Singer and Actor: Acting Techniques and the Operatic Performer

  • ISBN13:


  • ISBN10:


  • Format: Paperback
  • Copyright: 2011-11-01
  • Publisher: Hal Leonard Corp
  • Purchase Benefits
  • Free Shipping On Orders Over $35!
    Your order must be $35 or more to qualify for free economy shipping. Bulk sales, PO's, Marketplace items, eBooks and apparel do not qualify for this offer.
  • Get Rewarded for Ordering Your Textbooks! Enroll Now
List Price: $19.99


Current market forces in the performing arts, such as aging audiences, electronic media, and HD broadcasts, have changed the operatic landscape. Young opera singers entering the workforce find themselves navigating difficult and highly competitive waters. Previously ignored skill sets become assets - and, in many cases, requirements - in casting. But most singers graduate from college having never taken a formal acting class and knowing little about acting technique as it pertains to their craft. Singer and Actor demystifies theatrical acting technique stemming from Stanislavsky's Method of Physical Action and provides singers at all levels a roadmap with which to complete character preparation, using a clear and organized progression based on the work of Franchelle S. Dorn and exercises and examples (recitatives, arias, and ensembles). Singers (including choristers) are given the necessary tools to study roles from audition through rehearsal to final performance. Singer and Actor also provides a history of acting from its beginnings to the present day, including a survey of acting techniques from Stanislavsky, Meisner, Hagen, Strasberg, Larry Moss, and others. Drawing additionally on the writings of composers and other creators of opera, the book deals with the misconception that only the singing matters in opera and includes a discussion of previous approaches to operatic acting.

Author Biography

Alan E. Hicks, in nearly twenty-five years in the arts, has worked as a professional opera singer, award-winning stage director, and teacher of musical theatre and opera. He is a former faculty member of the Actors Studio Drama School and the American Academy of Dramatic Arts as well as schools of music across the country. His students have found success from Broadway to network television and from opera to major motion pictures. He lives in Iowa City, Iowa.

Table of Contents

Prefacep. ix
Acknowledgmentsp. xvii
Introductionp. xix
An Argument for Opera as a Theatrical Art Formp. 3
A Brief History of Acting Across Disciplinesp. 7
A New Model for Training Singersp. 27
An Acting Primer
The Method of Physical Actionp. 37
Imagination and the Magical, Creative Ifp. 43
Relaxation and Concentrationp. 47
The Importance of Listeningp. 55
Action and Feeling: Theatrical Synergy
Actionp. 65
Affective Memoryp. 69
Units, Bits, and Beatsp. 79
Objectives, Obstacles, and Actionsp. 87
Libretto Analysisp. 95
A New Process For Role Preparation
Preparing Auditions and Performancesp. 111
The Process and Recitativep. 161
"Being" the Third Girl from the Left-Acting for Choristersp. 173
A Word About Physical Appropriatenessp. 177
Epiloguep. 179
Selected Bibliographyp. 183
Indexp. 191
Table of Contents provided by Ingram. All Rights Reserved.

Rewards Program

Write a Review