基本説明
This book is designed for use in opera and musical theater workshops and by beginning professional singers. Drawing on years of research, teaching, and performing, the author provides an overview of dramatic methodology for the singing actor through practical exercises.
Full Description
". . . a remarkable collection of observations and reflections on past experiences by many excellent artists and teachers that will doubtless help . . . those interested in creating 'opera magic.'" —Tito Capobianco
Singing, Acting, and Movement in Opera is designed for use in opera and musical theater workshops and by beginning professional singers. Drawing on years of research, teaching, and performing, Mark Ross Clark provides an overview of dramatic methodology for the singing actor, encouraging the student's active participation through practical exercises and application to well-known works. The Singer-getics method emphasizes integration of the various dimensions of opera performance, creating synergies among vocal performance, character development, facial expression, and movement on the stage. The book presents important information about stagecraft, characterization, posture, historical styles, performance anxiety, aria, and scene analysis. Excerpts from interviews with performers, directors, conductors, coaches, composers, and teachers offer insights and advice, allowing the reader to "meet the artists." An appendix by postural alignment specialist Emily Bogard describes techniques of relaxation and self-awareness for the performer. This lively book will appeal to students, teachers, professionals, and general readers alike.
Contents
Preliminary Table of Contents:
Contents
Foreword: A Message from Tito Capobianco
List of Interviews
Using the Guidebook
I. PREPARATION
1. Body Awareness: Stretching For Flexibility and Power
2. Postural: Aligning the Body
3. The Expressive Face: Communicating Emotions Onstage
4. Character Study: Decoding the Clues to Character
5. Environment: Setting the Stage
II. INTEGRATION
6. Elements of Stagecraft: Learning the Language
7. Historical Etiquette: Bowing to Tradition
8. Improvisation: Unlocking the Imagination
9. Monologues: Talking Opera
10. Physical Analysis: Moving in Character
III. APPLICATION
11. The Aria: Making Choices
12. The Scene: Putting it all Together
13. The Opera: Preparing a Role
14. Performance Anxiety: Facing Fear
15. Careers in Opera: Stepping Out
Appendix A: Attitude Chart
Appendix B: "Postural Alignment" by Emily Bogard
Appendix C: Literary Background of Selected Operas
Appendix D: Stage Manager's Handbook
Appendix E: Stage Combat: Faints, Falls, and Fights
Bibliography
