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.
Author: Norman Cooley
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.
" 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.
Author: Mark Ross Clark
Publisher: Indiana University Press
"... 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.
Constantin Stanislavski initially trained as an opera singer before becoming an actor and director.
Author: Charlotte Jane Ellerby
Constantin Stanislavski initially trained as an opera singer before becoming an actor and director. In 1918 he was invited to give a series of lectures and workshops on the art of acting in opera at the Moscow Bolshoy Theatre, and then he directed a whole series of operas between 1922 and 1932. The opera lectures are found in a book entitled On the Art of the Stage, and one of the singers in Stanislavski's Opera Studio named Pavel Rumyantsev records Stanislavski's work on individual operas in a book entitled Stanislavski on Opera. This thesis argues that these lectures are a major contribution to our understanding of Stanislavski's training of the actor: they were given before the maj or acting texts were written or published, and they constitute a complete system called 'The System and Methods of Creative Art', formed in seven steps of a metaphorical ladder. The lectures have received little or no critical attention and this thesis is therefore unique in the light that it sheds upon the relationship between Stanislavski's systems of acting for opera and for theatre, and the historical and cultural contexts in which the lectures were given. This thesis also challenges the conventional view of Stanislavski as a naturalistic director and posits a binary model which acknowledges his work in fantasy and illusion, both in theatre and opera. Tzvetan Todorov provides a critical language with which to analyse Stanislavski' s approach to operas in the fantastic vein such as Rimsky-Korsakov's A May Night. By contrast, Stanislavski's direction of Tchaikovsky's Eugene Onegin in 1922 employed a variety of more realist styles. Finally, this thesis examines Stanislavski's contribution to the movement to create a 'synthetic theatre', at the heart of which is a collective ethos and a desire to unite the words, music and action in an organic whole.
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 ...
Author: Martin Constantine
Publisher: Bloomsbury Publishing
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 Toolbox 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.
Without character, singers' voices are empty, however beautiful they may be. This book offers opera singers a method and the tools that will assist them in developing their roles and the dramatic action of a scene.
Author: Leon Major
(Amadeus). Opera is a singer's medium, but it comes to life on the stage. Composers write complex and detailed musical scores that are grounded in stories of passion and conflict, suffering and joy, forgiveness and despair. Acting is crucial to the experience audiences have in the theatre. Thanks to surtitles, audiences can now easily follow the dialogue and the story. Therefore, more is expected from the singers than just great voices: we expect them to embody the characters they are singing. Without character, singers' voices are empty, however beautiful they may be. This book offers opera singers a method and the tools that will assist them in developing their roles and the dramatic action of a scene. Musical and acting clues provide the foundation for creating characters. When singers study a libretto for acting clues and the score for musical clues they gain greater insight into their roles and have a better understanding of the music and a finer perception of the dramatic shape of their scenes. The methods and tools are demonstrated in an analysis of key scenes from selected operas. These examples are basic for the preparation for all characters in all operas, voice types, or time periods. The techniques offered will give the singer means to examine characters in depth, plot, and the conflicts in any scene. Singers who have that foundation are more relaxed, confident, focused and able to sing better.
In 2018, audiences in the millions are watching opera productions on screens.
Author: Lauren Anneliese White
In 2018, audiences in the millions are watching opera productions on screens. The twenty-first century has seen a formidable increase in filmed broadcasting of opera from productions in major opera houses and audiences can now watch live or relayed productions from the comfort of their local cinema or home. The increase in broadcasting has heightened the need to talk about acting within opera. Acting on the operatic stage has been a historically contentious issue; although opera prizes the virtuosity of the human singing voice, opera singers have always been critiqued on their ability to match their singing body with relevant acting craft. An examination of the historical relationship between opera and film, as well as opera and acting, establishes the influences and the challenges that opera has had in evolving alongside theatre and screen. A review of opera singing pedagogy, operatic structure, and stagecraft further reveals the inherent differences that set opera aside from other forms of theatre, film, and television. This study then explores changes in acting within contemporary opera broadcasts by assessing criticism and feedback from the opera community. Analysis of filmed productions and the effect of current cinematography and high definition technology provides insight into the effect of media on our perception of stagecraft and raises further questions around genre and artistic agency.
This book addresses the problems of concenration, trust, and projection, among others, and includes concrete examples from opera and musical theatre.
Author: David Ostwald
Publisher: Oxford University Press
Explains how to analyse a script of libretto, shows how to develop a character building on material in the score, and gives the singing performer the tools to act believably. This book addresses the problems of concenration, trust, and projection, among others, and includes concrete examples from opera and musical theatre.
The problem for singers is that opera is difficult enough as music, let alone as stagecraft. Miller cajoled, joked, visibly eased tensions between contending forces, provided props, explained nuances.
Author: Jonathan Miller
Publisher: Applause Theatre & Cinema
"Through the climactic scene of La Traviata the good doctor clowned, interpreted, gestured and flung his eminently quotable metaphors at us and a performance began miraculously to take shape. The problem for singers is that opera is difficult enough as music, let alone as stagecraft. Miller cajoled, joked, visibly eased tensions between contending forces, provided props, explained nuances. By the end, drama had emerged from opera. Magic, underpinned by a great deal of hard work." -The Listener
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.
Author: George E. Shea
Publisher: Forgotten Books
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.
Italy 159 Brussels, Amsterdam, and Warsaw, and by the eighteenth century opera had spread to England, Spain, Stockholm, and St. Petersburg. Actor-singers in ...
Author: Beth Osnes
A groundbreaking, cross-cultural reference work exploring the diversity of expression found in rituals, festivals, and performances, uncovering acting techniques and practices from around the world. * A–Z entries span every region of the world and cover diverse topics from Ireland's Abbey Theatre to China's Zhang Mu (rod-puppet theater) * Beautiful illustrations include masks used in classical Greek dramas, an advertisement for a performance of Punch and Judy, the humorous puppet characters, and photographs of actors, performances, and ceremonies from Monty Python to young Balinese dancers performing the Legong dance
First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company. Best known for his fundamental work on acting, Stanislavski was deeply drawn to the challenges of opera.
Author: Pavel Ivanovich Rumi︠a︡nt︠s︡ev
Publisher: Psychology Press
First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.
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.
Author: David F. Ostwald
Publisher: Oxford University Press, USA
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.
A fascinating commentary as well as an indispensable reference, this book provides the definitive guide to what is arguably the pinnacle of Chinese performance art.
Author: Chengbei Xu
Publisher: LONG RIVER PRESS
"On the Beijing opera stage, every human sound uttered is song, and every movement is dance; realism is taboo and real-life objects are banned." In fascinating detail, jingju aficionado Chengbei Xu, examines the cultural and artistic themes of Beijing Opera. Xu's expert eye unveils the mystery through a dizzying array of observations that only an experienced opera-goer can spot: themes and stories, characters, movement, makeup, props, action, voice, and music. Filled with color performance photos, this is an indispensable reference and definitive guide to perhaps the pinnacle of Chinese performance art.
In Staging Scenes from the Operas of Mozart: A Guide for Teachers and Singers, opera director William Ferrara offers the perfect resource for the dramatic preparation of opera scenes for directors and student performers.
Author: William Ferrara
Publisher: Scarecrow Press
In Staging Scenes from the Operas of Mozart: A Guide for Teachers and Singers, opera director William Ferrara offers the perfect resource for the dramatic preparation of opera scenes for directors and student performers. Topics include study and research, rehearsal planning, blocking, characterization, and costuming for four of Mozart’s most popular operas. He surveys basic concepts of opera acting and directing and provides a step-by-step guide to the rehearsal process. While much has appeared on the history and musical performance practice of the operas of Mozart, no guide to the directing and acting of his operas—with simple, concise staging instructions and practical information concerning casting, props, and costumes—has yet seen publication.