Singing, Acting, and Movement in Opera

by Clark, Mark Ross; Clark, Lynn V.

• ISBN13: 9780253215321
• ISBN10: 0253215323
• Format: Paperback
• Copyright: 2002-09-01
• Publisher: Indiana Univ Pr

Summary

Singing, Acting, and Movement in Opera: A Guide to Singer-getics is especially designed for use in opera and musical theatre workshops on the university level, 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 that encourages the student's active participation, with practical exercises and applications to well-known opera excerpts. The Singer-getics method emphasises the 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, characterisation, 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." This lively book will appeal to students, teachers, professionals, and general readers alike.

Author Biography

Mark Ross Clark is Associate Professor in the Indiana University School of Music. He has taught opera workshop for twenty years and has directed and produced more than fifty operas in professional and university venues.

Table of Contents

Foreword: A Message from Tito Capobianco	vii
List of Interviews	ix
Using the Guide	xi
PART I. PREPARATION
Body Awareness: Stretching for Flexibility and Power	1	(10)
Postural: Aligning the Body	11	(6)
The Expressive Face: Communicating Emotions Onstage	17	(7)
Character Study: Decoding the Clues to Character	24	(8)
Environment: Setting the Stage	32	(9)
PART II. INTEGRATION
Elements of Stagecraft: Learning the Language	41	(7)
Historical Etiquette: Bowing to Tradition	48	(8)
Improvisation: Unlocking the Imagination	56	(8)
Monologues: Talking Opera	64	(6)
Physical Analysis: Moving in Character	70	(9)
PART III. APPLICATION
The Aria: Making Choices	79	(8)
The Scene: Putting It All Together	87	(7)
The Opera: Preparing a Role	94	(10)
Performance Anxiety: Facing Fear	104	(7)
Careers in Opera: Stepping Out	111	(6)
Appendix A. Attitude Chart	117	(1)
Appendix B. Postural Alignment	118	(12)
Emily Bogard
Appendix C. Literary and Historical Background of Selected Operas	130	(9)
Appendix D. Stage Manager's Handbook	139	(6)
Appendix E. Stage Combat: Faints, Falls, and Fights	145	(4)
Bibliography	149	(2)
Index	151