Acting for Singers: Creating Believable Singing CharactersOxford University Press, 7 Jul 2005 - 264 halaman Written to meet the needs of thousands of students and pre-professional singers participating in production workshops and classes in opera and musical theater, Acting for Singers leads singing performers step by step from the studio or classroom through audition and rehearsals to a successful performance. Using a clear, systematic, positive approach, this practical guide explains how to analyze a script or libretto, shows how to develop a character building on material in the score, and gives the singing performer the tools to act believably. More than just a "how-to" acting book, however, Acting for Singers also addresses the problems of concentration, trust, projection, communication, and the self-doubt that often afflicts singers pursuing the goal of believable performance. Part I establishes the basic principles of acting and singing together, and teaches the reader how to improvise as a key tool to explore and develop characters. Part II teaches the singer how to analyze theatrical work for rehearsing and performing. Using concrete examples from Carmen and West Side Story, and imaginative exercises following each chapter, this text teaches all singers how to be effective singing actors. |
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Halaman
... give him a list of all ten, I knew immediately that I couldn't. I was neither sure how many rules there really were nor what they all might be. Philip's question stuck with me as I continued to teach acting to singers, first at the ...
... give him a list of all ten, I knew immediately that I couldn't. I was neither sure how many rules there really were nor what they all might be. Philip's question stuck with me as I continued to teach acting to singers, first at the ...
Halaman 5
... gives you a map of the realm of live performance in which acting singing takes place. This realm is a province of the world of art. It is populated by artists like yourself and the people who are your audience. Audiences enter the ...
... gives you a map of the realm of live performance in which acting singing takes place. This realm is a province of the world of art. It is populated by artists like yourself and the people who are your audience. Audiences enter the ...
Halaman 6
... gives you the basic tools with which to create them. It addresses how most usefully to think through the circumstances in which the librettist and composer have placed your character, and how to enter those circumstances using your own ...
... gives you the basic tools with which to create them. It addresses how most usefully to think through the circumstances in which the librettist and composer have placed your character, and how to enter those circumstances using your own ...
Halaman 11
... give them— visible and audible actions. They enter your character's world by interpreting what you do with your voice, face, and body. Imagine, for instance, that you are playing Alfredo in La 1 The Divine Marriage: Combining Believable ...
... give them— visible and audible actions. They enter your character's world by interpreting what you do with your voice, face, and body. Imagine, for instance, that you are playing Alfredo in La 1 The Divine Marriage: Combining Believable ...
Halaman 12
... give the audience concrete information they will use to enter into your character's thoughts and feelings. Go a step further. Imagine that you are so deeply involved that your feelings cause you to utter sounds. This action gives the ...
... give the audience concrete information they will use to enter into your character's thoughts and feelings. Go a step further. Imagine that you are so deeply involved that your feelings cause you to utter sounds. This action gives the ...
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Istilah dan frasa umum
acting beats actions appropriate arouse art songs audience audition auditioners Bad Guy Barber of Seville Beggar’s Opera begin behave behavior believable character body breath Carmen chapter character’s feelings character’s internal dialogue character’s situation character’s super-objective choices clarify composer concentration conductor conflicts Constantin Stanislavski create develop discuss dramatic emotional energize Escamillo exercise experience explore express Figaro focus gesture Girl give Given Circumstances heighten imagine improvisation in-breath inhale instance Instructions internal thoughts interpretation José La Bohème librettist listen look Lucia di Lammermoor Madama Butterfly Magical Marriage of Figaro Micaëla motivate move music-theater pieces Objective opera orchestration participants partner period piece person phrase plot practice Public Persona rehearsal repeat rhythm role scene score Silvia singers singing someone song or aria sound stage director subtext sure technique theme statement tion vocal voice West Side Story words