Diana Award | Eastern

There will be a formal presentation of this Award in the New Year.

Connor and Lyndon would like to thank everyone who has supported

them in their endeavours through 2010 and for

this fantastic Award.

If you would like the boys to visit and give a talk on their adventures - email us now:

Diana Award | Eastern

CURRENT DEADLINE DATES

The Driving Test

DSA - Unit 2 - LO3(B)

Unit 2 - LO3(B)

Be able to drive and manoeuvre a car/light van safely on different road surfaces and in different weather conditions

What you need to be able to do	What you need to know and understand	Illustrative guidance for trainers
Monitor and respond to information from instrumentation, driving aids and the environment Respond appropriately to gauges and warning lights when driving Use switches and other controls in response to changes in road surfaces and weather conditions as required (lights, wipers, climate and ventilation controls, windows, demister etc)	Know the meaning of dashboard warning lights and how to respond to them appropriately. Understand the implications of changing road or weather conditions for the handling of your vehicle Know how to operate controls in response to changes in road surfaces and weather conditions for example demisters, fog lights, traction control etc. Know the rules regarding driving in adverse weather conditions, for example when to use fog lights if fitted. Understand the risks of not knowing the location of switches and controls while on the move.	Allow the driver to practice using ancillary controls when stationary and discuss the risks of being distracted by the operation of controls whilst on the move. Discuss operating the controls in relation to all aspects of driving in adverse weather conditions, such as rain, fog, ice and snow. Explore misconceptions around the application and capability of safety devices such as ABS/Traction Control

What you need to be able to do	What you need to know and understand	Illustrative guidance for trainers
Employ a safe and systematic routine such as 'mirror, signal, position, speed, look' Make effective use of mirrors, and other aids, to monitor other road users and hazards	Understand the use and limitations of internal and external mirrors and how different types and shapes of mirror can make an object appear to be closer or further away than it is Know how to apply a safe and systematic routine such as 'mirror, signal, position, speed and look' Know when and how to check mirrors to monitor the actions of other road users	Discuss the different images portrayed on convex and concave mirrors. It is important to recognise that there are other mnemonics being used to teach correct manoeuvring discipline e.g. 'IPSGA'. It is not critical which one of these is used so long as the driver is capable of safely manoeuvring in a systematic and coordinated way.

What you need to be able to do	What you need to know and understand	Illustrative guidance for trainers
Indicate your intentions effectively to other road users	Understand when and how to indicate your intentions, e.g. to stop or change direction, appropriately when driving Understand how to safely signal your intentions by means of indicators and arm signals. Understand how to use other 'signals', e.g. positioning on the road, to indicate or reinforce your intentions to other road users.	Discuss with the learner how to make the judgement about when to use/not to use indicators. Discuss the extent to which communication of intention is a two-way process and the benefits of eye-contact etc, especially when interacting with pedestrians, cyclists and motorcyclists.

What you need to be able to do	What you need to know and understand	Illustrative guidance for trainers
Operate the accelerator smoothly and effectively to maintain and change speed	Understand the adverse impact on your ability to drive safely and the potential consequences of erratic or excessive use of the accelerator, especially in slow moving traffic Understand the adverse impact on the environment of inappropriate use of the accelerator, e.g. excessive production of harmful emissions or excessive noise. Know when it may be appropriate to allow the engine to over run by not using the accelerator. Understand the use of cruise control systems and their benefits to the environment and potential adverse effects such as driver fatigue and safety	Discuss the environmental impact of over acceleration and benefits of engine braking when decelerating. Discuss the relationship between the requirements of safe driving iding and ECO-driving e.g. engine braking Discuss the operation of cruise control systems and how to engage and disengage them safely while on the move.

What you need to be able to do	What you need to know and understand	Illustrative guidance for trainers
Operate brakes effectively brake safely using appropriate braking techniques stop accurately as and where necessary make appropriate use of the parking brake stop the vehicle in an emergency safely and under control	Know how much pressure to apply to the brakes in varying road and traffic conditions. Understand the principles of varying braking systems, for example anti-lock, and know how to brake effectively. Understand how overall stopping distances vary with different speeds and road and weather conditions and are broken into thinking distance and braking distance. Understand the importance of looking well ahead to be able to stop within the area you can see to be clear. Understand the physical and dynamic implications of braking on bends Know how to stop the vehicle as quickly and as safely as possible in an emergency Did you know? All sorts of vehicles can aquaplane. Aquaplaning results from driving too fast on wet roads and can result in total loss of steering control.	Provide examples of stopping distances using reference physical points, for example using a landmark. Discuss the importance of progressive application. Discuss ways to remember safe stopping distances and ensure safe separation is maintained, e.g. two-second gap on a dry road & a four-second gap on wet roads. The tunnel issue derives from EU legislation. Drivers can be reminded of the catastrophic fires which have occurred in European tunnels in the last decade and which were made worse by vehicles leaving inadequate separation distances. Discuss brake lights and the role of hi-level lights. Discuss the difference between non and anti-lock brakes and the different application when braking in an emergency. Explain what is meant by the term aquaplaning and discuss the risks.

What you need to be able to do	What you need to know and understand	Illustrative guidance for trainers
Use gears correctly change gears smoothly and in good time use a suitable gear for speed and driving conditions use automatic gear box effectively if fitted	Understand the use of gears to progress safely and efficiently in a variety of conditions and with varying engines. Understand and demonstrate selective gear (block) changing in relation to vehicle speed and road and traffic conditions. Understand the environmental impact of inappropriate use of gears Understand the effect of vehicle loading and timely gear selection when ascending and descending gradients Understand the use of gear selection when leaving the vehicle parked on a gradient Understand the use of 'kick down' to the next lowest gear on vehicles with automatic transmission Understand the use of 'lock up' on automatic transmissions Manual drive cars involving clutch operation only Know how and when to use the clutch around the biting point to vary very slow pace of the vehicle for tight control. Know how to use of the clutch to enable smooth operation when moving away, changing gears or stopping Understand the problems of not fully releasing the clutch or "riding the clutch" during normal driving	Discuss varying gear configurations and the environmental impact of poor gear selection. Use visual aids to explain the function of the clutch when changing gears. Discuss the environmental impact of poor gear selection. Talk through the use of 'lock up' in regard to holding a gear when appropriate, for example descending gradients.

What you need to be able to do	What you need to know and understand	Illustrative guidance for trainers
Manoeuvre vehicle coordinate the use of clutch, gears, accelerator, brakes - accelerator and brakes on an automatic - and steering to undertake manoeuvres safely and responsibly reverse to left within allowed parameters with due regard to other road users and awareness of blind areas reverse to right within allowed parameters with due regard to other road users and awareness of blind areas perform controlled stops with due regard to other road users perform parallel forward parking correctly within controlled parameters with due regard to other road users and awareness of blind areas perform parallel reverse parking correctly within controlled parameters with due regard to other road users and awareness of blind areas perform forward parking correctly within controlled parameters with due regard to other road users and awareness of blind areas perform reverse parking correctly within controlled parameters with due regard to other road users and awareness of blind areas turn in road correctly within controlled parameters with due regard for other road users and awareness of blind areas	Understand the importance of coordinating the use of clutch , gears, accelerator, brakes, and steering, and the effects of inappropriate use Understand the effects of controlled use of the accelerator in conjunction with the brakes when manoeuvring a vehicle with automatic transmission. Understand the use of vehicle creep and when to apply it when a vehicle is fitted with automatic transmission. Know how to select a safe, convenient and legal location for manoeuvring Understand the relevance of a safe and systematic system such as Mirrors - Signal - Position - Speed - Look routine when preparing to carry out and during a manoeuvre. Know how to take 'effective observation' when executing any manoeuvre with particular attention to vulnerable road users. Know the various braking techniques to stop the vehicle effectively and efficiently under full control. Know the correct procedure for safely reversing into a side road on the left Know the correct procedure for safely reversing into a side road on the right Know the correct procedure to safely carry out a turn in road/U-turn manoeuvre Know the rules relating to prohibition of U-turns and why you should not reverse your vehicle further than necessary Know the correct procedure for safely carrying out any reverse parking exercise on road and off road, for example how much space is required if parking on the road Know the correct procedure for safely carrying out a turn in the road Understand why you should not reverse your vehicle further than necessary	Talk through real world situations asking the driver to provide examples of when they would need to carry out a manoeuvre. Take some time to consider the different manoeuvring characteristics of other type of vehicle, e.g. motorcycles Discuss the blind spots on a vehicle and the importance of making blind spots checks where and when necessary before and when performing a manoeuvre, with particular attention to vulnerable road users. Discuss the importance of multi-tasking within the car and the relevance to maintaining control. Discuss how this can help with independent driving, for example driving and reading signs. Highlight the dangers and benefits of vehicle creep.

Paul Zerdin Ventriloquist at Comedy Rocks With Jason .Manford - FUNNY -

It Pays to be pleasant to people!

 

A Lesson From Johnny Depp........

One of the unsung qualities of successful actors is ‘helpfulness’.

Time and time again I have observed this trait up close and personal, with great actors.

It’s easy to dismiss this trait as perhaps not that important but believe me, the industry loves helpful people and as a result they get more work.

Recently, Johnny Depp visited a primary school in London because a young girl wrote to him and asked him to visit her school. She had heard he was filming Pirates of the Caribbean close by.

To her surprise he turned up!

I have put the newspaper clipping here for you to read: http://www.briantimoneyacting.co.uk/johnnydepp.html

Being helpful stands out and you need to stand out in this industry.

 

An Applicant's Guide to Auditioning and Interviewing at dance and Drama School

NCDT Auditions Brochure Link

What to Expect at an audition at Guildhall School of Music and Drama

Auditions - what to expect

The entrance audition for the Acting Course is in three stages, each of which must be passed before you can proceed  to the next stage.

The Preliminary Audition

Please indicate if there are any times when you are NOT available to audition in the relevant space on the application form. We will try to accommodate you if it is at all possible.

Last year, the Selection Panel saw over 2000 candidates for the 26 places on the course, so you will realise that organising this many auditions makes it very difficult to change the day and time. If you cannot make the date and time given to you (or if you fall ill on the day or your travel arrangements fall though), please contact the Assistant Head of Drama Administration (Admissions)  as soon as possible on +44 (0)20 7382 7149 or please email David.Cox@gsmd.ac.uk .

When You Arrive

If your audition is in the School, the Facilities staff at reception will direct you to a waiting room where someone (usually a student) will give you further information.

If your audition is at Sundial Court, there will be notices directing you to the waiting room. You should arrive at least 15 minutes before the start of Part 1 (see below) to enable you to change into your movement clothes. Do NOT bring valuables as no responsibility can be accepted for any loss or damage to personal property.

Part 1: This consists of a 'warm up' movement and improvisation session. There is no preparation needed for this section, but you will need to wear clothes in which you can move freely. Loose fitting jeans and a T shirt are perfectly acceptable. You will be working barefoot and you should remove all jewellery and piercings.

Part 2: This is when the Selection Panel will see your pieces. Each candidate goes in turn, so you may have a long wait before you are seen. It is possible that you may also be asked to sing your unaccompanied song.

Finding Out The Result

At the end of each morning or afternoon session of preliminary auditions, you will be told if you have been recalled for the second stage.

If you do not wish to wait for the results, you may telephone the Drama Department on +44 (0)20 7382 7149 to find out the result at certain times only.

These are:

If you audition in the morning, you can telephone after 2.30 pm the same day.

If you audition in the afternoon or evening, you will have to wait until after 10.00 am the following day (or Monday if your audition is on a Friday).

IMPORTANT

Almost all candidates prefer to either wait for the result or to telephone the School, so the Drama Department no longer sends out letters notifying them if they have been successful or not. It is up to you to contact the Department to find out if you have passed the preliminary audition.
If you are not recalled for the second stage, you should understand that you will not be offered a place and no further communication will be sent to you. The decision of the Selection Panel must be regarded as final.

The Second Round Auditions

If you pass to the second round, you will need to spend either a morning or an afternoon at the School. The format of these will be similar to the preliminary auditions.

For candidates auditioning in the USA or in Newcastle or during the final preliminary auditions in May, second round auditions will be held on the same day as the preliminary stage auditions.

The Final or Recall Auditions

These will take place between Sunday 29 and Friday 3 June. You will be asked to attend for a maximum of two days within this period. If you cannot attend the recall auditions, you cannot be considered for a place on the Acting programme.

Further details will be sent to recalled candidates nearer the time.

Appeals Procedure

If you fail a preliminary or second round audition (i.e. you are not recalled), you are able to appeal against the decision of the Selection Panel on procedural grounds (i.e. how your application was dealt with and how the audition was conducted). You may not appeal against the Selection Panel’s judgement of your suitability for the training.

If you wish to appeal, further details are available from the Head of Drama Administration at the School.

Advice to Candidates who audition at Guildhall School of Music and Drama

Auditions - advice to candidates

Audition Pieces: You should prepare 3 contrasting dramatic pieces of your own choice:

1. One must be in verse blank or rhymed from a play by Shakespeare or another Jacobean playwright.
2. One from a modern play written after 1956. 
3. One should be a lighter piece (i.e. not a tragic or serious piece) from any period. You should be aware that pieces by Victoria Wood and Alan Bennett are very frequently chosen by candidates. Poems are not especially helpful to the Selection Panel.

You should read the whole of the plays from which your pieces are taken so that you understand the character and the context properly. Television or film scripts are acceptable provided that the pieces you choose are monologues, not duologues.

Try to do your piece in your own accent. Choosing a dialect piece won't help you.

Please make sure your pieces do not exceed 2 minutes each. Any audience should be left wanting more, not less!

If you are also applying to one of those drama schools which set specific pieces for candidates, try and find something different for the Guildhall.

You should also prepare a short song which you can sing unaccompanied. This is not a major part of the audition; indeed, you may or may not be asked to sing at your preliminary audition. If you are, how you act it (i.e. tell the story) is more important than how well you sing it.

Note that the Department is unable to give advice about specific pieces. It is up to you to find and choose them.

Preparing For the Audition: It is probably helpful if one of your pieces is close to you in age and life experience.

Be simple and truthful. It is perfectly acceptable if you work on your pieces on your own. The Selection Panel are interested in what YOU have to offer, not a teacher's or a friend's interpretation of the piece.

During the Audition: Inevitably, you'll suffer from nerves. The Selection Panel understands this and, having had to face auditions themselves, will be sympathetic.

Usually, during the preliminary auditions, there will be a student or ex student to show you where to go and to help you. He or she will prompt if you 'dry', but make sure you have copies of your pieces with you.

There will usually be a table and a couple of chairs available should you need them.

Don't worry if the Panel stop you mid way through a piece or make notes and don't worry if the Panel do not ask you to sing or do your third piece. It may be more useful for the Panel to spend a longer time in discussion with you.

VTS 01 0

VTS 01 0

Carlos Acosta - 2010

Interview with Carlos Acosta - 8 May 09

Coppelia - Carlos Acosta/Leanne Benjamin - Parte 11/12.mp4

Coppelia - Carlos Acosta/Leanne Benjamin - Parte 7/12.mp4

Ham House - Richmond - Sunday 18 July 2010

LOCATE is a brand new site-specific festival of dance, featuring specially commissioned productions from award-winning choreographers and digital media artists working in the field of dance.

This year LOCATE visited heritage sites, park benches, stately homes and street corners.  Ham House, Richmond was one of the sites.

Supported by Historical Royal Palaces, Hampton Court, National Trust, HCC Specialist Art College, The Royal Parks, T Mobile Big Dance, English National Ballet and Momentum.

Locate 1:  ThickSkin Theatre Company brought midsummer romance to Ham House and Gardens with tales of unrequited love, debauchery and alfresco dancing.  These Imagined Stories is a blast of physical theatre and a cast of 10 performers choreographed by Artisitc Director, Neil Bettles and produced by Laura Sutton.

Five performances took place behind Ham House on the grand lawn between 1 and 5pm.

Ham House and Garden, TW10 7RS

CV overview

v  The Dynamic  Duo – September 2010 – cycled 350 miles London to Paris for H4H raised £3000

v  AS Examinations – August 2010 – Drama A; Dance B; PE C

v  E15 – August 2010 – Stage Combat course -  Pass

v  Rambert Dance Company – Summer dance course – intermediate level - pass

v  Thickskin Theatre Company –  July 2010 – work shadow placement Ham House - performer

v  AS Dance Choreography exam – May 2010 – A grade

v  AS Drama production -  May 2010 - – A grade

v  The Dynamic Duo – February 2010 – set up London to Paris sponsored bike ride in aid of H4H

v  National Youth Theatre – February 2010 - audition

v  Fear – Ignition Theatre Company 2009 – NVQ III Physical Theatre - .. 

v  Fear - Ignition Theatre Company 2009 – October 2009 - performer

v  Frantic Assembly - October 2009– Ignition 2009 - audition

v LAMDA - July 2009 - 

   Summer course - Audition Technique - LAMDA Diploma

v  Plume School Performing Arts Awards 2009  - June 2009 - Most Promising Choreographer  Yr 11

v  Plume School Performing Arts Awards 2009 -  June 2009 - Best Performer – Drama – Y11

v  GCSE Examinations - June 2009 Drama A; Dance B; Maths A; English Language A; RE B; English Literature B; Biology A;  Physics B; Chemistry C; PE A

v  East – GCSE Drama production - March 2009 - Les and Co-director; producer; script editor;

v  Sinister - GCSE Dance Choreography Final Exam - March 2009 Choreographer and performer

v  GCSE Dance Choreography final Exam - March 2009

v  Hassan of Bagdad – Mercury Theatre Summer School - July 2008 – Lead role - Hassan

v  Essex Police TV Unit – work experience - July 2008 - Production Assistant – 3 weeks and 3 additional days including Essex Police Award Presentation evening at Stock Brook Manor Golf

v  Fugee – Theatre Royal Norwich – Youth National Theatre entry - May 2008 - Cheung   

v  GCSE Dance Choreography Exam  - March 2008  - 21. Bombarded with Power [A2 rehearsal]

v  Work in progress Showcase  -  January 2008 -  2. A Graham Study  and 18. Worlds Apart

v  The Nutcracker’s Travels on Ice  -  December 2007 - Jack Frost

v  African dance  - December 2007 - performed to local Primary Schools

v  A Work in Progress Showcase - November 2007 - 1. Just beginning and 9.  Fireworks

v  Outside 2  Rambert Dance Company, Regent’s Park, London - August 2007 - Showcase Member

v  Mercury Theatre, Colchester  - Summer Stage School - August 2007 - Charles Dickens showcase

v  Shakespeare Schools Festival - The Tempest, Wolsey Theatre - February 2007 - Caliban

v  Licence to Thrill – Theatretrain - Theatre Royal Drury Lane - July 2006 - Cast Member

v  Express Yourself – Royal Albert Hall, London - April 2006 - music dance drama

v  Robin Hood on Ice  - December 2006 - Much

v  The Rockin’ and Rollin’ Crimbo Show - December 2006 - Bob the Builder

v  Alice in Wonderland  - July 2005 - The Mad Hatter

v  The Magical Mythical Megastar – Stage Coach Summer School - August 2003 - Cast Member

 

EVENTS COMING UP

 

1.    See the Dynamic Duo at Maldon’s Victorian Evening on 2^nd and 9^th  December 2010
you will be able to buy lots of Help for Heroes gifts for loved ones, supporting the charity at the same time.

2.    Join the Dynamic Duo at Sainsbury’s on Saturday 18 December 2010 for a bit of bag packing
Help Christmas shoppers pack their bags.  To volunteer, please email – volunteer@thedynamicduo.co.uk or call 07979 862952

3.    Watch out for Christmas Raffle Tickets – due to go on sale after Armistice Day – 11 November 2010
lots of prizes and only £1 a ticket.

 

If you would like to make a donation to The Dynamic Duo’s Help for Heroes fundraising efforts go to:

 

Online giving :  www.bmycharity.com/thedynamicduo

Or

Send cheques to Help for Heroes Fundraising, 17 Plume Avenue, Maldon CM9 6LB

 

For any further information email:    info@thedynamicduo.co.uk

 

PRESS CONTACTS:  press@thedynamicduo.co.uk

 

 

 

News - Local News: Maldon (CM9) - Help for Heroes! http://ping.fm/7WMMu

News - Local News: Maldon (CM9)

News - Local News: Maldon (CM9)

@Jozef_dymo123
hi pink no sorry ping me!

I lerve Urban Dictionary - Thanks Alex for pointing me to it!

come join me on PING

FW: Global Adventure Challenges - London to Paris Bike Ride

Connor John William Mayes

4 Brockley Cottages

Maldon

CM9 6QX

Dear Connor

“Congratulations!”

You’ve done it!!  Congratulations on completing the London to Paris Bike Ride - 22nd to 26th September 2010

From a physical perspective, you have accomplished so much and we hope that you will carry the memories of this trip for many years to come.

Please find attached our Challenge Questionnaire. I would be grateful if you could complete this and email it back to me. We rely on participant’s feedback to ensure our future Challenges maintain the highest of standards. Your comments and thoughts are very important to us.

You certainly deserve a reward for all your hard efforts! Therefore, we would like to offer you a 20% discount off the registration fee for any future Challenge if you sign up within the next 12 months. We hope that you enjoyed your experience and hope to see you again soon!

Once again, well done for completing your Challenge.

With kind regards

Sangita Moore | Administration & Operations | Global Adventure Challenges

Red Hill House, Hope Street, Saltney, Chester, CH4 8BU

Tel: 01244 676 454 Fax: 01244 683 962

sangita@globaladventurechallenges.com

www.globaladventurechallenges.com

Did you take any amazing photos

We’d love to include them on our website for all your friends to see!

Please email your snaps to admin@globaladventurechallenges.com

Timetable

Emailing: Press photo

Bmycharity - Connor and Lyndon The Dynamic Duo - Connor and Lyndon - The Dynamic Duo - Online fundraising - Help for Heroes

Bmycharity - Connor and Lyndon The Dynamic Duo - Connor and Lyndon - The Dynamic Duo - Online fundraising - Help for Heroes