor Training…
Sunday Check-Ins
Since starting my training, one thing I will say is that Sundays are the only days I can count on for rest. Well, three years ago, ITAT provided a refreshing way to end my week for part of the year! Tutor Andy McGregor took us for the first half of the course and introduced the group to ‘checking in’ at the start of a session. This was an informal way of sharing with the group how you genuinely felt in that moment, on that day. In this safe space, we could share as little or as much of our personal struggles as we wished. It was a great way of getting to know people quickly in spite of only seeing each other weekly. It put everyone in a productive ensemble spirit. Checking in is something I now do regularly at school when working on scenes.
Andy also encouraged us to talk about theatre shows we’d seen recently seen and discuss whether we enjoyed them or not. I started out being pretty terrible at this, describing shows I’d seen only as “Bangin’!”, much to the dismay of McGregor. Andy advised us to discuss why we have positive or negative reaction to certain shows. At first, I struggled and tried to find specific moments in performances to talk about on Sundays. But through many interesting discussions, I came to enjoy talking about what rocks my socks in the theatre.
Here Comes the Actioning
Actioning can be a long, gruelling process to grasp. That’s just the way it is for some people. That’s just the way it was for me.
I struggled to translate the meaning of a piece of dialogue into a physical action. My actor brain was trying to come up with more impressive verbs so that I would feel like a better actor. The ITAT short course helped me to just ‘go with the flow’ a bit more, and actioning would give partnered scenes a more dynamic arc. It’s a great exercise to use to learn a text inside-out, take it to its extremes, and then strip it down to its best parts. I was thankful for my actioning experience when I encountered it again in my first year of BA Acting. I was not alone in finding it difficult!
Prepping for the ‘Scary Day’
Coming to the midpoint of my ITAT experience, both tutors Andy and Katy Hale provided incredible audition-focused lessons which helped us prepare for our upcoming drama school auditions. Andy delivered us the experience of interviewing a panel at an audition. Katy helped us prepare scenes for our end-of-year showcase.
Learning to embrace redirection in an audition was something that was really reinforced in me during ITAT. Leaving the current idea behind to try a new one is a difficult but very important skill to learn.
The main things I learned about audition interviews are:
Don’t talk for ages. But don’t cut yourself short!
“I like this, because” is more interesting than “I like this, and this and this”
If they ask you about you, try to say one thing that has nothing to do with acting. Something else you just love.
If they ask you to talk about your speeches, try to find something you genuinely care about, mundane as it may be. You like how it flows, the imagery that drew you to the speech, you like the story, etc.
The panel is usually a group of lovely people who want you to do your best.
Breathe, and be you.
(Introduction to) Acting Graduates!
Katy helped us pool scenes together for our showcase, while working with us on Shakespeare monologues we selected. The ensemble at ITAT were a great bunch and I learned a lot working with them.
With the incredibly talented Caroline, I did a scene in which I had to tell my ex-girlfriend she might have HIV. Katy helped me develop my movement onstage with this scene, something I’ve always struggled with. Through push/pull exercises, we found effective, unforced tension in the scene. Katy’s work on dialogue helped me to take my persistent vocal habit of ‘performing lines’, to a more naturalistic quality that was more suited to the scene.
Katy used the group to really work my St Crispin’s Day speech from Henry V. Having a full crowd to address during my speech helped me really visualise the space. When it came to the showcase, I was able to take this visualisation of space into the audience. I really preferred this to just delivering the speech to an invisible army.
What resulted was a showcase full of great scenes. Katy did well to give us scenes with contemporary qualities that really suited us as actors. Everyone was in a role in which they really held their own and shone as an individual.
I think often of my time on ITAT, and how it taught me not just to be an actor in their work, but an individual and an artist with interests. Someone who can enjoy a piece of art and indulge in a discussion about it. Having a mock audition environment was a wonderful way to knock off a tiny portion of the nerves for the big day(s). And as always, it was wonderful spending time in a rehearsal room with a bunch of like-minded, warm people… Even if it was on a Sunday.
Applications are now open for Introduction to Actor Training to begin in January 2021. You can find out more on the Short Courses website here.
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string(5923) "Final year student Zeni Bollok returned to RCS in September with the task of managing The Bacchae, the first live production since March 2020, amidst the ongoing challenges of the Coronavirus pandemic. Here she talks about how this experience of stage managing through a pandemic has become a highlight of her time at RCS.
Zeni Bollok is happy. Smiling into her web cam, she explains she’s been enjoying lots of long lie-ins this week – a rarity in the life of a stage manager. “It’s been a very busy couple of months,” she laughs, “so I’m making the most of my week off.”
A final year Production Technology and Management student, Zeni has just finished stage managing The Bacchae, a production performed by the graduating class of the Royal Conservatoire’s BA Acting programme in the New Athenaeum Theatre, and directed by Finn den Hertog.
In any other year, this would have been a huge production to manage, and 2020 added to that complexity. After eight months of no live theatre, The Bacchae would be one of the first productions to make it to the stage in Scotland. Just a little bit of added pressure then for the stage manager?
“It definitely felt like the Deputy Stage Manager, Lea Meloe and I were the guinea pigs – we were some of the first people to test how to run a production during a pandemic.
“We had to think about everything from limiting the number of people in rehearsal rooms to duplicating props to minimise contact, and to try to plan at least a week ahead for things we would normally take for granted – like accessing the props store. Luckily RCS had made guidelines and protocols for us to follow, which we did to the best of our abilities”.
“It’s seemingly small things like this that you wouldn’t think about – but, as a stage manager during a pandemic, I was constantly thinking about all of this”.
Zeni has known she would be working on The Bacchae since last term so she was as prepared as she could be for working with the ever-evolving Covid guidelines.
“I started working on The Bacchae a couple of weeks before the new term began. We had to make sure we were organised with getting plans out, marking up the stage…I wanted to be as prepared as possible.
“It was a challenge to try to schedule things so far in advance. The director, cast and crew, were all working together on a creative process, and as the production progresses, things can grow and change. To ensure this could happen, and happen safely, was hard. We managed to get into a good working pattern after some trial and error”.
And how did Zeni keep the company Covid-safe and ensure they were adhering to the right guidelines?
“A lot of paperwork!” laughs Zeni. “A lot of research and help from staff members.”
“From the very beginning, we marked out the rehearsal room in two-metre grids to help the actors do their blocking and keep their distance whilst performing. The Acting department also provided two-metre long sticks for the actors so they could easily measure the distance.”
The uncertainty of The Bacchae making it to the stage was always in Zeni’s mind as rumours of a second lockdown swirled in October and the knowledge that it could only take one person to be diagnosed with Covid for the full production to be halted. It was, she acknowledges, a lot of pressure for the students and made the team really consider their actions.
“Everyone tried so hard to comply with Covid safety rules. It was a new way of working, trying to keep a safe distance when working backstage or in rehearsals. Sometimes the cast and crew become quite close and familiar with each other, but this wasn’t really possible for this production.
“I was so aware that even in my free time (not that there was a lot of it!) I was really careful about my actions so I wouldn’t put myself in a position where I could get unwell or be contacted by Track and Trace.
“I think it’s a testimony of how hard we worked that no one in the cast or crew got sick. Everyone was very supportive of one another – we all knew that we were all going through a lot.”
The Bacchae completed its run on stage in the first week of November, albeit to a very limited audience comprising external examiners, teaching staff and invited industry guests. It was, however, filmed and will be released online to the public to view for free from Friday 13 to 27 November.
It’s a moment that’s been much anticipated at the Royal Conservatoire of Scotland, where the absence of live theatre has been felt sorely across the institution and beyond. It was a moment Zeni didn’t think she would see.
“I shed a few tears during the first performance. Happy tears. I didn’t think we’d get to stage the production. There were times when everything seemed to be against us. It was an incredible moment seeing it performed from the wings.”
And will Zeni be tuning in to watch the show when it goes live online on Friday?
“Absolutely! I’ve never actually seen a show I’ve worked on. I’m always backstage, so I will definitely be watching. Finn has done a fantastic job and I hope people will watch it and feel a sense of connection with what we’ve created.
“I still don’t think it’s sunk in yet that we managed to pull it off…I’m quite proud of it. It was fitting that this first show was The Bacchae and revolved around the God of Theatre. It feels right.”
To get your free ticket to watch The Bacchae online visit the RCS Box Office. You will be available to stream The Bacchae from 7pm, 13 November until 27 November.
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string(2161) "From October 8to 11 1997, the RSAMD (now RCS) mounted a production of Stephen Sondheim’s iconic musical Into the Woods. The show was directed by Mike Fields, with Musical Director Robert Scott and Designer Minty Donald.
The cast included Geraldine Cummings (Cinderella), Barry J. Brown (Jack), Olafur Kjartan Sigurdarson (the Baker), Abigail Langham (the Baker’s Wife), Michelle Gallagher (Little Red Riding Hood) and Chloe Foston (the Witch). In this, the year Sondheim turned 90, we look back at the first musical ever performed at RCS.
November’s Archive Object of the Month takes the form of the performance ephemera recording our production of Into the Woods more than twenty years ago. Accompanying the programme is a hand-signed letter from the composer himself, wishing the cast and crew good luck and also congratulating the institution on its 150th anniversary.
Into the Woods was the first production to unite the two schools of Music and Drama, and was the gala performance to mark our own special birthday.
Stephen Sondheim celebrated his 90th birthday in March this year. Another Sondheim show, Sunday in the Park with George, was brought to the stage by our students and staff last year (March 2019) to great success.
Their display ties in with a wider range of items from the Whittaker Library’s collection, drawing in resources on Musical Theatre more generally. These include vocal scores, attractive pictorial musical theatre history books and useful guides to vocal techniques and care of the voice.
Remember, the path through the woods is not always clear, but a kindly librarian or archivist can help you find your way.
Want to know more? Contact archives@rcs.ac.uk"
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string(2346) "In 1984, the CIA conducted an experiment on remote viewing as part of Project Star Gate.
The transcript of this experiment, released via a freedom of information request, is the source of all spoken text. Adapted into a project that is part verbatim performance, part guided meditation – an exploration of the landscapes of outer and inner space.
You can view the piece selecting from two video options below. The first is caption free and is recommended to watch with headphones. The second video has captions which have been added to create a better viewing experience for those who need or prefer to use captions.
Warning: this piece contains moments of high-pitched feedback.
Mars Exploration: May 22, 1984
without captions
https://youtu.be/F0JpMJ31FmM
Mars Exploration: May 22, 1984
with captions
https://youtu.be/0JBbOPqXNiE
Innovation Studio Discussion:
Mars Exploration and Online Performance - 28 September
What happens when theatre artists no longer have theatres? How do we collaborate when we can’t be in the same room?
It’s in our nature to treat restriction and limitation as creative opportunities and so many of us have begun making work online during the Covid 19 pandemic. This is both a new site and a new form. In this space, where does the art happen? Theatre and film both have their answers, but are those answers best for this medium?
With these questions in mind, Marc Silberschatz, Dani Nelson and Derek Jeck set out to make Mars Exploration: May 22, 1984. Adapted from the transcript of an actual CIA experiment into a piece that is part verbatim performance, part guided meditation. This piece will premiere here, on RCS at Home on 25 September 2020 at 1pm.
A discussion with the artists, chaired by Flavia Domingues D’Avila, will try to unpack what was learned and discovered in the project in the first of this season's Innovation Studio Discussions which are online and free to join.
https://youtu.be/Fs9TOoFem94
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string(7069) "It might be an understatement to say that Welcome Week at RCS looks a little bit different this year. With coronavirus restrictions in place, the usual blur of new places and people has been largely replaced by livestreams and Zoom calls. Many of the cornerstones of Glasgow’s famed arts, culture and nightlife are, for the time-being, off-limits: sweaty club nights, packed-out theatres, and crowded gigs in basement venues are unthinkable in times of hand sanitising and two-metre distancing.
Despite this, the resilient organisations and people that comprise the city – including our very own Students' Union – continue to provide amazing events online. To help you navigate through them, we have put together a handpicked list of some of the best to come in September and October.
(1 September – 17 December)
The unique and locally beloved Glasgow Women’s Library has recently reopened for in-person visits. However, their exhibition of donated materials documenting women’s experiences of lockdown is still available to view online.
[caption id="attachment_90476" align="aligncenter" width="1600"]Collecting in the Time of Coronavirus exhibition at Glasgow Women's Library. Image credit: Becca Lewis via GWL website.[/caption]
(16 – 27 September)
Though it is already underway, there are still a few more days to catch Take One Action’s online programme of world-changing films. Timely, urgent and inspiring, the 2020 program explores the social issues of the day: from climate justice to systemic racism.
[embed]https://vimeo.com/448479175[/embed]
(26 September)
Ceilidhs are out for the foreseeable, but you can still get your trad music fix with a live performance from Scottish contemporary folk six-piece Heisk, featuring RCS alumni Sally Simpson and Lauren Macdonald, at the Hands Up for Trad Music Club.
[caption id="attachment_90481" align="aligncenter" width="2048"]Heisk. Photo credit: Somhairle MacDonald. [/caption]
(5 – 18 October)
The move online hasn’t slowed down this stalwart of Glasgow’s LGBTQIA+ arts community. Alongside an eclectic film programme, SQIFF will host live online watch parties, workshops, Q&As, discussions, parties, and a closing night quiz.
[caption id="attachment_90482" align="aligncenter" width="1200"]SQIFF 2020 poster. Image credit: SQIFF.[/caption]
(8 - 11 October)
WOFF goes online in its seventh year of promoting independent international cinema. The festival, which highlights exciting new voices from around the world, has divided its diverse programme into three main sections: First Features, The Female Perspective & Focus on Balkan Cinema.
[caption id="attachment_90483" align="aligncenter" width="438"]WOFF 2020 poster. Image credit: Steven Affleck.[/caption]
Mull Theatre – Emergence
(13 – 27 October)
Though based further afield, it would be remiss to omit Mull Theatre’s online autumn production Emergence, consisting of two new plays, from this list. The team behind this specially developed digital presentation is stacked with RCS alumni including actors Ashley Smith and Simon Donaldson; cinematographer and lighting designer Jamie Wardrop; and playwright Anita Vettesse.
[caption id="attachment_90484" align="aligncenter" width="870"]Emergence promotional image. Image credit: Mull Theatre.[/caption]
It's difficult to know what to expect when moving to a new city. There's lots to explore and if you've never visited before it's difficult to wrap your head around everything. Hopefully this blog can give you a little insight into what it's like moving to the "Dear Green Place".
The Language
https://www.youtube.com/watch?v=a0rgETg2Hoo
"Parliamo Glasgow" Glasgow legend Stanley Baxter guides us through some classic Glaswegian phrases.
Every town or area has some words that are specific to that area, and Glasgow is no exception. The Scots language (not Gaelic, which is different) has a long and turbulent history, as explored in this BBC Scotland documentary. Here are some common examples which are not just amusing words for tourists but actually used in everyday language – throw some of these into sentences and you’ll be sounding like a local in no time!
Apart from having to learn new words, some phrases can also cause confusion. For example “Where do you stay?” actually means “Where do you live or come from?”. Also if someone asks you "how?/how no?" they might actually mean "why?/why not?".
The City
[caption id="attachment_90415" align="aligncenter" width="800"]Twilight scene of Clyde waterfront with the Clyde Auditorium and The SSE Hydro[/caption]
There is so much to do in this city - from the bars, cafes and restaurants of the West End, Southside and city centre, to the excellent free museums such as Kelvingrove, Scotland Street School and the Riverside Museum. Luckily Glasgow is very compact. It is easy to move around the centre on foot thanks to Glasgow’s grid street pattern, which incidentally has been featured in many films and TV series as a substitute for the great American cities such as Chicago, New York and San Francisco.
It is also very quick to travel from the suburbs to the city centre, and there are lots of train links, bus routes, a cycle hire scheme and, of course, the subway that make travelling in and out a breeze. What was that? Glasgow has a subway? Yep, and it’s actually the third-oldest underground system in the world after London and Budapest. It’s super convenient for travel between the city centre and the West End. There are only two lines (one going clockwise, the other anti-clockwise), a total of 15 stations, and to travel around the entire circuit takes just 24 minutes. The trains run every 6-10 minutes and are bright orange, leading to it being dubbed "the Clockwork Orange".
The Weather
[caption id="attachment_90424" align="aligncenter" width="800"]RCS film students on location in Queen's Park[/caption]
The name Glasgow comes from the Gaelic “Glaschu”, which means “green-hollow” or the more poetic translation “Dear Green Place”, which you’ll hear used in many contexts around the city. It’s a lovely phrase, but there is a reason that there is so much greenery and the parks are so lush – the rain! On a nice calm early summer day, there's nowhere better than the many leafy parks around Glasgow (except maybe the rolling hills and stunning scenery that can be found just outside Glasgow), but I’m sorry to say there's no getting away from the fact: Glasgow, you are a very wet city. It's position on the west coast, with the highlands above means it gets all the weather from the Atlantic breaking on this side of the country, and whilst areas in Wales and the Lake District are also possible contenders for the official title of “UKs wettest city”, the west of Scotland gets on average 2000-3000mm rain annually, and Glasgow itself has rain 167 days a year (that's 5 ½ months!), so be prepared.
Some Glasgow weather tips:
Make sure your shoes are waterproof
An umbrella is not much use in a Glasgow wind (or “hoolie”. See: ‘Language’ above)
Invest in a decent waterproof coat
The Scots word “dreich” is absolutely perfect for describing a grey day with constant light rain. You'll probably find you're using it a lot.
Other useful things to know
[caption id="attachment_90425" align="alignnone" width="800"]Walkers admiring the stunning Scottish scenery[/caption]
Here are some other things to know about Glasgow and Scotland:
Go to Glasgow or Edinburgh and most people would say they've "done" Scotland. However, there is a lot more to it than you think and there is some truly breathtaking scenery. There are lochs, mountains, valleys, beaches and spectacular rugged islands which all draw you to head out and explore them.
Glasgow loves football. Like many people around the world, Scots are very passionate about the beautiful game, and they will happily talk about the national team or share their views on international matches just like anywhere else. There are four pro teams in the city: Celtic, Rangers, Partick Thistle and Queen's Park, and the city is home to Hampden Park - Scotland's national football stadium.
Moving to a new city, whether for work, study or any other reason can be many things: exciting, intimidating, uplifting, bitter-sweet. The important thing is to be open to all the possibilities living somewhere different brings. Glasgow is on the whole a very welcoming city (weather aside!). Explore it, enjoy it and embrace all it has to offer.
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string(5512) "From day one, our students are part of the RCS community - supported, encouraged and mentored throughout their studies. And we don’t disappear on graduation day - we proudly follow you on your journey to success.
With the class of 2020 only just graduating a couple of months ago, we wanted to give our graduates some expert advice on how to self-promote their brand, their skills, and possibly their own company.
We reached out to professionals within the arts industry, who have years of industry experience. And with that, they have experienced the highs and the lows – they have had unsuccessful auditions, times where the next job seemed like it would never come, scripts that flopped and films dropped. These professionals have picked themselves up, dusted themselves off and charged on achieving huge successes along the way. What transpired, after many chats, was much more valuable than any marketers’ guidebook to self-promotion - this post gives some life advice for all graduates.
Look after your personality, and your reputation will follow
In the creative industries, it’s been said that there are three things you need (and need to be known to be): you need to be good; you need to be reliable; you need to be likeable. Think about how you can demonstrate that you are these things.
Know who you are. Casting directors are saying more and more that they are looking for authenticity. Can you bring your authentic self to an audition?
Find your unique selling point
What is it you want to be known for? Look at your CV again and ask yourself whether the things you want it to say about you, actually does. What is your USP and how are you supporting that?
Make your own work - especially now when work will almost certainly live online and can be seen by anyone. The more unique your work is and the more exposure, the more chance of attracting potential collaborators that may put money behind a project.
You are the company you keep
People will generally start by hiring people they know. This is partly due to being risk-averse and partly due to familiarity. One of your biggest jobs is to make yourself known to people. This means, at a minimum, finding ways to communicate with others both for yourself and to support them.
Social platforms are fantastic for this. Be relatable and relevant. Align yourself with individuals and organisations with the same values as yourself. Be careful what you engage with on social, as this speaks volumes about a person’s character.
Know the resources available to you
Get yourself known through your own website, social platforms, award ceremonies and festivals. Engage with the press, industry magazines and reviewers. Connect with social media ‘influencers’, bloggers and others within the industry through networking events. Upload your details on networking sites such as Spotlight, which is accessible by all casting directors and agents.
Join the RCS alumni community, keeping everyone in the loop on what you doing – there will be potential collaborators and even employers in that community.
Networking sites and the RCS alumni community also allows you to also see others work, and support one another.
Be prepared and organised
You can save yourself a lot of money by hiring an accountant, and save time by getting yourself a Driver’s Licence. Ah, the famous line: If you are early, you’re on time. If you are on time, you are late.
There is another well known saying in the film industry, “you are only as good as your last job.” Be prepared to work hard on every job.
Be informed
The performing arts industry is a very competitive market. The competition in the ‘real world’ is different than what you’ve faced previously. When you apply to the Royal Conservatoire of Scotland, you are competing with a large number of people with a range of abilities. The audition at this stage is about assessing your potential for professional-level training in your discipline. Once you graduate, you then compete against professionals, so it’s more about what you can bring to a role or project than demonstrating your talent. Your talent should be a given.
Shift your mindset away from “please give me a job!” to thinking, “I’m going to learn how I might assist you with this production”. The main thing is to be interested rather than ‘interesting’.
The creative industries in Scotland are small and everyone knows each other. Be mindful.
Be kind out there
“Crews are like family, look after each other. Family works, you work.”
Guest visiting lecturer and director Andy McGregor shares an insight into his ”˜new normal’ and gives us a sneak peek into the latest musical he has been working on at home ”¦
https://www.youtube.com/watch?v=Xz1ZFmaC6qw&t=59s
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string(3156) "Brazilian Jiu Jitsu is my ultimate workout for the body and mind. You don’t have a chance to doubt yourself or flex your ego. You have to move and react in microseconds and outwith the trappings of your own thoughts; which builds confidence, decisiveness and respect. It incorporates natural body movements, high-level cardio, and functional strength and is incredibly engaging for the mind.
My training has had to adapt from sparring with various partners - my cat, although skillful, utilises the same escapes every time (he scratches my skin and bites my beard) to focusing more on movement practice.
I wanted to share with you how this practice has helped me over the last few weeks to keep the same level of mental engagement, physical challenges and sense of improvement going.
Just because our bodies settle, doesn't mean our curiosity does
Most people are already doing movement practice to some extent, the trick is to elaborate on it, and strengthen areas naturally. Movement practice reminds me of being a kid and learning your parameters of jumping, running, climbing and generally just having fun. When you’re younger, your body is constantly changing, so are your parameters and engagement. We lose this as we settle into our adult frame.
Here is a video of a Brazilian Jiu Jitsu solo drill to show what can still be done at home and how movement practice is built into it.
https://www.youtube.com/watch?v=KdRuKIEjjBs
Give it a wee go and see how you get on! Then, imagine doing it all with a fully grown adult on your back. It's surprisingly addictive...
What I would say is to work with your body, your range of motion and your personal sense of improvement. The next video can be used as a guide and you could take one of the movements and break it down until it suits you. But most of all, have fun!
https://www.youtube.com/watch?v=21JhWTIPQSw
Main benefits to movement practice
It can be incorporated into your day-to-day activities
I felt that my balance isn't as rooted as it could be (I'm right side dominant), so I try do the dishes standing on one foot alternations. Sounds totally bonkers I know, but my balance is improving, and thus my squats are getting better, my running is stronger, my yoga is more fun and my dishes are absolutely spotless. #humblebrag #youwishesyouhadmydishes
All the family can get involved
Encourage partners, pets, loved ones, un-loved ones, your reflection in the mirror, to all give it a go! When you and your nearest and dearest are doing handstands whilst Hoovering, turning book pages with their feet or using elbows to make sandwiches ”¦ please remember and give a kiss to the sky!
Build it into your own routine
You can use any background as a base: your yoga, weightlifting, running, walking, dancing, whatever your background is, and build on it. Likewise, a no movement practice background is just as valid, use your blank slate to build something just for yourself! Within your body and range of motion."
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string(13898) "Welcome to the first Spotlight On ”¦ a new weekly insight into the people of RCS.
Philip White has spent the greater part of his working life in the field of opera, working as repetiteur and chorus master both in the UK and abroad.
Before joining the Royal Conservatoire of Scotland in 2017, he was Chorus Master at the Opera de Lyon in France and, prior to that, Chorus Master at the Royal Danish Opera in Copenhagen, the Opera de Nancy et de Lorraine and Associate Chorus Master for the Chorus of Radio France.
Philip (pictured above, second from right, with students) studied music and German at the Universities of Leeds and Vienna before winning the Walter Susskind scholarship, which enabled him to work as a repetiteur in the opera school of the Royal Conservatoire of Scotland (formerly the Royal Scottish Academy of Music and Drama) between 1988 and 1990.
Where are you right now?
Manchester
Current work wear of choice?
Loose fitting shirt and jeans
How are you connecting with students for teaching?
Students are all just about to go on Easter break and were having online vocal lessons last week. We had just started rehearsing forDialogues des Carmélites, our spring opera production. We will start online language teaching in term three as all first years will know by then what productions they are in next year, so they can get a head start.
What’s on your reading list?
I’ve just finished readingWords without Music,which is Philip Glass’s memoir. I’ve worked on two of his operas, both quite different, and I enjoyed both of them a lot more than I thought I would. I’ll also be readingA Gentleman in Moscowby Amor Towles andThe Overstoryby Richard Powers. And for some lighter stuff, I’ve just ordered the first in a trilogy of crime thrillers set in Mississippi, which we visited last summer.
What are you watching/listening to online?
I’ve been going through the Martinu symphonies, there are six of them. When I used to work in Bayreuth, we often used to visit the Czech Republic, which is only an hour’s drive, and I’ve always been amazed at how such a relatively small country has such a rich cultural history, particularly in music. We’ve just finished season two ofHappy Valley, which is set within a half hour of where we live.
How long have you been at RCS and what drew you here?
Two and a half years. I loved the place as a student in addition to the whole vibe of Glasgow, particularly when the sun is shining
What do you love most about your role?
Introducing students to new music and setting them up with experts in their field who I have met and worked with. I love giving them opportunities and seeing them grow as performing artists as well as seeing their enthusiasm and self-confidence grow.
Describe a typical day?
Well, a typical day at the moment is getting up about 7am we have children but they are 23 and 20 and can fend for themselves so I’m relieved of the duty of getting them organised, at least (most of the time).
Me and my wife head off for a short walk (pictured above), our daily government-authorised piece of exercise. Although I live in North Manchester, we have quick access on foot to a clough (steep valley) which heads out to a couple of wild parks which are full of wild garlic at this time of the year, which I use to make homemade garlic mayonnaise.
We mainly join dog walkers and get childishly excited, like we did yesterday, when we spotted a woodpecker in one of the trees hammering away or a yellow wagtail hopping around in the stream. Following my Chris Packham/Jamie Oliver-inspired-hour, we have breakfast and set down to work. We have a work space that looks out on to the garden, which is full of birds gathering food and nesting materials at this time of the year. I try not to get too distracted by that.
Lots of preparation going on for the next academic year, which is exciting, and there might be online meetings to join too. Early afternoon I might head off quickly to get a bit of shopping we’re trying to be more organised about it and limit the shop trips. Then finish off work before resuming my Jamie Oliver mode and doing some cooking! Typical days at the RCS itself don’t exist. They’re all so different.
What sparked your love of the arts?
I’ve no idea to be honest. I was always in school plays, loved drama classes, was at a secondary school where there were loads of extracurricular music school orchestra, jazz band and where you were encouraged to put on ”˜events’. We also had two marvellous drama teachers whose way of teaching simply wouldn’t be allowed these days going round to their houses to write plays, often accompanied by alcoholic beverages.
I was also taken by a family friend on frequent visits to English National Opera at the London Coliseum and was distressed to find myself moved to tears on first seeingLa Boheme. I think I was about 15. I was relieved to the same degree that our seats were up in the balcony so I had sufficient time to pull myself together before reaching street level. The combination of stage and music on a good day is simply unique.
What advice would you give your younger self?
Don’t think there’s one way of doing something.
Who influenced you?
My university tutor was a huge influence in terms of broadening my musical tastes and with the relationship that he fostered with his students. He only recently officially retired but his lectures were always bubbling with enthusiasm in a way nobody else’s were, and you were unable to resist being as enthusiastic as he was. His ability to communicate meant that whether he was talking about Schoenberg or a trip to his local corner shop, you were hooked and wanted to go to the corner shop as well as listen to Schoenberg’s collected works. We’re still in contact and he’s just the same.
Career highlights?
That’s a tough one. Very early on I was chorus master for a production of Stravinsky’sLe Rossignol, which was conducted by Pierre Boulez. I had to go and meet him in his studio at IRCAM (Institute for Research and Coordination in Acoustics/Music) in Paris to discuss the choral preparation. I got to work with two of my conducting idols from my teenage years whilst I was Associate Chorus Master at Radio France Kurt Masur and Riccardo Muti. Watching them rehearse and seeing how little they said in rehearsal but which nonetheless elicited the most amazing concerts still fascinates me (same could be said for Boulez).
In my first season at Grange Park Opera we performedFiddler on the Roofwith Bryn Terfel. That in itself was enough but that year we also took it to the BBC Proms at the Royal Albert Hall my violin teacher had always joked about seeing me there one day not something I took at all seriously. It was amazing to have got there, even if only once.
And all the work and things I heard whilst at the Bayreuth Festival. It was a very relaxed atmosphere at the time with a canteen, indoors and outdoors, where everyone mixed as equals. That year Daniel Barenboim was conductingTristan, Giuseppe SinopoliParsifaland James Levine theRing. Again three musical idols, just there.
Also at that time, Wolfgang Wagner Wagner’s grandson who hadn’t met Wagner himself but who had met his wife, Cosima was still running the whole institution and would invite all music staff, singers and creative teams over the season to his house for get-togethers.
[caption id="attachment_82075" align="aligncenter" width="713"]Philip (in top hat) with the cast of recent RCS production Die Dreigroschenoper (The Threepenny Opera).[/caption]
Your most memorable RCS moment?
Each time the curtain goes up on a premiere it is deeply moving to see what the students have achieved and how they have invested themselves.
Your advice for students during this time?
Don’t worry. It sometimes takes events like this to show how people can actually come together. It will pass.
Describe RCS in three words?
Really good fun.
Calling all RCS staff and students! Would you like to be featured in Spotlight On? If so, contact us at Communications@rcs.ac.uk
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string(6678) "Thanks to COVID-19 it’s likely you’ll have some more time and looking for a new binge-worthy box set. We thought we would share just a few of the shows and films that feature our graduates and where you can watch them.
If you’re interested in seeing more RCS Alumni, visit our alumni page or search for #RCSAlumni on Twitter for the latest news.
Sex Education
A comedy-drama, Sex Education follows an awkward teenager as he navigates romance and all the joys that going through puberty bring. There are two series of this show and whilst it addresses really important topics within each episode, it also has many laughs and scenes that will have you thinking “did that just really happen?”
RCS alumnus Ncuti Gatwa plays the role of best friend Eric and although we might be biased, we feel he is the absolute star of the show.
You can read more about Ncuti Gatwa in our Weekend Read and see him in Sex Education on Netflix.
Chilling Adventures of Sabrina
This is a slightly spookier take on the '90s Sabrina the Teenage Witch show which stars RCS alumna Michelle Gomez as a high school teacher. In this version, Sabrina attends the Academy of the Unseen Arts where she learns about magic a potential new course for RCS? As Sabrina fights with the enemies that threaten her family, you might want to watch this one with your isolation buddy or have a cushion nearby if you frighten easily!
Catch up with the Chilling Adventures of Sabrina on Netflix.
The Nest
A new drama from BBC, The Nest is set in Scotland (you’ll see a lot of familiar Glasgow shots) and is about a couple who have been trying to have a child for years. Things take a turn when they meet an 18-year-old called Kaya who wants to carry a baby for them.
There are only two episodes of The Nest so far, the third episode airs on Sunday 5 April so it’s easy to catch up on and once you start watching, it will be hard to put down.
RCS alumni you will spot in The Nest are David Hayman, Christine Bottomley, Fiona Bell, Katie Leung and Kate Dickie.
Watch The Nest on BBC iPlayer.
The English Game
Popular on Netflix, The English Game is a period drama about two 19th century footballers. It explores the origins of football and how they overcame a class divide to create what would go on to be the world’s most popular sport. Based on a true story, The English Game also tells the stories of the women around the footballers for the first time.
RCS graduate Kevin Guthrie stars in this and plays real-life character Fergus Suter and graduate Kate Dickie plays Fergus’ mother.
Watch The English Game on Netflix.
Outlaw King
Set in 14th century Scotland, Outlaw King tells the story of Robert the Bruce and his struggle to become King of Scotland. With stunning scenery filmed all across Scotland, this film will have you on Google Maps checking out all the filming locations!
RCS graduates in this film include Rebecca Robin who plays Queen Margaret of England, Tony Curran who plays Lord of Islay, Steven Cree who plays Sir Christopher Seton and Lorne McFadyen who plays Neil Bruce.
Outlaw King is available on Netflix.
Deadwater Fell
A four-part show, Deadwater Fell is a dark drama about how a house fire disrupts a small village community. You might need to binge this one as it is intense and by the end of each episode, we couldn’t wait to find out what happens next.
Starring in Deadwater Fell is RCS graduate David Tennant who plays the role of Tom, Maureen Beattie plays Tom’s mother and Lorn Macdonald plays PC Taylor Clarke.
Anneika Rose plays Tom’s lawyer, Leah Byrne plays a nurse and Scott Reid has the role of a guard - as you can see, lots of our RCS alumni star in this one!
Watch Deadwater Fell on Channel 4. You can also catch David Tennant in Good Omens, starring alongside Michael Sheen on Amazon Prime.
Bloodshot
If you’ve watched all the episodes of Outlander, you can see RCS grad Sam Heughan in Bloodshot. This film (based on the comic book) follows soldier Ray Garrison, played by Vin Diesel, who gets killed in action but is brought back to life as a superhero.
In the video below, Sam explains more about his role in Bloodshot.
Watch Bloodshot on Amazon.
https://youtu.be/IJf1AFqehfM
Have you watched anything recently with our RCS alumni in it? Let us know on Twitter with #RCSAlumni."
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string(6262) "Finished your online class? Wrapped up your practice for the week? Are you over Houseparty drawing games with your parents? Never fear, each week we will compile our RCS Recommends list to give you a little bit of isolation inspiration for the week ahead.
This week it’s podcasts. With more than 30 million podcast episodes in the iTunes catalogue there is more than enough content to keep you entertained during isolation. We have asked some RCS staff for their top podcast recommendations. Have we missed a brilliant one? Let us know communcations@rcs.acuk
Corin Beattie, Junior Conservatoire Co-ordinator
I couldn't pick just one - I've got three top pics!
Soundtracking with Edith Bowman
Edith Bowman speaks to directors; actors and composers about the music that has influenced them and what they have used in their films. It’s a great listen for anyone who loves movie soundtracks and she has great guests!
Listen to Soundtracking with Edith Bowman online.
Getting Curios with Jonathan Van Ness
Jonathan Van Ness (Queer Eye) interviews a new guest every other week from different professions. Politicians to writers; actors to chefs. It’s fun and you learn something at the same time.
The full series of Getting Curious with Jonathan Van Ness is available here.
RunPod with Jenni Faulcner
I had to have a running podcast in there! This is a great podcast for learning new tips and tricks for all levels of runner. Jenni talks to her celebrity runner pals and experts. I thought this might be useful for staff/students who are thinking of taking up jogging at this time.
Start your RunPod journey here.
Matt Adam, Artistic Planning Officer
Roddy Hart and Vic Galloway
Every week I make sure to listen to Roddy Hart and Vic Galloway’s shows on BBC Sounds after they air on BBC Radio Scotland. They both play brilliant artists on their shows and have great bands in for live sessions that I often haven’t heard of so it’s great for discovering new music. They are both also huge promotors of Scottish unsigned and independently released music so that’s a huge plus for me I love hearing how much amazing music is being made right on our doorstop!
Access these top shows on BBC Sounds.
Kimmy Shields, Recruitment and Admissions Officer
Like Corin, I also have three, I miss listening to podcasts on the daily commute!
West Cork
A must for anyone looking to lose themselves in one of the most gripping podcasts of the true crime genre. A haunting revisit to the scene of one of Ireland’s most notorious unsolved murders.
Download West Cork now from Audible.
The Assassination
A comprehensive investigation into the assassination of Pakistan’s former Prime Minister Benazir Bhutto, providing an interesting insight into early 21st century Pakistani politics and the Bhutto political dynasty.
Start The Assassination on the BBC now.
Intrigue: The Ratline
Beautifully narrated and edited by Philippe Sands, this 10-episode podcast covers the war crimes perpetrated by Otto von Wächter, a senior Austrian Nazi, and his subsequent escape from justice after the end of World War Two. Secret private correspondence between Otto and his wife Charlotte is read by Stephen Fry and Laura Linney.
The full series of The Ratline is available online.
Abbie Wallace, Short Courses Manager
Desert Island Discs
Surely one of the best (and longest running) radio shows ever made, the Desert Island Discs podcast is a condensed version of the BBC Radio 4 Sunday morning show, now hosted by Lauren Laverne. I listen to it every week I am obsessed with it.
Guests are invited to imagine themselves on a deserted island with only 8 music tracks for company (plus one book and a luxury item). The conversation is, of course, about so much more than their favourite tunes, and delves into their life story in often very surprising and poignant ways. I really love finding out a wee bit about all of these amazing people, many whom I might not have heard of
Favourite episodes include screenwriter presenter Ade Adepitan, journalist Hella Pick, actress Anne-Marie Duff, firefighter Sabrina Cohen-Haston and photographer Vanley Burke.
Catch up with the full back catalogue of Desert Island Discs on the BBC.
Linda Innes, Deputy Marketing and Communications Manager
David Tennant Does a Podcast
Of course I’d pick one from an RCS graduate!
This laid back podcast series sees David spend an hour chatting with his showbiz friends covering everything from how they first met, what it was like getting into the industry and, oh horror, revealing their true ages.
His impressive guest list includes Olivia Coleman, Jennifer Garner, Ian McKellen and Whoopi Goldberg however David Tennant clearly has excellent friendships with each of them so every episode is really just like two pals having a natter at his kitchen table.
And David’s voice is made for podcasting I could happily listen to him all day.
Catch up with David Tennant Does A Podcast.
We hope something from these RCS Recommends has taken your fancy. Let us know what podcasts you’ve been listening to and we’ll link them here: communications@rcs.ac.uk
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string(5389) "It’s officially week 2 of stay safe, stay put and I’m sure many of us are still adjusting to our new situations and the challenges they present. This is unprecedented and probably doesn’t feel like any working from home you’ve done before.
Some of you will never have had to try do the day job with a toddler at your ankles, some of you are now teachers and need to seriously brush up on your maths skills and some are probably already fed up of seeing the same four walls/same partner/family member!
The purpose of this blog series is to keep you company over the weeks and help you cope with what is undoubtedly a bizarre and disconcerting time.
How to set up an office space
The first thing to consider at home is how well you are set up for work. At work, you’ve got the necessary equipment for a good work station and your H&S team on hand to help you out but at home, you might be at your dining table on an uncomfortable chair.
Your chair: As it is unlikely that you will have an adjustable chair you can try to get into an ideal sitting position using a cushion or pillow (folded in half) to sit on and a rolled-up towel against your lower back for lumbar support. Make sure that your feet are planted on the floor. If you can’t do this use a biscuit tin, Tupperware container or similar as a footrest.
Your screen: Raise your laptop/tablet up using books, biscuit tins etc. as best you can. You may not achieve the ideal position but aim to raise your laptop/tablet by a minimum of 15 cm. Your eyes should naturally hit the top third of your screen when you are looking straight ahead. Even a small height adjustment should help. The goal is to avoid dropping your head as much as possible to try and avoid neck and shoulder strain.
Mouse and keyboard: If you are raising up your laptop/tablet use an external keyboard and mouse so that you are not working with your arms too high. If you don’t have these just keep your laptop flat on the table but take regular breaks (every 15 mins) as your arms will tire.
Screen glare: Try and use natural light as much as possible.
Keep moving
This is very important when working at a makeshift desk, move more than usual. Aim for movement every 15-30 mins, a quick stretch, a phone call on your feet, a quick peek out the window to see what the neighbours are or aren't up to your muscles will thank you.
You’ll no doubt find that you’re generally moving a lot less too, not walking to work or to meet friends so it’s important to find new ways of building exercise into your routine.
Routine. You might have heard that word a lot over the last week, every article will tell you it’s vital and some of you might find the idea laughable at the moment but getting up at the same time each day, having a wash and getting dressed as usual (although PJ bottoms are always acceptable on Teams) might help things feel a little more like normal.
From there you can begin to think about how you might plan your ”˜working’ week which we fully appreciate will be very different and we encourage you to spend time with your family/housemates/partners to work out how you’ll manage things.
Be sure to spend time socialising online with your friends and family. Finding positive ways to communicate will help combat the anxiety that this situation creates and another way to manage this is to limit news coverage to a set point in the day/week to keep up to date but not overwhelmed.
Scheduling time for daily exercise is important and we’ll be sharing more tips and resources on that shortly but for now, I leave you with a tip from one of our resident runners if you have stairs, run up and down them for as long as feels comfortable and remember to stretch before and after!
We’ll be doing more on stretching soon with online yoga in the meantime, stay safe, stay calm and stay put!
Tell us if you are feeling isolated, anxious or concerned. We’ve got resources that can help.
Healthy Working Lives resources from the NHS Healthy Working Lives team updated regularly
Words with Friends an online interactive word puzzle you can play with friends available on Facebook or in the App Store and for Android. Challenge your colleagues for a bit of distraction!
Graduate Ncuti Gatwa photographed in London by Robert McFadzean
Rwandan-born Ncuti, who grew up in Edinburgh and Dunfermline, graduated from theBA Actingprogramme in 2013. Highlights from his studies in Glasgow include a workshop in second year with arts practitioner Anna-Helena McLean, which completely changed the way he thought about drama school. Another treasured memory wasOn the Vergefestival, where students immerse themselves in everything from acting to writing and directing, before showcasing their new and experimental work.
One of his standout experiences was playing King Charles II inVictory, by Harold Barker. “That was very special to me because it was an opportunity to play a character that I will never get to play again.”
Choosing where to study is a huge decision and upping sticks and arriving in unfamiliar surroundings can be daunting. Ncuti praises RCS for the atmosphere among students and staff.
“RCS’ approach was very personal,” he says.
“It provides you with opportunities to develop in a way that you can’t in the outside world. I felt very cared for. It was a safe space. Scotland has a thriving theatre scene and I think that being away from the mayhem of London allows you to concentrate on honing your craft.”
The training nurtured Ncuti’s love of theatre; indeed, much of his work immediately after graduating came while treading the boards at theatres across the UK including Dundee Rep, The Yard, Noël Coward Theatre and The Globe.
TV appearances followed inBob Servanton BBC Scotland andStonemouth, a mini-series based on the novel by Scottish author, Iain Banks. Then along cameSex Education, which introduced Ncuti to a global audience. Now based in London, Ncuti cherishes his time in Glasgow and insists that if he could do it all again, he would make exactly the same decision.
“Glasgow is one of the best places to live and study. The nightlife and people are wicked. The vibrancy of the city is infectious and you just have a good time. There is so much going on there and it’s a beautiful city with real character I would not have picked anywhere else.”
Follow Ncuti onInstagram.This interview first appeared in the current issue ofReview, the Royal Conservatoire of Scotland magazine.RCS at Home is a new online community that aims to spread joy and combat isolation by showcasing work, ideas and conversations from students, staff and alumni. We’re sharing content across our social channels andwebsiteand we’d love to have you involved! Drop us a line at communications@rcs.ac.uk"
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string(2868) "As artists, we are defined by our need to create, connect and communicate. This is what drives and motivates us and allows us to use art to make an impact on the world.
Due to the Coronavirus pandemic, we are no longer working together in the same studios, rehearsal rooms, concert stages”¦however our need to create and connect continues. We want to help you to share your work with the world and have put together some top tips for how to film your own recordings at home on your phone.
We hope this helps you continue to create and inspire others within the RCS online community. Please get in touch with us if you would like any help or advice, we are here to support our RCS family.
The Marketing and Communications Team
communications@rcs.ac.uk
Find a quiet space. Make sure there’s as little background noise as possible from household appliances or passing traffic.
Get a steady shot. Use a tripod or an even surface to set up your camera.
Frame. Frame your action in a way that’s pleasing to the eye, think about the composition of your shot, you can film in landscape or portrait, depending on what suits your video.
Light. Somewhere bright with natural light is ideal.
What’s behind you? Check the rest of your frame. The audience’s attention may wander if they see your laundry drying in the background.
Format. Think about how long your video is going to be, what’s interesting about it? How long would you be prepared to watch if you happened across it on social media? Rehearse what you’re going to say, keep it light and friendly.
Pets. They may be an important part of of your home office it’s fine if they wander into shot!
Don’t zoom in. On most phones, you’ll lose quality.
Communication. If there are other people in your house, let them know you’re filming. You could even pop a notice on your door to make sure you don’t have any unwanted cameo appearances. Unless you want to recreate this iconic TV moment.
Hopefully these tips will help you film some of your practice or work and keep in touch with the RCS community and the wider world. Send us your content and we’ll be happy to share on the RCS social media channels."
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string(3870) "Whilst our normal weekend plans have been put on hold thanks to the Coronavirus, there are still lots of amazing things taking place online this weekend that you can join in.
So dim the lights, put the sound up and get ready to immerse yourself in some wonderful performances all without having to step foot outside!
Bring the Paris Opera to your living room
Thanks to the Paris Opera you can watch select operas and ballets for free and all from the comfort of your home. Currently, you can watch Don Giovanni, Giselle and Les Indes galantes on the Paris Opera website with more being added in the upcoming weeks.
Visit a museum
Whilst you may not be able to physically visit a museum, you can still explore them online!
The Van Gogh Museum in Amsterdam has brought their collection online where you can take a 360° tour and have the museum to yourself. You can also explore some of Van Gogh's paintings up close - something that might appeal to the artists among us.
The Google Arts and Culture website is another brilliant resource with online exhibitions and lots more museums, galleries and theatres that you can tour.
Go to the theatre or be part of it
Going live on Sunday 29 March, the Coronavirus Theatre Club is a Twitter account that will be curating live performances. The idea is that writers send in their monologues and actors get in touch if they would like to perform and the theatre club will assign scripts to the actors - it's a win-win for everyone involved!
A great idea if you are an actor, writer or director.
Be part of a festival
The Social Distancing Festival is showcasing the work of artists who have been affected by social distancing and isolation there are livestream events happening every day.
Over the weekend, there’s theatre, comedy, spoken word, jazz and lots of cool things happening all over the world have a browse!
Our top pick is the Australian company Watch This which has put together a film featuring its costume designers and all the work that goes on behind the scenes. You can find out more about this on the Social Distancing Festival’s website.
Watch a ballet
Scottish Ballet has created a hub with behind-the-scenes footage, livestreams, health and fitness videos and featured films. For the ballet dancers in training, this is a great resource to keep you inspired.
Join in with RCS at Home
At RCS, we’ve created our own online community called RCS at Home and each week we will be bringing you music and performances from our home to yours keep an eye on our social channels and visit our website for more information. We'd love to help share your content so get in touch with us at communications@rcs.ac.uk
Have a lovely weekend!"
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string(2805) "As we attempt to adapt to the swiftly changing environment we find ourselves in, we encourage you to take time to focus on the immediate priorities in front of you, your loved ones, your communities and you.
Mindfulness is a way to focus on the now. According to Mindful, it’s the basic human ability to be present, aware of where we are and what we’re doing, and not overly reactive or overwhelmed by what’s going on around us.
We thought we’d share a few resources that may be beneficial during this uncertain time:
Lee Holland is qualified in performance psychology, professional coaching and mindfulness and she’s also a musician who teaches at RCS. She has written an insightful blog post about how to bring meditation into daily life. There’s also a short six-minute breath meditation.
If you’re a musician, listen to the Music U podcast on how mindfulness is key to maximising the efficiency of practice sessions. Discover how mindful musicians obtain the skills and mental strength to not be bogged down on experiences or something that didn’t go right, as well as how to move forward, continue at full power and speed and have a successful practice session.
Into the Woods was the first production to unite the two schools of Music and Drama, and was the gala performance to mark our own special birthday.
Stephen Sondheim celebrated his 90th birthday in March this year. Another Sondheim show, Sunday in the Park with George, was brought to the stage by our students and staff last year (March 2019) to great success.
Their display ties in with a wider range of items from the 
Emergence promotional image. Image credit: Mull Theatre.[/caption]
Twilight scene of Clyde waterfront with the Clyde Auditorium and The SSE Hydro[/caption]
RCS film students on location in Queen's Park[/caption]
Walkers admiring the stunning Scottish scenery[/caption]
Where are you right now?
Manchester
Current work wear of choice?
Loose fitting shirt and jeans
How are you connecting with students for teaching?
Students are all just about to go on Easter break and were having online vocal lessons last week. We had just started rehearsing forDialogues des Carmélites, our spring opera production. We will start online language teaching in term three as all first years will know by then what productions they are in next year, so they can get a head start.
What’s on your reading list?
I’ve just finished readingWords without Music,which is Philip Glass’s memoir. I’ve worked on two of his operas, both quite different, and I enjoyed both of them a lot more than I thought I would. I’ll also be readingA Gentleman in Moscowby Amor Towles andThe Overstoryby Richard Powers. And for some lighter stuff, I’ve just ordered the first in a trilogy of crime thrillers set in Mississippi, which we visited last summer.
What are you watching/listening to online?
I’ve been going through the Martinu symphonies, there are six of them. When I used to work in Bayreuth, we often used to visit the Czech Republic, which is only an hour’s drive, and I’ve always been amazed at how such a relatively small country has such a rich cultural history, particularly in music. We’ve just finished season two ofHappy Valley, which is set within a half hour of where we live.
How long have you been at RCS and what drew you here?
Two and a half years. I loved the place as a student in addition to the whole vibe of Glasgow, particularly when the sun is shining
What do you love most about your role?
Introducing students to new music and setting them up with experts in their field who I have met and worked with. I love giving them opportunities and seeing them grow as performing artists as well as seeing their enthusiasm and self-confidence grow.
Describe a typical day?
Well, a typical day at the moment is getting up about 7am we have children but they are 23 and 20 and can fend for themselves so I’m relieved of the duty of getting them organised, at least (most of the time).
Me and my wife head off for a short walk (pictured above), our daily government-authorised piece of exercise. Although I live in North Manchester, we have quick access on foot to a clough (steep valley) which heads out to a couple of wild parks which are full of wild garlic at this time of the year, which I use to make homemade garlic mayonnaise.
We mainly join dog walkers and get childishly excited, like we did yesterday, when we spotted a woodpecker in one of the trees hammering away or a yellow wagtail hopping around in the stream. Following my Chris Packham/Jamie Oliver-inspired-hour, we have breakfast and set down to work. We have a work space that looks out on to the garden, which is full of birds gathering food and nesting materials at this time of the year. I try not to get too distracted by that.
Lots of preparation going on for the next academic year, which is exciting, and there might be online meetings to join too. Early afternoon I might head off quickly to get a bit of shopping we’re trying to be more organised about it and limit the shop trips. Then finish off work before resuming my Jamie Oliver mode and doing some cooking! Typical days at the RCS itself don’t exist. They’re all so different.
What sparked your love of the arts?
I’ve no idea to be honest. I was always in school plays, loved drama classes, was at a secondary school where there were loads of extracurricular music school orchestra, jazz band and where you were encouraged to put on ”˜events’. We also had two marvellous drama teachers whose way of teaching simply wouldn’t be allowed these days going round to their houses to write plays, often accompanied by alcoholic beverages.
I was also taken by a family friend on frequent visits to English National Opera at the London Coliseum and was distressed to find myself moved to tears on first seeingLa Boheme. I think I was about 15. I was relieved to the same degree that our seats were up in the balcony so I had sufficient time to pull myself together before reaching street level. The combination of stage and music on a good day is simply unique.
What advice would you give your younger self?
Don’t think there’s one way of doing something.
Who influenced you?
My university tutor was a huge influence in terms of broadening my musical tastes and with the relationship that he fostered with his students. He only recently officially retired but his lectures were always bubbling with enthusiasm in a way nobody else’s were, and you were unable to resist being as enthusiastic as he was. His ability to communicate meant that whether he was talking about Schoenberg or a trip to his local corner shop, you were hooked and wanted to go to the corner shop as well as listen to Schoenberg’s collected works. We’re still in contact and he’s just the same.
Career highlights?
That’s a tough one. Very early on I was chorus master for a production of Stravinsky’sLe Rossignol, which was conducted by Pierre Boulez. I had to go and meet him in his studio at IRCAM (Institute for Research and Coordination in Acoustics/Music) in Paris to discuss the choral preparation. I got to work with two of my conducting idols from my teenage years whilst I was Associate Chorus Master at Radio France Kurt Masur and Riccardo Muti. Watching them rehearse and seeing how little they said in rehearsal but which nonetheless elicited the most amazing concerts still fascinates me (same could be said for Boulez).
In my first season at Grange Park Opera we performedFiddler on the Roofwith Bryn Terfel. That in itself was enough but that year we also took it to the BBC Proms at the Royal Albert Hall my violin teacher had always joked about seeing me there one day not something I took at all seriously. It was amazing to have got there, even if only once.
And all the work and things I heard whilst at the Bayreuth Festival. It was a very relaxed atmosphere at the time with a canteen, indoors and outdoors, where everyone mixed as equals. That year Daniel Barenboim was conductingTristan, Giuseppe SinopoliParsifaland James Levine theRing. Again three musical idols, just there.
Also at that time, Wolfgang Wagner Wagner’s grandson who hadn’t met Wagner himself but who had met his wife, Cosima was still running the whole institution and would invite all music staff, singers and creative teams over the season to his house for get-togethers.
[caption id="attachment_82075" align="aligncenter" width="713"]
Philip (in top hat) with the cast of recent RCS production Die Dreigroschenoper (The Threepenny Opera).[/caption]
