Acting For Opera

Over 150 copies sold!! This is an in-depth and detailed manual on acting for opera singers. Based on 45 years of performance and knowledge of opera, classically trained actor and director Norman Cooley has devised an acting training for opera singers. The book includes theory, supported by exercises, anecdotes as well as observations from operatic performances and rehearsals.Norman believes acting in opera should be completely integrated with the singing and support and empower the work of the singer, and should never hamper nor harm good singing technique. It should be as effortless as possible to provide a safe harbour for the singer to sing at their best while creating a fully satisfying performance.

"... 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.

"The complete dramatic toolbox for the opera singer ? a step-by-step guide detailing how to create character, from auditions through to rehearsal and performance and formulate a successful career. Drawing upon the innovative approach to the training of young opera singers developed by Martin Constantine, Co-Director of ENO Opera Works, The Opera Singer's Acting Toolkit leads the singer through the process of bringing the libretto and score to life in order to create character. It draws on the work of practitioners such as Stanislavski, Lecoq, Laban and Cicely Berry to introduce the singer to the tools needed to create an interior and physical life for character. The book draws on operatic repertoire from Handel through Mozart to Britten to present practical techniques and exercises to help the singer develop their own individual dramatic toolbox. The Opera Singer's Acting Toolkit features interviews with leading conductors, directors, singers and casting agents to offer invaluable insights into the professional operatic world, and advice on how to remain focused on the importance of the work itself."--...

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1915 edition. Excerpt: ... CHAPTER VII "coming On" And "going Off" Stage; How To Take Other Side Of Stage; The Feet; General Remarks. "coming On" And "going Off" Stage In stepping onto the stage from the wings, be sure that your "up-stage" leg or boot conies first into the audience's view; and when coming onto stage with an arm raised, let it always be the up-stage arm (see illustrations, page 46). Thus, if you came on from the left wings--i. e., to the audience's left--your raised arm would be the left one, and your left leg or foot would step out first into view. The above rule holds good for the arm, but not for the leg, when you "come on" retreating, walking, running, or staggering backward in fright, apprehension, bewilderment, or in an unbalanced state. In coming on thus backward it is the up-stage arm that would be raised, but it is the down-stage leg that first appears, and the face would be slightly turned down-stage unless there be a special reason for the contrary. If one comes on gaily--in the guise of a peasant or a gondolier, or of any character not burdened by a sense of his dignity and importance--one can skip on, precisely as a child skips, waving one's hat; up-stage leg and waving, up-stage arm come first into view, unless the up-stage arm happens to be around a dainty peasant waist or reposing on a muscular peasant shoulder. The same general rule holds for "going off" stage: the up-stage leg takes you out of sight of the audience, and the up-stage arm makes the final gesture; because, if made with the downstage arm, your head would be hidden by it from the audience. In "going off" backward, the downstage leg takes the step that carries the body out of the audience's sight. How To Cross To Right Or Left Your taking the other side of the stage, in...

Excerpt from Acting in Opera: Its A-B-C, With Descriptive Examples, Practical Hints and Numerous Illustrations Now, the human body's capacity for varied expression is extensive, but this variety is formed through differing combinations of a relatively few primary positions and movements of the trunk, head, and limbs. Some of these I wish to dissect and explain, subsequently indicating their use in connection with the poetical text and the musical phrase of Opera, after which a few practical sug gestions for stage deportment will follow. The beginner, once in possession of these fundamentals, will find them applicable to parts of widely dif ferent character. This modest work does not pretend to catalogue all, or even a majority, of the phases of plastic art applicable to Opera. It but aims to disclose to the neophyte the possi bilities of this art and the principles its foundation. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.