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Opera workshop for the undergraduate: More than aria coaching
Janis, Christine Anne, D.M.A.
The Ohio State University, 1994
Copyright ©1994 by Janis, Christine Anne. All rights reserved.
UMI 300 N. ZccbRd. Ann Arbor, MI 48106
OPERA WORKSHOP FOR THE UNDERGRADUATE: MORE THAN ARIA COACHING
Document
Presented in Partial Fulfillment of the Requirements
for the Degree Doctor of Musical Arts in
the Graduate School of The Ohio State University
By
Christine Anne Janis,B.M., M.A.
*****
The Ohio State University
1994
Document Committee: Approved by
Prof. Marajean Marvin Dr. Robin Rice Dr. 0. Patrick Woliver Advise/School of Music Copyright by
CHRISTINE ANNE JANIS
1994 For Stephen
and
My Parents ACKNOWLEDGMENTS
I would like to thank Dr. Robin Rice for his constant encouragement and faith in my abilities. His teaching has inspired me in my efforts as a singer and teacher of singing. Special thanks to Marajean Marvin for her guidance and willingness to stay with this project even in her retirement. Gratitude is also extended to Dr. Patrick Woliver for stepping in as a reader at the last minute.
Finally, to my husband, goes my undying affection. His love, support and understanding made the completion of this document possible. VITA
October 6,1963 ...... Bom, Passaic, New Jersey
1985...... B.M., Music Education, Westminster Choir College, Princeton, New Jersey
1985-1989...... Jr. High School Teacher, Vocal Music Saugerties Schools, Saugerties, New York
1989-1991...... Graduate Teaching Associate Ohio State University, Columbus, Ohio
1991...... M.A. Vocal Pedagogy, Ohio State University, Columbus, Ohio
1991-199 2...... Graduate Administrative Associate, Ohio State University, Coiumbus, Ohio
1992-199 4...... Graduate Teaching Associate, Ohio State University, Columbus, Ohio
IV FIELDS OF STUDY
Major Field: Music
Studies in Applied Voice: Professor Helen Swank and Dr. Robin Rice
Studies in Opera: Professor Roger Stephens
Studies in Song Literature: Professors Eileen Davis, Marajean Marvin, Dr. Robin Rice and Dr. Patrick Woliver
Studies in German Diction: Professor Marajean Marvin
Studies in Vocal Pedagogy: Professor Helen Swank
Studies in Speech and Hearing Science: Dr. Michael Trudeau
Studies in Education: Dr. Jere Forsythe
Studies in Dance: Dr. Rosalind Pierson TABLE OF CONTENTS
DEDICATION...... il
ACKNOWLEDGMENTS...... Ill
VITA...... Iv
CHAPTER...... PAGE
I. REASONS WHY
Introduction ...... 1
Survey of Professional Singers ...... 2
Interviews...... 5
Summary...... 12
II. EDUCATIONAL MODEL
Description...... 13
Supportive Needs ...... 15
Conclusion ...... 17
APPENDICES
A. Sample Survey...... 19
B. Represented Schools ...... 22
C. Educational Model...... 24 vi Table of Contents (Continued)
LIST OF REFERENCES...... 119
vil CHAPTER I
REASONS WHY
INTRODUCTION
Opera is a multi-disciplinary art. Music, drama, and dance are woven together in this centuries old entertainment. The opera audiences of today are very critical and expect a great deal of realism. The advances of technology enable producers of opera to create more convincing sets and scenery and
more realistic climate conditions than in the past. Discoveries of diaries, journals, newspapers, and letters give producers historical insight and
background information on lifestyles, customs, and fashion trends of many of
the eras during which operas take place. Such knowledge helps in creating a
realistic backdrop for opera singers to perform against.
Considering the vast scope of opera and the high expectations of opera
patrons, those who sing in them must possess a wide range of talents and skills.
"A realized singing-acting performance requires a believable portrayal of
character, an enormous expenditure of physical energy, an extremely complex,
taxing, and technically difficult vocal delivery, and the comprehension and
coordination of a musical score..." (Balk, 1985, p.10)
The responsibilities of opera singers are tremendous. The voice must be
well-developed and of the quality and size suited to stage use. Next, the singer
must be able to sing the words. "...the human being who is able to fuse the
energies of words and music touches the very core of our collective being."
(Balk, 1985, p.10) A compelling singer-actor is one who sings with total 1 2 emotional commitment to the words. Still another responsibility for today's opera singers is the ability to portray vocally and through movement, a believable character.
The demands placed upon opera singers are numerous, making the task of educating them exceedingly difficult. Who should take on this job? The singer? The college or university? Yes, to both. A young, enthusiastic singer needs not only solid voice training, but also guidance and instruction in the many disciplines required of a complete singer-actor. An opera workshop program at a college or university is the perfect venue for such education.
Unfortunately, in the opinion of this author, many undergraduate opera workshop programs are not supplying young singers with the necessary tools to competitively enter the world of professional opera. The goal of this document is to demonstrate evidence, by way of a survey and interviews, which supports this opinion and to illustrate, through a year long educational model, a comprehensive, interdisciplinary curriculum for an opera workshop program at the undergraduate level.
SURVEY OF PROFESSIONAL SINGERS
To investigate the opinion that many opera workshop programs at the undergraduate level have a shallow and limited curriculum, a survey was conducted among some of the professional singers in the Columbus, Ohio area.
Please refer to Appendix A for a copy of the survey. The results of the survey
represent the opera workshop programs at seventeen colleges and universities
across the country. A list of schools represented by the survey can be found in
Appendix B. The responses were restricted to undergraduate experiences only
as many of those surveyed had gone on to graduate school and gained 3 additional instruction in opera performance techniques. All but one of those surveyed participated in more than one year of an opera workshop program.
For the survey, singers were asked to answer fifteen yes or no questions pertaining to topics of discussion or instruction in their opera workshop class. In addition, they were asked to list subjects discussed in their workshop classes which were not on the survey. Finally, the singers had the opportunity to indicate the areas in which they felt the least (or not at all) prepared for once they were working as professional singers. Detailed results of the survey follow.
As was suspected, 71% of those surveyed had an opera workshop curriculum based on aria coaching. 65% said they had instruction in scene study and performance, character development, and acting techniques. Those who had some acting instruction indicated, however, that it was very basic with limited time for exploration and practice. From this point, the percentage of students receiving instruction in more supportive areas of opera education drops considerably.
In the areas of dance or movement training and the Alexander
Technique, only 21% responded affirmatively. Several of those surveyed
indicated they had studied dance elsewhere and found it to be an important
component of their training. A rhere 12% had discussions on or exercises in
body awareness or kinesthetics.
Other questions on the survey dealt with auditioning. 24% were taught
about audition strategies, while only 18% participated in Mock Auditions for
practice. Audition dress and audition etiquette both received attention in the
curricula for 24% of those surveyed, while writing a good résumé and taking a
suitable head shot were topics of discussion for only 12%. 4 The issues of pre-performance nerves and concentration were addressed In 24% of the school programs. The final question pertaining to the physical and vocal health of the performing artist received an affirmative response from 35% of the singers.
Of the topics questioned on the survey, Mock Auditions, movement training, vocal health, résumé writing and nerves were listed by those surveyed as areas where they felt the least prepared when starting out. Topics other than those on the survey were also mentioned by some of the singers as beneficial
In the education of a young professional. These topics Included: stage make-up; marketing and self-promotion; shadowing a professional singer during a week of rehearsals and performances; singing In the original language, not an
English translation.
Although very small In scale, this survey supports this author's hypothesis that opera workshop programs at the undergraduate level expose students to little more than aria coaching and performing scenes. According to many survey respondents, they were given just enough Instruction to get by In scenes recitals and school productions. These and other opera workshop programs must decide what the purpose of their existence Is. Are they serving the educational needs of young performers or are they fulfilling arbitrary
requirements for a certain number of productions per year? Or, yet another
possibility, are the directors so out of touch that they believe aria coaching and
learning an opera scene provide enough training for the would be
professional? Whatever the case, opera workshop programs at the
undergraduate level must Include Interdisciplinary Instruction In theatre, dance
and music to develop the complete singer-actor. INTERVIEWS
Who hires young singers? What characteristics are they looking for?
What sets some singers apart in the eyes of those in charge of casting? To understand the viewpoints of production professionals, interviews were conducted. Four individuals, each with a different roie in the casting or direction of young singers, were asked about the level of preparedness they were seeing and hearing in auditions. Each was also asked to identify areas in which these singers were lacking in ability and characteristics which make certain singers stand out from the rest.
To represent the viewpoint of an opera director who is also responsible for auditions at the graduate school level. Dr. C. Patrick Woliver, Chair, Voice
Area, School of Music, The Ohio State University was interviewed. This author believed it was important to understand this perspective as many
undergraduate voice majors with their sights set on a singing career, go on to
graduate school. Their preparation at the undergraduate level may have a
significant effect on their acceptance to a top graduate program.
Much of what Dr. Woliver said related to the singer's level of "involvement
with the music". In an audition situation. Dr. Woliver feels it is necessary to see
and hear that the singer understands what the "bottom line" or emotional
meaning of the piece is. "What is the essence [italics added] of this phrase,
song, aria?" He also expressed the importance of conveying the drama of opera
through the voice. Dr. Woliver went on to say, however, "Generally, people are
too tied up with the technical things...I like to see people take more chances,
sing with more abandonment...Go out on a limb as far as the meaning goes." 6 As the interview progressed, the subject of movement and movement training came up. Dr. Woliver thought that movement within the context of an audition aria was acceptable if the movement was appropriate and not intrusive to the musical performance. He did say that knowing when to move and when to stay still and allow the voice to do the moving is an important skill for singers to learn. With respect to movement training, Dr. Woliver said, "One needs to know what physical abilities they possess...opera workshop is a time when you should be challenged and given freedom to express extremes in movement..."
In addition, the discussion turned to the topic of character portrayal and how important it is for young singers to thoroughly investigate the operas and especially the characters who sing the arias. He stressed the need to create real characters, but that this could only be done through research, creativity, and trying to relate personal experiences and circumstances to those of the character. Dr. Woliver added that realistic characters, "can only happen when you have an intellectual understanding of how the character ticks - the emotional underlinings."
The interview also touched on the issue of an ideal opera workshop program. To this. Dr. Woliver agreed with this writer that many opera workshop programs are not inclusive enough of the necessary skills in theatre and dance.
He talked about the usefulness and the benefits of daily physical body
awareness activities and acting instruction, but made a point of saying that
interdepartmental teaching is a concept more easily said than done in many
institutions.
An interview with Marc Verzatt, Stage Director, Chicago Lyric Opera was
done to hear the perspective of someone who works with young professionals
once they are cast. Similar to the interview with Dr. Woliver, Mr. Verzatt spent 7 the bulk of the time talking about the importance of communication of text and emotion.
"Young singers need to understand that in opera you are a communicator." He said that the best singers are those who "get the feeiing out" to the audience who is there because they want to share in those feelings. The commitment to communication must be there. Mr. Verzatt added that in auditions he silentiy chalienges singers to, "Touch me with the music and words. Do you mean [italics added] what you're saying? is it coming from your heart?"
As the conversation drifted toward characterizations, Mr. Verzatt stressed the importance of developing strong characters. The character should have an emotional background and emotional vocabulary as well as a historical background. " Find emotional connections to your personal life...it's okay to explore your feelings."
A singer must believe in what he/she is doing for the audience to beiieve
it as weli. However, there are those who feei threatened and vulnerable on the
stage. Mr. Verzatt said he reminds his singer/actors that because they are only
pretending to be someone else, they are safe. Because they are safe, their
character is free to take more chances. He suggested taking classes in acting
and improvisation to build confidence and promote freedom to explore.
Moving to the subject of the body and movement training, Mr. Verzatt had
this to say. "Get any kind of movement training - ballet, tap, aerobics.
Understand your body, how it works, and what it says to you." He feels that
young, inexperienced singers often feel and as a result look awkward on stage.
"They don't know what to do with their hands and feet." Being comfortable with 8 yourself and knowing what you are capable of can make moving on the stage much easier.
Finally, we talked about what makes certain singers stand out. Mr. Verzatt said that those out there making a living at singing are "very interesting and extremely energetic.” He said they are hungry for knowledge and experience.
They are not waiting for things to happen to them, they are making things happen for them. "You are responsible to make the best of what you've got - don't stand in your own way."
William Boggs, Associate Conductor, Opera/Columbus was interviewed to obtain the viewpoint of someone who works with singers from the orchestra pit. The interview began with the topic of auditions. Maestro Boggs said that he often hears young singers who come into auditions singing repertoire for which they are not suited vocally. He said it is usually an aria which is fifteen years or more in the future for them. "We want everyone to sing musically, but be realistic about what you can sing at the present time." Maestro Boggs also mentioned that it is necessary for singers to look at their physical characteristics realistically. "A 200 pound Butterfly may have worked twenty-five years ago, but
Americans are very visual people. They want realism on the operatic stage."
Continuing on the subject of auditioning. Maestro Boggs suggests that young professionals learn how to "scope out" the competition. Find out what types of voices certain companies like. He remarked that although you are used
to singing lead roles in one house, you may be better suited for the supporting
role in another house. He urges, especially the inexperienced singers, to take a
chorus part or a one-liner and ingratiate yourself with the company. Your
reputation on one job may get you your next. 9 On the topic of movement In an audition situation, Maestro Boggs said that if the movement added to the presentation of the aria it was acceptable. He did go on to say that if a singer uses movement and it is distracting because it is inappropriate, then he would rather see a singer stand still and convey the emotions and drama with the voice.
Finally on this subject. Maestro Boggs said that a singer should come to an audition with everything he/she knows. This is sound advice. Although the audition announcement said only one aria is required, you should bring all of them in case they like you and your voice enough to want to hear more. Do not pass up a chance to have people hear you sing.
As for the education of young singers. Maestro Boggs believes that memorization of a song or aria or recitative should be a weekly assignment for anyone interested in a professional career. He recited several stories of professionals who were called to sing a concert or opera on very short notice.
They had the skills and musicianship to learn or re-learn a score quickly and perform it successfully.
Maestro Boggs also thinks that many singers do not have enough acting experience. It is important to be able to act with the voice in opera. He said that the page will come alive through the words. The training for this can come from study in the legitimate theatre. Another area where he feels education is lacking is in the language skills of young singers. The diction is usually satisfactory according to Maestro Boggs, but the flow and inflection are not discernible. His suggestion is studying the language as a language, not how it is used in music.
“Learn how to speak it. Learn how it sounds.” 1 0 The discussion on language brought the interview to the topic of recitatives. Maestro Boggs stated that recitatives will either make or break you at an audition. "American singers are the best trained singers in the world, except when it comes to singing recitatives." The solution to this problem lies with language skills and as careful attention to learning recitatives as to arias.
The final interview conducted was with William Russell, General
Manager, Opera/Columbus. This perspective was very important as Mr. Russell regularly listens to auditions and judges at young artist competitions. The interview began with Mr. Russell expressing what he thought was lacking in the young singers auditioning for him today. He started off by saying that language skills were rather poor. He stressed the need for understanding the nuances of each of the sung languages.
The next area needing attention according to Mr. Russell is basic musicianship. He believes that students are too quick to learn arias and in their haste, mislearn notes and rests. They are not representing the composers in a favorable light. In this regard, he also thinks that students lack a sense of style when it comes to singing Mozart versus Puccini. Mr. Russell said that students should be required to listen to and compare different recordings of the same opera. In this way students hear various interpretations and begin to develop a sense of style. Mr. Russell brought up the issue of a working attitude. He feels that too many young singers have too much going on and cannot juggle their personal
lives and musical lives very well. Because of this, many will not succeed.
On the subject of auditions, Mr. Russell suggests presenting yourself in
the best possible light because auditions can and have been decided in the first
five notes. This means having repertoire which shows off the best parts of your 11 voice and are appropriate for your voice type and physical build. Do not include arias on your audition list that you do not sing consistently well. Someone will undoubtedly want to hear them. When you are singing at an audition, "Sing the essence [italics added] of the piece across to your audience". He, like the others who were interviewed, stressed the necessity of being able to express and communicate the meaning and emotions of the words with the voice. He also noted that it was important to "Let your judges see that you know what is going on when you are not singing".
During the conversation on auditioning, the topic of recitatives came up.
"Récits are about acting." Mr. Russell said that recitatives are harder to sing than many arias and in an audition situation, if a recitative is sung poorly, the singer is marked down a notch. To help solve the recitative problem, Mr. Russell suggests that opera singer educators teach classes in how to sing recitatives.
"Arias are the answers to all the questions brought up in the récits. The aria is
one or two colors, whereas the recitative is the whole rainbow."
Mr. Russell thinks that an opera workshop program provides the perfect
opportunity for young singers to test their wings and experiment. He also
believes that future opera singers must search beyond the opera workshop
setting for a more rounded education. He feels that art, history, music theory,
and dance classes give the students more tools to use during their careers.
"The singer that gets hired has all this other stuff in addition to singing well. This
separates the wheat from the chaff." 1 2
SUMMARY
The similarities between the interviews is rather striking. All four
Individuals emphasized the importance of communicating the text and the music. They also agreed Independently, that the young singers coming out of college and university music programs are not getting the necessary training in language skills, movement, and acting.
If future opera singers are not getting the training they need to succeed at the college or university level, where are they going to get it? A certain amount of this knowledge can be acquired through experience. However, many apprentice programs which can provide such experiences do not accept many inexperienced singers. The only young singers who are accepted into these apprentice programs have unusually well-developed voices. Those singers who perhaps are slower to mature vocally should be given the same type of opportunities but in the college setting.
The world of the opera singer Is very competitive. One must begin his/her preparation as early as possible. This preparation must be vast in scope because, as our four professionals said, in one way or another, it is a limitless and highly creative job. An opera workshop curriculum containing
interdisciplinary instruction for the undergraduate voice student is the place to
start. CHAPTER II
EDUCATIONAL MODEL
DESCRIPTION
The need for more interdisciplinary education for aspiring opera singers has been illustrated by the sun/ey and interviews discussed in the previous chapter. Professional singers and opera production-related professionals have clearly expressed the feeling that a majority of young singers at the undergraduate level are not adequately prepared. This is not to say, however, that comprehensive opera workshop programs for undergraduates do not exist.
It is merely the opinion of this author that more need to be developed to address the needs of a larger student/singer population.
To illustrate such an interdisciplinary, comprehensive opera workshop program, a year long educational model has been created. The model is based on two fourteen week semesters at an undergraduate college or university. It is assumed that the class will meet for two hours each Monday, Wednesday, and
Friday. Students must commit to participating in both the fall and spring semesters.
The workshop program is designed for approximately twelve
undergraduate junior and senior year singers. Enrollment is limited to juniors
and seniors for several reasons. First, many students are not vocally prepared
for the vocal demands of an opera workshop program until the junior year.
Second, the music curricula for freshman and sophomore students are often so
packed with theory, solfege, and music history classes that they do not have \ 3 1 4 the time. Third, without such supportive studies, many singers are not inteilectually prepared.
It is expected that the singers will have varying backgrounds in performance experience and varying levels of vocal proficiency. Consideration for returning students has been designed into the curriculum. Those returning will only benefit from further exploration into acting and body awareness techniques as well as character development and performing. They will be encouraged to take more risks and chances with the voice and the body. The performing artist is an ever-evolving creature. No one ever stops learning about him/herself or this art.
The fall semester's topics of discussion progress from acting exercises to score study and style to stage directions to character development and the Fach
System to body awareness techniques and finally audition strategies. The fall semester culminates in Mock Auditions. These Mock Auditions will be video taped for a later conference between student and teacher. For those preparing to audition for graduate schools and/or apprentice programs, the Mock
Auditions will give them practice and will let each singer know in which areas he/she needs to improve. From the instructor's point of view, the Mock Auditions will be used to evaluate students for a fall semester grade and will also serve as an audition for the Opera Scenes Récitai to be held at the end of the spring semester.
The spring semester wili begin with a discussion on how to market
oneself as a performing artist. Topics then move to vocai and physicai health,
more body awareness exploration, theatrical terminology, stage make-up,
costumes and props, stage combat, and extensive rehearsal time for the Opera
Scenes Récitai. For the spring semester, each student will be evaluated on 1 5 their basis of character development, musical preparation and stage deportment in the Opera Scenes Recital and the overall progress made since the beginning of the school year.
Each class session has its own lesson plan. Each lesson plan will outline; topics of discussion; a comment section which will contain some lecture material; activities or exercises to practice; supportive needs such as texts, props, or guest faculty; and assignments. Many topics require more than one class period for adequate discussion and practice. Careful attention has been paid to the pacing of each class and of each semester. Please see Appendix 0 for the complete educational model.
SUPPORTIVE NEEDS
To implement a comprehensive, interdisciplinary opera workshop program as has been described requires assistance from faculty of other academic departments, other personnel, and it also requires certain performance and rehearsal space considerations.
Ideally, this program would have its own small theatre seating approximately seven to eight hundred people. Daily classes, staging rehearsals and performances would all take place in one facility. If such a space is not available, a large classroom with floorspace close in size to the performance hall would also work well. During the rehearsal period in the spring semester when two rooms are needed, the addition of the studio of a voice teacher or
coach/accompanist would be sufficient.
The only staffing required on a consistent basis would be a pianist and of
course, the opera workshop instructor. The pianist could be a graduate
assistant in the piano department. The assigned pianist would arrive at the 1 6 beginning of every class period to receive instructions. If his/her services are not needed for that day, he/she may choose to leave or stay and participate in some of the theatre or body awareness exercises. A second pianist is needed during the opera scenes rehearsal period during the spring semester. Again, this pianist may be a graduate assistant or a staff coach/accompanist.
Other staff would be in the form of guest faculty. Someone from the
Dance department familiar with the Effort-Shape System of Laban would be
needed for four classes during the fall semester and two classes during the
spring semester. An instructor from either the Dance, Music, or Physical
Education department trained in the Alexander Technique would also be
needed periodically during both semesters. Approximately four or five voice
faculty would be needed to serve as judges on the Mock Audition panel at the
end of fall semester.
Hopefully, a close working relationship with the Theatre department
would exist since music and theatre are so interconnected. Two guests from the
Theatre department, one to teach stage combat, the other to demonstrate stage
make-up techniques, would be required for the spring semester of this model. In
addition to sharing faculty with the Theatre department, the opera workshop
program would also perhaps share a performance/rehearsal space, costumes,
props, set pieces etc.
Support from the library would be crucial to the success of this program.
Students will need access to opera scores, recordings and translation books in
preparing works for this course.
Students who are serious about a career as an opera singer will need to
supplement their education outside of the opera workshop classroom. It is
imperative that students have a working knowledge of the three major sung 1 7 languages - French, German, Italian. A minimum of one year of study in each of these languages should be a requirement. Studying diction as it relates to the singing of these languages is also necessary. Finally, students should prepare themselves with literature and music history courses.
CONCLUSION
"Composers and librettists conceived of opera as a total art fusing theatrical and musical skills..." (Helfgot, 1993, p.ix) Many opera workshop programs do a good job of developing the musical skills, but often neglet the theatrical aspect of the art. Those educators given the responsibility of teaching future opera singers must remember that the opera performers of today are required not only to sing beautifully and with emotion, but also to portray believable characters. The opera education courses that many colleges and universities offer to their students must change to serve the growing expectation of the opera world. Interdepartmental teaching along with teachers who are willing to learn more and go beyond the norm will give these students a better chance of succeeding in such a competitive career. APPENDIX A
SAMPLE SURVEY
1 8 1 9 UNDERGRADUATE INSTITUTION______
Please respond to the following questions as they relate to your undergraduate opera workshop experience.
1. Was the opera workshop for undergraduate students only? Y N
2. Did you participate for more than 1 year? V N
if yes, how many years?______
Did the curriculum contain instruction in:
3. Aria coaching? Y N
4. Scene study, preparation and performance? Y N
5. Character study and development? Y N
6. Acting/theatre exercises? Y N
7. Information/introduction to Alexander Technique? Y N
8. Dance &/or movement training? Y N
9. Exercises in body awareness - kinesthetics? Y N
10. Was there a unit on audition strategies and techniques? Y N
11. Did you do mock auditions? Y N
In reference to auditioning did you discuss:
12. Audition dress? Y N
13. Résumé writing? Y N
14. Head shot/publicity photo? Y N
15. Audition etiquette? Y N
16. Were the issues of pre-performance nerves and concentration addressed? Y N 20 17. Were the issues of physical and vocal health for the performing artist discussed? Y N
18 If your opera workshop experience included topics not addressed in this survey, please outline them below.
19. Reflecting on your undergraduate experience and what was expected of you later as a professional performer, what could have been included in your opera workshop experience to make your preparation more complete? APPENDIX B
REPRESENTED SCHOOLS
2 1 22
REPRESENTED SCHOOLS
Baldwin Wallace College
Baylor University
Bob Jones University
Bowling Green State University
Bucknell University
Capital University
Central Missouri State University
Friends University
Heidelberg College
Murray State University
Ohio Wesleyan University
Oklahoma State University
Otterbein College
Simpson College
University of Kansas
Westminster Choir College
Wright State University APPENDIX C
EDUCATIONAL MODEL
23 24 FALL SEMESTER
WEEK 1 CLASS 1
TOPICS: Body Awareness Theatre Exercises
COMMENTS:
To be an effective performer in musical theatre, whether opera or the Broadway musical genre, one must develop skills in acting and movement in addition to vocal training. The operatic world today is more demanding of its singer-actors, requiring them to be able to portray realistic characters as well as display vocal mastery in many different musical styles. On this subject, Daniel Helfgot (1993) writes:
Most opera performers receive the message that they are on stage
primarily to sing instead of perform...The result is that opera singers in
training receive instruction in little other than vocal technique. When
called upon to act, they hide behind their need to produce sound. This
retards the development of opera and cheats composers, librettists, and
audiences of complete realization of the audiovisual nature of the art.
(p.ix)
Body awareness is also very important for the performing singer-actor. Our instrument is our body. Our body is our self. "By becoming aware of our body we give ourselves access to our entire being - for body and spirit, mental and physical, and even strength and weakness, represent not our duality but our unity." (Bertherat, 1982, p.xi)
ACTIVITIES:
1. Preliminary Awareness - Lie flat on your back, arms alongside the body, palms facing up. Close your eyes and listen to the environmental sounds. Tune in to your breathing - feel the breath come in and go out. Now observe, notice, your body - Where do you contact the floor? Where are your heels? calves? pelvic bones? How many vertebrae are touching the floor? Are your shoulder blades even? Is your head tilted? Feel its weight against the floor. Is your jaw clenched? Relax the tongue. Concentrate again on your breathing. 25 (This exercise is good for developing focus and also for relaxation and stress reduction.)
2. Name Volleyball - The class is divided in half making two volleyball teams. The net and ball are mimed. The instructor acts as umpire and scorekeeper. The "server" calls the name of the person (Bob) to whom the ball is coming. He (Bob) in turn "hits" the ball either to a teammate or back over the net calling out the next receiver's name (Sue). The same rules apply as in real volleyball. Stumbling on a name is the equivalent of a dropped ball.
3. Honey Walk - A large, open space is required - free from obstacles. Divide the class into two groups - one group does this activity at a time unless the space is very large. Class stands in a line across one end of the room - approximately three feet apart. Eyes are closed. The instructor leads the class in an imaginary journey through different liquids. You must imagine that you are submerged in these liquids but your breathing is not impaired in any way. It is important to walk slowly feeling the way the muscles react to the various liquid thicknesses. Suggested liquids - water, vegetable oil, motor oil, honey, jello, tar, wet cement. To finish the exercise tell students that the cement is hardening so they finish their walk mid-stride.
(The exercise works both for body awareness and also physical creativity.)
ASSIGNMENT:
Prepare a song or aria to sing at the next two class meetings. Half of the class will sing one day, half will sing the next. 26 FALL SEMESTER
WEEK 1 CLASS 2
TOPICS: Body Awareness Theatre Exercises In-class Performances
COMMENTS:
The purpose of the in-class performances is to help the class members get acquainted further and to give the instructor an idea of current levels of achievement in performance practice among individual participants. Before we hear the first singer, we will have a short period of body relaxation.
ACTIVITIES:
1. Preliminary Awareness - Sit in a chair, feet flat on the floor, back against the back of the chair. Close your eyes. Feel the contact points of your body against the chair and your feet on the floor. Without slumping in the chair, begin to feel your weight increasing on the seat. Your arms now hang at your sides and are also getting heavier. Starting with the feet, begin to relax each body part - feet, ankles, calves, knees, thighs, hips, lower back, shoulders, wrists, fingers, neck, jaw. Breathing should remain steady throughout. Once completely relaxed, stay in this position and focus on your breathing for a short while.
(This exercise helps students identify common tension spots in the body.)
2. in-class Performances - The class is instructed to notice movement/gestures, facial expression, eye focus, vocal colors, emotional expression. It is important to begin watching and listening for things you like and dislike in a performance whether it be a classmate or a professional performing. We learn a great deal from observation.
3. Name Volleyball - same rules - see class 1 week 1
4. Changing Bali Toss - Class stands in a circle. The instructor "throws" an imaginary tennis ball to a student. The "tennis ball" is tossed around the circle until the instructor call out a different type of "ball". The weight and speed at which the "ball" is thrown wili change. Types of bails - tennis, golf, ping pong, bowling, and medicine balls, basketballs and baseballs.
(This activity promotes thought about muscle/body control.) 27 ASSIGNMENT:
Remainder of class will sing next time. 28 FALL SEMESTER
WEEK 1 CLASS 3
TOPICS: In-Class Performances Theatre Exercises Body Awareness
ACTIVITIES:
1. Oooh - Aaah - The class and instructor stand in a circle. The instructor "throws" a physical action accompanied by a nonsense sound to a student. That student must return the action and sound to the instructor then "throw" a different action and sound at someone else. It is important to copy the action and sound exactly. The participant who makes a mistake begins the new series. There should be continuous flow - no stopping for premeditation of what to "throw".
(This activity is great for encouraging creativity and spontaneity, discouraging inhibitions and sharpening observational skills.)
2. In-Class Performances - Instruct class members to continue their observations of each performer taking note of likes and dislikes.
3. Mirror - This exercise is done in pairs. The activity requires one member of the pair to mirror the gestures and movements of the other. You can look only into your partner's eyes, not at the moving body part(s). After several minutes, change ieaders.
4. Preliminary Awareness - Find a comfortable position either sitting in a chair or on the floor or lying on the floor. Inhale deeply a few times and relax. The instructor will begin clapping a steady pulse - tune in to it. With the word IN inhale slowly until you hear the word OUT at which time you will exhale slowly. The instructor will vary the number of beats per inhalation and exhalation.
(The purpose of this exercise is to demonstrate the effect irregular breathing has on the body. Nerves often cause breathing to become shallow thereby affecting the singing voice.)
ASSIGNMENT:
Wear loose and comfortable clothing to class next week. Also come to class warmed-up vocally and have a piece to sing should you be called upon. 29 FALL SEMESTER
WEEK 2 CLASS 1
TOPICS: Theatre Exercises Body Awareness Singing with Body States
COMMENTS:
"A singer should be able to 'act' with the voice alone when singing." (Helfgot, 1993, p. 148) The importance of being able to communicate emotion with the voice can not be stressed enough. Often the goal in the studio is the beautiful, warm, round, perfect sound. Unfortunately the world of opera requires that singers be able to produce a range of tones. "Every voice has many shades of expression, but singers are often petrified at the thought of using them all, because some may seem less than stunningly beautiful in the mind of the singer." (Helfgot, 1993, p. 148) For the young singer, experimenting can be intimidating. We must keep in mind, however, that to be a complete singer-actor in opera today, one must be willing to use both body and voice as tools of communication.
ACTIVITIES:
1. Honey Walk - see class 1 week 1 Use a wide range of motion with the body so this exercise can serve as a body warm-up.
2. Machines - One person begins by performing a simple repetitive action whiie making a nonsense sound. One by one each class member adds on to the machine with an individual motion and sound.
(An exercise like this helps build group unity through iearning how to work together.)
3. Gibberish - The class pairs up and spreads out around the room. Each pair will have a conversation in gibberish. Vocal Inflection is very important. Limit use of the hands and gesturing so you are not tempted to pantomime what you are saying. The instructor can focus topics of discussion - a vacation, a funny story, how the day has been etc.
(Once students get over feeling silly, this exercise is good for working on "acting" with the voice.)
4. Singing with Body States - A student sings part of a song or aria as he/she normally would. The instructor then whispers a type of body state into the 3 0 student's ear. The singer then translates the given body state into either a posture or energy condition and sings part of the song again. The class should try to notice physical and/or vocal changes in the performance. Examples of body states - stiff, perky, solid, numb, spry, dense, buoyant.
ASSIGNMENT:
Begin "people watching." Take 5 minutes out of your day to stand or sit in a public place and watch how people move. Is there a difference between men and women, young and old? 3 1 FALL SEMESTER
WEEK 2 CLASS 2
TOPICS: Theatre Exercises Body Awareness Singing with Body States
ACTIVITIES:
1. All Over Stretch - Lie on the floor with legs bent so that feet are flat and the small of your back is touching the floor. Take a few cleansing breaths, releasing them slowly. Raise right arm behind the head, palm up, and stretch. Release. Repeat right arm stretch while extending the left leg. Focus on the cross body stretch. Release. Repeat sequence with left arm, then left arm right leg.
2. Age Walk - Everyone stands in a circle - arms reach space between each person. Begin walking around the circle noticing your own personal movements - steps, arm swing, head. The instructor will then call out an age which you must represent in your walk. Again notice your movements. How did they change? Are you tensing anywhere? Ages can range from 3 - 80.
(This exercise will help develop body control. It will enhance physical characteristics of opera characters - especially the comprimario and character roles we may be asked to portray.)
3. Changing Ball Toss - see class 2 week 1 As a variation have students "throw" the balls while they are acting at different ages.
4. Singing with Body States - see class 1 week 2 32 FALL SEMESTER
WEEK 2 CLASS 3
TOPICS: Body Awareness Theatre Exercises Singing with Body States
ACTIVITIES:
1. Preliminary Awareness - Breathing exercise - see class 3 week 1 Be sure to give sufficient time for students to relax and calm their breathing to a normal rate before continuing with another activity.
2. Halftime Show - The object is for the class as a whole to move together to form a giant letter or a short word. This must be done, however, without speaking or using hand gestures to direct the crowd. The instructor chooses either the letter or the word. A time limit can be established after a few attempts.
(This is another activity which helps to build a sense of teamwork.)
3. Mirror - see class 3 week 1
4. Gibberish - see class 1 week 2
5. Singing with Body States - see class 1 week 2
ASSIGNMENT:
On a sheet of paper, not to be turned in, outline your method of learning a song or aria. What outside sources do you regularly refer to? Is your method altered in any way if the song is in another language? 3 3 FALL SEMESTER
WEEK 3 CLASS 1
TOPICS: Score Study Techniques Theatre Exercises
COMMENTS:
The process of studying a musicai score is often cheated by young singers. Uniess a thorough, comprehensive method is taught early on, and is foliowed religiously, most of the time we sing the song or aria over and over again until we think we "know" it. Singers need to remember that the vocai line is not the only line, but one that interacts with many. Opera composers intended for the vocai line to integrate with the orchestral parts to create a complete musical experience for the listener. It is important for the singer to know as much as possible about his/her music. For now, we will concentrate on the musical and linguistic aspects of your songs and arias. Later on we will discuss topics such as historic background, libretti, and character development. To gain a more meaningful understanding of the composer's intent, score study should really be a dissection of the musical page. The music can tell us so much if we look at all of it, not just the sung line. From music we get energy and mood, timing, formal construction, and informative tools to aid us in interpretation. Tonalities, melodic contour, harmonic progression, instrumental timbres, themes and motives also speak volumes if we know how to listen. The first thing you should do when learning a new aria is listen to it several times following along in the full orchestral score. With each hearing, focus on a different instrument or section of instruments, focus on dynamics of the singer and the orchestra. Are there instruments which double the voice part? Do any instruments play in duet with the singer? Where do tempo changes occur? Are they sudden or gradual? Look and listen for answers to these types of questions. Now compare your score, if it is a piano/vocal score, with the full orchestral score. Check it note for note and dot for dot. Check too for dynamic and tempo markings. Many times piano/vocal scores omit or misprint notes and marks from the full score. Once you have established that your score is accurate or have made the necessary corrections, you can begin the process of learning the aria. Study the rhythm. Are there fast, complex, or syncopated rhythms? If so, think them through carefully and put the counting in above the vocal line. When we first learned to read rhythms we put in the counts, so why not now? Learning it correctly now is better than re-iearning it later. Remember also that rhythm pertains to sound duration and silence. Practice the rhythm separate from the melody until it is flawless. "A singer's first duty is to sing the music as it is written 34 and to give to every note the value that the composer has given it." (Croiza, 1989, p.36) With the rhythm secure, look at the melodic line. Are there sequences, recurring motives, large intervals or chromatics? Are there repeated phrases varied only by articulation marks such as staccatos and slurs? Where are the dynamic contrasts, crescendos, and diminuendos? Is your melody an extension of an instrumental line? Is your starting pitch easy or hard to find? If it is hard to find, what can you listen for to help you? The next step is to put rhythm and melody together - slowly. Work on short sections at a time. Master one phrase before you go on to the next, it is not always necessary to sing all the time. The learning in these beginning stages can be done by playing on the piano and humming along. Remember you are learning the notes. Once the notes and rhythms are secure, then you begin getting the tune "in your voice".
ACTIVITIES:
1. Class discussion of personal habits related to learning a song or aria. Make sure students give reasons for doing the things they do. Sharing such information among peers and colleagues is an important method of iearning. Glass members should have brought written descriptions of their learning techniques.
2. Oooh - Aaah - see class 3 week 1
3. Machines - see class 1 week 2 As a variation have the class make a machine with child-like movements or the movements of and elderly person.
(With this variation, students continue to experiment with range of motion and also muscular function when representing someone of another age.)
4. Halftime Show - see class 3 week 2
ASSIGNMENT:
Continue bringing songs and arias to class. Next time we will experiment with singing with varying attitudes. 35 FALL SEMESTER
WEEK 3 CLASS 2
TOPICS: Score Study Techniques Theatre Exercises Singing with States of Being
COMMENTS:
In our previous class we discussed methods for learning the notes and rhythms of a new song or aria. Once we know these fundamentals we then must continue our study of the score by looking at phrases and phrase shapes. Can you negotiate each phrase on a single breath or will you need to find a suitable breaking point? Are high notes located in awkward places within the phrase such as at the very end, or perhaps starting the phrase? Does the dynamic change during the phrase? It is important to keep in mind that breaths are also part of the phrase. Practice each phrase on a comfortable vowel working toward singing the line with beautiful tone, spin, shape, and accurate dynamics. Now link together a group of phrases which perhaps constitute the A section. Proceed to work on larger sections at a time. This process begins to give you more of a sense of flow and structure while also giving you clues about the vocal intricacies and stamina required for this piece. Careful, meticulous study of this nature may seem elementary but it builds musicianship and makes the task of memorization much easier.
ACTIVITIES:
1. All - Over Stretch - see class 2 week 2
2. Mirror - see class 3 week 1 For a more advanced variation, one partner will begin leading the mirror exercise but the leaders will change without anyone saying anything. The other partner will, without breaking the flow, become the leader. At this point in the development of this exercise, students should begin to experiment with movements other than arms and head. Taking steps and turning to the side are acceptable as long as eye contact is maintained.
3. Age Walk - see class 2 week 2
4. Group Mime - This activity needs a group of five or six people. The group must work together to accomplish a mimed task. This requires everyone participating to watch and be aware of all that is going on. Today's tasks - Move a huge rock Flip a gigantic tortilla 3 6 5. Singing with States of Being - Students will be asked to sing their song (on a neutral syllable such as ma, la, lo) representing different states of being with the voice and the body. The class should try to figure out what state the singer is in. States of Being - ecstatic, drunk, depressed, cute, happy, weepy, wimpy, tired, angry, sexy, maniacal, sarcastic, snotty.
(This exercise ailows the student to continue experimenting with vocal colors and also with gestures related to different moods.) 37 FALL SEMESTER
WEEK 3 CLASS 3
TOPICS: Translations Theatre Exercises Singing with States of Being
COMMENTS:
Let us continue with our score study techniques by discussing the area of translations. Where do you find translations? Do you trust that the translations found in piano/vocal scores are accurate? Do you look up every word? There are several places where you can go for help with your translations. To start, read the translation printed in your score. It will give you a general idea of what you are singing about. Next, go to the libretto found with the recording. This wiil often be more accurate. You can also find translations to the more famous arias in bound volumes in the library. The same is true for a good amount of the vocal art song literature. Another method is asking a Teaching Assistant in the language department for help. Better still, however, is learning the language. Any serious opera singer needs to be proficient in at least one of the major sung languages - Italian, French, German. Take classes, weekend submersion courses, private lessons - anything to iearn the basics of sentence structure, verb tenses and conjugations, and vocabulary. Use a dictionary. It may take forever, but you eventually begin recognizing and remembering words. The importance of having an accurate translation can not be stressed strongly enough. "A singer must understand much more than the general meaning in the text...it is not enough to know what the sentence means." (Dornemann, 1992, p.39) We must start with what the sentence means, then we must look for underlying meanings. The more we dig and use our imaginations, the more choices we will have with our interpretation. "You need to translate your languages into your being and into your heart, your eyes." (Dornemann, 1992, p.43)
ACTIVITIES:
1. Changing Ball Toss - see class 2 week 1
2. Where Were You? - This exercise is for one person. He/she mimes where he/she has come from and where he/she is now. Example - From the circus to the beach From the library to the grocery store The students can be coached on locations at first, but then they should come up with places on their own using their own creativity. 3 8 3. Singing with States of Being - see class 2 week 3
ASSIGNMENT:
Begin writing out translations to three pieces (songs or arias) which are relatively new to you. Use the following format :
Batti, batti o bel Masetto Beat me, beat me oh handsome Masetto 2 blank lines La tua povera ....etc.
These will be checked. They are not due for a few weeks. Use as many resources as you need to come up with as accurate a translation as possible. List your resources for each translation. 39 FALL SEMESTER
WEEK 4 CLASS 1
TOPICS: Translations Theatre Exercises Singing with States of Being
COMMENTS:
Once you have an accurate word for word translation of your text, the next task is making it mean something to you - something you can identify with. Read the translation over and over again. Read it aloud. Put it into your own words. Write them below the word for word translation. Read this version dramatically. Are the words conjuring up images and feelings for you? Is the text descriptive of a person or event? Is it expressing an emotion? The character's emotions? Have you ever thought or felt anything similar to what is expressed in the text? Use your imagination to create or re-create a similar scenario. Remember though, "Imagination can only enrich Interpretation if it is backed by an intimate assimilation of the text." (Croiza, 1989, p.55) You must have a running English translation in your head while you sing in a foreign language. Your thoughts must be on what you are saying. Having a clear understanding of what the text means to you is only the start. The real challenge comes in using the music, words, imagination and emotional energy to communicate the meaning of the music to your audience. "A singer's life in the art of opera should be a continual search for meaning and the best way to communicate it." (Helfgot, 1993, p. 12) Look at each musical phrase with the text. How did the composer set the text? Why did he do it that way? How does the music speak or reflect the text? Does the music contradict the mood of the words? If so, was that a choice made by the composer and why? Is there repetition of text anywhere? Does the composer treat the repetitions differently? If so, why? If not, why? Will you make the repetitions different somehow? Why is the text repeated? How can you use the music to express the meaning? Make choices about vocal colors. Allow yourself to experiment. Tape the different versions and listen critically. Did you communicate meaning? "The moment singers emit sounds rather than meanings, they are not performing opera, they are doing something else - something parrots can do." (Helfgot, 1993, p. 12)
ACTIVITIES:
1. Honey Walk - see class 1 week 1
2. Oooh - Aaah - see class 3 week 1 40 3. Gibberish - see class 1 week 2
4. Where Were You? - see class 3 week 3
5. Singing with States of Being - see class 2 week 3
ASSIGNMENT:
Keep working on your translations. Now add, on the first blank line I asked you to leave, the translation in your own words. The pattern, by lines, will then be:
Foreign language Word for word Your own words Blank line 4 1 FALL SEMESTER
WEEK 4 CLASS 2
TOPICS: Character Development Theatre Exercises
COMMENTS:
We have talked about how to dissect an aria or a song by looking at various parts of the score. (We will focus our discussion now on arias, although many of the points we will talk about can be applied to art song.)Where did the aria come from? An opera. The aria can have so much more significance to you if you trace the character from the beginning of the opera to the point where he/she sings the aria. Where did the idea for the opera come from? Was it an original story? An adaptation of an existing drama? Was it a play or a novel? Is it based on historical fact or legend? The possibilities are numerous to say the least. In order to create a well-rounded, believable character, you must dig into the historical background of the opera itself. Where do I find out what it is based on? Often, the source of the libretto is printed on one of the first few pages of the score. If not, look it up in a dictionary of opera or one of the many books which contain opera stories. If it is based on a play, read the original play. If the story is based on an actual event in history, read up on what happened, when, where, how. If the opera depicts a specific historical period, read as much about the customs, clothing styles, foods, etc. as you can. Watch films depicting the same period - anything to learn about that particular time and place. The famous actress and teacher Uta Hagen (1973) said:
If you can't go abroad, or even visit places like Independence Hall in
Philadelphia, or Salem, Mass to find a variety of historical
experiences, you can still read biographies and histories. Read them
until you know you've lived in those rooms with those people, eaten that
particular food, slept in that strange bed behind those curtains; danced,
jousted and tilted with the best of them. (p.30)
Research of this kind takes a great deal of time. This is not meant to discourage you but to encourage you to want to be as complete a singer-actor as possible. Create interesting lives for the characters that you will portray. Know what happened to him/her the day before, the year before, the minute before the audience sees him/her on the stage. You should know everything 42 there is to know about your character - whether it is something you have created or something which you found from your research. On this very subject, Boris Goldovsky (1968) wrote:
To mold himself into an expressive acting instrument, a singer must first
learn to lend his intellectual and emotional resources to the character he
is portraying. He must force himself to think the thoughts of that character:
not only those thoughts he is required to speak or sing, but also unwritten
thoughts... (p.17)
This kind of background work is well worth the effort because you will create characters that are believable to your audience.
ACTIVITIES:
1. Halftime Show - see class 2 week 3
2. Machines - see class 1 week 2
3. Group Mime - see class 2 week 3 Today's tasks - Build a log cabin Move a stack of hay bales to the other side of the room
4. Where Are We? - One person begins miming an action and an object to show the class where he/she is. As class members identify the place, they may join in to help reinforce the where by making it more specific. The instructor can give suggestions or individuals can come up with their own ideas.
ASSIGNMENT:
In addition to your translations, start writing descriptions of the characters who sing your arias. If you are working on art songs, create a character and describe him or her. Include as many details as you can. The more vivid the better. 43 FALL SEMESTER
WEEK 4 CLASS 3
TOPICS: Character Development Theatre Exercises Body Awareness
COMMENTS:
As we have stated earlier, creating a character takes time, research, and imagination. To help you with your characters, think about the following questions. You should be able to answer all of them using the libretto.
Who am I? What time is it? Where am I? What surrounds me? What are the given circumstances? What is my relationship to those around me? What do I want? What is in my way? What do I do to get what I want?
Boris Goldovsky (1968) categorized personal characteristics into a Primarv set and a Secondary set. Primary characteristics are the potential emotional range a person has - his/her thoughts and feelings. The secondary characteristics are his/her place in time, location, social class, family, income, needs, habits. When a singer-actor portrays a character, he keeps his personal primary characteristics but exchanges his secondary characteristics for those of the character. The purpose of the detailed background search of a character is so that you can substitute the secondary characteristics. The primary set will always be your feelings, your thoughts. You hopefully will have found a way to connect your personal life experiences and therefore the emotions that accompanied them to the life of your character. If you have made specific choices about your character and his/her role in the opera, bringing that character to life is your next step.
ACTIVITIES:
1. Blind Walk - This exercise is done in pairs. One person is blindfolded. The other person has the job of leading the blind one around the building or, if weather permits, outside. This leading should be without touching, just verbal directions. At first, students might want to limit the activity to just one floor of the building before venturing outside. After about ten minutes, the partners should 44 switch roles. When both have had an opportunity to lead, return to the classroom. Discuss what happened. Were your other senses heightened because you could not see? Did your body react differently to changes in the walking surfaces? Was your breathing affected at all?
(This exercise is meant to alert students to the fact that we have other senses and that they can tell us a lot of information. The body will also react in a different manner. Hopefully the students will be sensitive enough to it.)
2. Mirror - see class 2 week 3
3. Where Were You? - see class 3 week 3
4. Where Are We? - see class 2 week 4
SUPPORTIVE NEEDS:
Scarves, towels, something for blindfolds
ASSIGNMENT:
Bring in one of your translations - completed. Also bring in a character description as it pertains to the character who sings that aria. You may be asked to sing the aria in class - prepare accordingly. 45 FALL SEMESTER
WEEK 5 CLASS 1
TOPICS: Character Development Improvisation
ACTIVITIES:
1. Character Discussion - The first hour of class will be a discussion of the character descriptions that students have written. Students are encouraged to ask questions about the descriptions and challenge some choices, in addition to discussing some characters, we will also review translations of arias. Students will be asked to speak their personal translation as well as the word for word. Again the class will be encouraged to ask questions about meaning or emotional intent etc.
2. Coaching Arias - A few students will have the opportunity to sing through the arias which were discussed earlier. The class will listen and watch for communication of the text. This is a preliminary hearing as most of the material will be relatively new. These same arias will be worked on during class time with regard to emotional and textual communication.
3. Bus Stop - Two students will act out a scene at a bus stop. The only clues they are given are where they are and who they are to each other. In this exercise you are allowed to talk. Tell us where this bus stop is. Where are you going? What is the weather like? Use your imagination to make it interesting. Suggested relationships - Parent/Child HusbandA/Vife 2 Friends Escaped Felon/Old Lady
ASSIGNMENT:
Same assignment as for this class period. Bring translations, character descriptions and music. 46 FALL SEMESTER
WEEK 5 CLASS 2
TOPICS: Character Development Improvisation
ACTIVITIES:
1. Character Discussion - see class 1 week 5
2. Coaching Arias - see class 1 week 5
3. Oooh - Aaah - see class 3 week 1
4. Improvisation - Two or three students can participate at a time. The only information they are given is their setting. The rest of the scene is improvised. Suggested settings - Bullfight, Paris café, Niagara Fails, a deserted island, stomach of a whale, McDonald's in Moscow, elevator to heaven 47 FALL SEMESTER
WEEK 5 CLASS 3
TOPICS: Character Development Improvisation
ACTIVITIES:
1. Character Descriptions - see class 1 week 5 Finish discussion on any first round descriptions and translations.
2. Coaching Arias - see class 1 week 5 Use all but the last half hour of class for coaching.
3. Improvisation - Two or three students may participate at a time. The only information students are given this time is when the scene takes place. Suggested times - Year 13 BC, 2010, 1650,1969, Fourth of July, Halloween, New Year's Eve, day JFK was killed, at 6 am, 9:30 pm, 11:59 pm 48 FALL SEMESTER
WEEK 6 CLASS 1
TOPICS: Style improvisation
COMMENTS:
What is style? Style Is what the composer cannot indicate on a score. Style is what "singers can only know if they know the musical conventions of the period." (Helfgot, 1993, p.52) Understanding style means knowing how to sing an appoggiatura in a Mozart recitative. How bel canto opera differs from verismo. Or, how to sing a portamento in a Puccini aria as opposed to a Rossini aria. It is the responsibility of the singer-actor to be knowledgeable in the musical language of the significant historical periods and/or the conventions of the composers themselves. This type of information is necessary in interpreting the work of a composer. You will interpret your arias on several different levels. Musically, you are responsible for interpreting in the style which the composer intended. The musical interpretation may help with the interpretation of the text, but interpreting the text probably will not help with stylistic interpretation. Style can be a controversial topic. If you ask three different people about style in baroque opera, you will probably get three different answers. A stage director will have a different opinion from a conductor who will have a different opinion from your coach. You, too, should have an opinion based on personal research. In his book The Third Line, Daniel Helfgot (1993) writes:
Performers must always have enough knowledge to ascertain how much
freedom or how little freedom of interpretation they have with the score.
By knowing the limits and the freedom of the style, it is possible for them
to deal with their own freedom and limitations. (p.60)
You cannot expect to sing every piece in a generic style. Not only is this boring, but it is wrong. Base your interpretation on historical knowledge and steep yourself in what the character says. This combination will make your arias come alive for you and your listeners.
ACTIVITIES:
1. Where Are We? - see class 2 week 4 49 2. Halftime Show - see class 3 week 2
3. Improvisation - Two students will play out a scene. The only information they will receive is who they are. Suggested relationships - Boss/Employee Miss America/Her judge Ex-husband/Wife 2 Aliens (outer space, not illegal aliens) 2 6 year olds
ASSIGNMENT:
Bring in your second translation and character description. We will coach some arias with regard to characterization and style. 5 0 FALL SEMESTER
WEEK 6 CLASS 2
TOPICS: Recitatives Theatre Exercises Improvisation Coaching Arias
COMMENTS:
The issue of style in opera must include specific discussion on recitatives. For anyone who sings opera, recitatives are inevitable. Often the recitative preceding an aria will be more difficult than the aria itself. Why is this so? Because recitatives pack a lot of words into a relatively short musical time span. "Any attempt to do a recitative without the most intimate knowledge of the words will be disastrous." (Dornemann, 1992, p.66) This should provide enough incentive for a young singer to want to learn as much about a language (or two or three) as possible. One way to help yourself with recitatives is to listen to recordings of varying operatic styles. Listen to Mozart, Bellini, Rossini, Verdi, Britten and Stravinsky. Compare what you hear. Can you detect stylistic similarities and differences? Do you hear a different approach to singing recitatives in English as opposed to Italian? Study your recitatives as if you were studying dialogue for a play. Read them aloud in the original language, then say them again using your own words. Where was the infiection in your voice when you spoke the text in English? Say it in the original language with the same approach to inflection. You must be able to communicate with and react to the other singers on the stage during recitatives. This is critical in the learning process for young singers. There are two types of recitatives used in opera. Secco recitative uses only harpsichord or harpsichord and cello to support the singer. Accompagnato recitative uses more of the orchestra. As a general rule, the fewer the instruments accompanying, the more free your approach can be. Your freedom, however, is restricted in the sense that your job is to communicate text in a manner that is representative of speech.
ACTIVITIES:
1. Object Transformation - Everyone stands in a circle. The instructor begins miming a simple object - like a ball or a pencil. Use it as you would normally. Once the person to the left knows what the object is, it is passed. He/she mimes using it then initiates a new action that transforms the object into something new. This pattern continues around the circle. 5 1 (This activity introduces students to the idea of using props. Even though these props are mimed each person must use them, handle them, as if they were real.)
2. Improvisation - Students are given the setting, see class 2 week 5
3. Coaching Arias - We will continue to coach new songs and arias exploring translations and character portrayal.
ASSIGNMENT:
Bring to class for the next few weeks, the recitatives that precede the arias we are working on. We will begin coaching them along with the arias next class. Specific recitatives will be assigned next class. 52 FALL SEMESTER
WEEK 6 CLASS 3
TOPICS: Theatre Exercises improvisation Coaching Arias and Recitatives
ACTIVITIES:
1. Machines - see class 1 week 2
2. Bus Stop - see class 1 week 5
3. Improvisation - Students are given the time, see class 3 week 5
4. Coaching Arias and Recitatives
ASSIGNMENT:
The following recitatives will be assigned to members of the class. (These are examples of the typical recitatives that could be assigned to a class of this nature. It has been assumed that all the major voice types are represented. A breakdown of voices might be 6 sopranos, 2 mezzo-sopranos, 1 tenor, 3 baritones in an undergraduate class of 12.)
Soprano rectitatives- Zerlina - "Via, via" beforeVedrai, carino Despina - "Eh! che noi siamo...senza romanti" before In uomini Barbarina "0- ve' che...Barbarina." beforeDove sono Susanna - "Guinse alfin" before Deh vieni Countess - "E Susanna non vien" before Dove sono Fiordiligi - "Ei parte senti" before Perpieta
Mezzo-Soprano recitatives- Marcellina - "Presto avvertiam" beforeII capro Berta - "Che vecchio" before II vecchlotto cerca moglie
Tenor recitative- Don Octavio - "Amici miei" before II mio tesoro 5 3 Baritone recitatives- Count - "Hal gia vinta la causa" before Vedro mentr'io sospiro Bartolo {Barber ) -"Ma vedi II mIo destine" Act 2 scene 1 Leporello - "Amlco, per pleta" after Leporello/Zerllna duet 54 FALL SEMESTER
WEEK 7 CLASS 1
TOPICS: Theatre Exercises improvisation Coaching Arias and Recitatives
ACTIVITIES:
1. Group Mime - see class 3 week 3 Today's tasks - Wash a car Make a bed for a giant
2. Age Walk - see class 2 week 2
3. Improvisation - Two or three students may participate at a time. One person will be given the opening line. The rest in the group improvise from that line. Suggested opening lines - Is it broken? Let me help you. I can't believe you're here!
4. Coaching Arias and Recitatives
ASSIGNMENT:
Keep working on the new recitatives. 55 FALL SEMESTER
WEEK 7 CLASS 2
TOPICS: Vocal Color Theatre Exercise Coaching Arias and Recitatives
COMMENTS:
Earlier in the semester we discussed the importance of "acting" with the voice. Now that we have talked about studying a score and developing a character, we may want to review the use of vocal colors in singing opera. In coaching your arias, we have been exploring ways to communicate text and emotion. We use different tones of voice when we speak. "Think how drastically our tone of voice changes depending on whether we give orders to servants, dictate letters, ask for favors, quarrel with members of our family, plot vengeance, or whisper secrets." (Goldovsky, 1968, p.174) The score will give you ideas. Listen to how the music speaks to you. The words will also speak. Ultimately they will provoke an emotional response within you. These are the tools to use. Experiment - either in private or here in class so you can get feedback. You will feel vulnerable as you explore. Everyone else here is in the same boat. We are here to support each other as we learn about the complex nature of the singer-actor. You thought it was just good singing!
ACTIVITIES:
1. Object Transformation - see class 2 week 6
2. Gibberish - see class 1 week 2
3. Where Were You? - see class 3 week 3
4. Vocal Colors - While the student sings his/her aria, the instructor holds up one of three emotion cards. The singer must use vocal colors to represent the emotions. All three emotions will be shown before the aria ends. Suggested Emotions: anger, love, hate, calm, nervous
(This exercise helps the singer develop vocal flexibility and encourages a broader scope of possibiiities in interpretation.)
5. Coaching Arias 56 FALL SEMESTER
WEEK 7 CLASS 3
TOPICS: Body Awareness Theatre Exercises
ACTIVITIES:
1. Preliminary Awareness - see class 1 week 1. Combine with Preliminary Awareness from class 3 week 1.
2. Blind Walk - see class 3 week 4 Venture outside. Carefully guide your blindfolded partner on stairs and uneven surfaces.
3. Changing Ball Toss - see class 2 week 1 Add variation of changing ages.
4. Continuing Story - Arrange the class like a choir (either sitting or standing). Give them a subject (Ex. Eskimos, 4-leaf clover, Winnie the Pooh). The instructor acts as conductor of the choir. The conductor "cues" one person to begin talking about the subject. The conductor can "cut-off" and "cue" another person mid-sentence, mid-word. The next "cued" member must pick up exactiy where the last person left off. Repetitions are not allowed or else we begin on a new subject.
(This exercise makes people use their imaginations in creating the story. It also makes them listen carefuily and focus on what is happening around them.)
5. Halftime Show - see ciass 3 week 2 The words to be spelled should be getting more challenging - requiring the ciass to become innovative with their bodies.
ASSIGNMENT:
Bring in all three translations and character descriptions. These three pieces wiii be used for your Mock Audition at the end of the semester. If we have not reviewed all the translations or descriptions, we will do so next week. Keep working on your new recitatives. We will be coaching them soon. 5 7 FALL SEMESTER
WEEK 8 CLASS 1
TOPICS: Fach System
COMMENTS:
The German theatre system has developed a method of categorizing singers. This method is called the Fach System. "The Fach System originated in the early days of opera...certain types of voices and figures came to be identified with particular dramatic functions..." (Owens, 1983, p.11) The word "fach" can be translated as "type". Singers, however, are not just categorized by the type of voice they have, but also by physical and personality types. Many opera companies use this system and look for specific types of singers when they hold auditions. Often seasons are planned and some of the roles have been cast while others remain open pending the company's auditions. Where do you fit in the Fach System? Take a realistic look at your physical appearance. If you are a 5'10" soprano you probably will not be cast as Despina, but maybe as Queen of the Night if you have the notes. Similarly men, if you are 5'4" you will probably have trouble being cast in a leading man situation (unless the leading lady is shorter than that), but you may get a job doing character roles. Weight is also a consideration today in opera. Ten or twenty years ago this issue did not really exist. Audiences now are expecting more realism. A two hundred pound woman dying of consumption is not realistic. Where is your voice now? Do you have high notes easily? Is the sound getting darker and heavier as you mature? Can you sing coloratura cleanly? Your answers to these questions will help you figure out your fach. Whatever stage of development you are at right now, the most important thing to do is choose your repertoire carefully. "Be miserly in your repertoire, so that you can give it the preparation and attention it deserves. Repertoire is important; it's important to your longevity as a singer and to your vocal health, growth and artistic success." (Dornemann, 1992, p.25) The following is a list of Fach categories with examples from the standard operatic literature. 5 8 FEMALE MALE
Soubrette (soubrette) Spieltenor (character tenor) Zerlina Monostatos Lyrischer Koloraturasopran Lyrischer Tenor (lyric tenor) (lyric coloratura) Ferrando Nonna Lyrischer Sopran (lyric soprano) Italienischer Tenor (spinto tenor) Pamina Rodolfo Dramatischer Koloratursopran Jugendlicher Heldentenor (dramatic coloratura) (young heldentenor) Queen of the Night Don Jose Jugendlicher-Dramatischer Sopran Heldentenor (heldentenor) (young dramatic soprano) Otello Butterfly Dramatischer Sopran Lyrischerbariton (dramatic soprano) (lyric baritone) Tosca Figaro {Barber of Seville ) Hochdramatischer Sopran Kavalierbariton ("romantic" baritone) ("high" dramatic soprano) Don Giovanni Turandot Lyrischer Mezzosopran (lyric mezzo) Charakterbariton (character baritone) Cherubino Rigoletto Dramatischer Mezzosopran Heldenbariton (heldenbaritone) (dramatic mezzo) Wotan Carmen Alt (contralto) Bassbariton (bass-baritone) Azucena Figaro {Marriage of Figaro ) Bass-buffo (buffo bass) Falstaff Serioser Bass (serious bass) Sarastro
ACTIVITIES:
1. Discussion of translations and character descriptions, see class 1 week 5
2. Improvisation - see class 1 week 6
3. Vocal Color ■ see class 2 week 7 59 FALL SEMESTER
WEEK 8 CLASS 2
TOPICS: Coaching recitatives Improvisation
ACTIVITIES:
1. Coaching the recitatives which were assigned class 3 week 6. Not everyone will sing their recitatives today. Those that do will bring them back after they have had time to rework them.
2. Vocal Colors - see class 2 week 7
3. Improvisation - Students will be given their opening line, see class 1 week 7 60 FALL SEMESTER
WEEK 8 CLASS 3
TOPICS: Coaching Recitatives Theatre Exercises
ACTIVITIES:
1. Mirror - see class 3 week 2
2. Where Are We? - see class 2 week 4
3. Bus Stop - see class 1 week 5
4. Trust Circle - The class stands in a tight circle. One person stands in the middle with eyes closed, feet together, arms crossed , hands holding the opposite shoulder. Slowly, the circle begins to move the central person around the circle allowing him/her little "free falls".
5. Coaching recitatives - see class 2 week 8
ASSIGNMENT:
Wear loose, comfortable clothing to class next time. We will be exploring our kinespheres. 6 1 FALL SEMESTER
WEEK 9 CLASS 1
TOPICS: Kinetic Awareness Improvisation Coaching Recitatives
COMMENTS:
Earlier in the semester we did exercises designed to make you aware of your body - what you felt. Developing this kind of awareness is important for the performing artist. If you are working in opera you are required to move around the stage - following the stage director's blocking. Some stage directors show sensitivity to singers by making blocking during difficult arias interesting, and at the same time not impossible for the singer to do. Other stage directors expect you to be able to do what they want, when they want it and how they want it. For this reason, every singer must understand his/her physical as well as vocal limitations and capabilities. How will you know if a gesture or movement you make on the stage is communicating the emotion you are intending? Is it going to look natural and comfortable or stiff and out of place? One way to learn is by watching how people move and analyzing their actions. Effort-Shape is "a method for systematic description of qualitative change in movement..." (Dell, 1970, p.5) developed by Rudolf Laban. "Effort-Shape became a method of describing changes in movement quality in terms of the kinds of exertions and the kinds of body adaptations in space." (Dell, 1970, p.7) Laban discovered four qualitative aspects of movement: 1)flow, 2)weight, 3)space, 4)time. Each of these qualitative aspects has two qualities of effort. Flow can be free or bound, weight can be light or strong, space can be direct or indirect, and time can be sustained or sudden. Over the next few classes we will explore these qualitative aspects of movement. Each class will focus on one specific aspect and its two qualities. ACTIVITIES: ^ ^
1. A member of the Dance department will lead the class in exercises aimed at learning about and feeling the types of flow in movement. (approx. 30 minutes)
2. Improvisation - Students are given their location, see class 2 week 5
3. Machines - see class 1 week 2
4. Coaching recitatives - see class 2 week 8
SUPPORTIVE NEEDS:
Faculty member from the Dance department 63 FALL SEMESTER
WEEK 9 CLASS 2
TOPICS: Kinetic Awareness Theatre Exercises Improvisation
ACTIVITIES:
1. A member of the Dance department will lead the class in exercises aimed at learning about and feeling the types of weight in movement. We will also explore the relationship between flow and weight in the way we move. (approx. 45 minutes)
2. Object Transformation - see class 2 week 6
3. Age Walk - see class 2 week 2 Focus on the feeling of flow and weight in your walk.
4. Oooh - Aaah - see class 3 week 1
5. Improvisation - Students will be given the time, see class 3 week 5
SUPPORTIVE NEEDS:
A faculty member from the Dance department.
ASSIGNMENT:
Watch people. Try to analyze and describe their movements with respect to flow and weight. 64 FALL SEMESTER
WEEK 9 CLASS 3
TOPICS: Kinetic Awareness Theatre Exercises Improvisation
ACTIVITIES:
1. A member of the Dance department will lead the class in exercises aimed at learning about and feeling the types of space we move in. We will also explore the relationships between flow, weight and space. (approx. 1 hour)
2. Gibberish - see class 1 week 2
3. Changing Ball Toss - see class 2 week 1 Focus on your movements with respect to flow, weight and space. The instructor can suggest throwing the ball with a combination of efforts such as bound flow, light weight and direct space.
4. Improvisation - Students will be given who they are. see class 1 week 6
SUPPORTIVE NEEDS:
A faculty member from the Dance department.
ASSIGNMENT:
Continue watching people. Look at flow, weight and space in their movements. 65 FALL SEMESTER
WEEK 10 CLASS 1
TOPICS: Kinetic Awareness Theatre Exercises Coaching Recitatives and Arias
ACTIVITIES:
1. A member of the Dance department will lead the class in exercises aimed at learning about and becoming aware of the time we use when we move. We will also explore the relationships between flow, weight, space and time. (approx. 1 hour)
2. Trust Circle - see class 3 week 8
3. Group Mime - see class 2 week 3 Today's tasks - Move a grand piano up a flight of stairs Build an igloo
4. Coaching recitatives and arias
SUPPORTIVE NEEDS:
A faculty member from the Dance department
ASSIGNMENT:
If you have not already done so, memorize all 3 arias and your recitatives. Future coachings will be off-book. You will be permitted to have your score present to write things down, but not to sing from. 66 FALL SEMESTER
WEEK 10 CLASS 2
TOPICS: Alexander Technique Coaching Recitatives and Arias
COMMENTS:
The Alexander Technique came about as a result of the chronic vocal problems suffered by P.M. Alexander himself. Medical doctors and specialists could not solve his problem, so he took it upon himself to solve it. After careful observations of himself using mirrors, he noticed that his head would pull down and back as he began to speak. This posture caused his vocal strain. Alexander spent the next ten years watching himself and practicing a new posture which eventually lead to freedom from his tensions. The basic premise of the Alexander Technique is that freedom in the head-neck joint releases the rest of the body from excess stress. This head- neck joint is also called the primary control. "When the primary control is functioning as it should, it is sensed as an integrating force that preserves freedom of movement throughout the system..." (Jones, 1976, p.184) Many of us live through every day with our primary control not functioning correctly. We are used to a certain feeling, it never bothered us before, so it must be right. It probably is not right. Training in the Alexander Technique can teach you what is right so you can change your habits. "This is exactly what Alexander meant when he insisted that unconscious habits of use must be made conscious before one can change these habits." (Lewis, 1982, p. 133)
ACTIVITIES:
1. An instructor trained in the Alexander Technique will work with students. The focus will be on the head-neck joint and the feeling of release. (approx. 1 hour)
2. Coaching recitatives and arias
SUPPORTIVE NEEDS:
Someone trained in the Alexander Technique, (either from the college or a specialist from outside the school) 67 ASSIGNMENT:
Spend time observing one person move. Describe, in as much detail as possible, his/her movements using the terms you learned relating to the Effort- Shape system. Choose several everyday actions to analyze. Write your obsen/ations in a paper of 1-2 typed pages. This will be turned in the first class of week 11. 68 FALL SEMESTER
WEEK 10 CLASS 3
TOPICS: Alexander Technique Coaching Recitatives and Arias
ACTIVITIES:
1. An instructor trained in the Alexander Technique will continue to work with the students. (approx. 1 hour)
2. Coaching recitatives and arias. (Students should be thinking about polishing their performances. They should be self-critical with regard to expressiveness with the body and with the voice.)
SUPPORTIVE NEEDS:
Someone trained in the Alexander Technique.
ASSIGNMENT:
Continue your observation of one person. Effort-Shape descriptions are due next class. 69 FALL SEMESTER
WEEK 11 CLASS 1
TOPICS: Alexander Technique Theatre Exercises Coaching Recitatives and Arias
ACTIVITIES:
1. An instructor trained in the Alexander Technique will work with the class, (approx. 1 hour)
2. Object Transformation - see class 2 week 6
3. Coaching recitatives and arias
SUPPORTIVE NEEDS:
Someone trained in the Alexander Technique.
ASSIGNMENT:
For the next class, describe what nerves are like for you before a performance. What do you do, if anything, to try and calm yourself? Do you use the nervous energy in any way? How can you avoid a case of the jitters? 70 FALL SEMESTER
WEEK 11 CLASS 2
TOPICS: Nerves Creative Visualization Coaching
COMMENTS:
Most every performer, at one time or another, experiences pre performance nerves. Some cases are more severe than others. Despite the fact that we are having performance anxiety or stage fright, the show must go on as they say. For some, this anxiety is a welcomed thing because "...it functions as a transition from an ordinary state into a searing, intense performance state." (Caldwell, 1990, p. 105) These performers have learned how to use the anxiety as an energizer for their performance. Others are still novices when it comes to performing and are just not used to the adrenaline pumping. Yet for another percent of the population these pre-performance nerves interfere with their performing. One of the best things any performer can do is prepare as thoroughly as possible. Eliminating doubts about your preparation will reduce performance anxiety, "...the better your technique becomes, the more you should be able to concentrate, to eliminate distractions..." (Hagen, 1973, p.201) Many performers need more help than just knowing their preparation is complete, however. Figure skaters, gymnasts, hurdlers, actors, dancers, and singers who seek the "perfect" performance often use meditation or creative visualization. "Creative visualization is the technique of using your imagination to create what you want in your life." (Gawain, 1978, p.13) Using creative visualization, you actually meditate on the "perfect" performance. You see yourself in your tuxedo or gown, in the auditorium, on the stage. You see the audience, hear the piano or orchestra, see and hear yourself singing your songs and arias, hear the applause, feel the positive energy of the crowd. After the period of meditation, with the images still in your mind, mentally make a positive, affirmative statement to yourseif (either aloud or silently). These positive statements are called affirmations. By using affirmations we "...begin replacing some of our stale, worn out, or negative mind chatter with more positive ideas and concepts." (Gawain, 1978, p.35) The best time to meditate is either before going to bed or just after waking up because the mind and body are more open and relaxed. The length of time you spend each day meditating is up to you. You may want to experiment with time of day and amount of time spent meditating until you find a combination that is right for you. 7 1 ACTIVITIES:
1. Discussion - Students wiil recount their experiences with nerves, how they have used them, gotten past them etc.
2. Creative Visualization - Get in a comfortable position (lying down or sitting). Relax your body from head to toe. Let all of the tension leave your body. Breathe deeply and slowly. Count backwards from 10 relaxing more and more with each count. Once you feel completely relaxed, begin to imagine yourself singing your most difficult aria as expressively and beautifully as possible. See and hear as many details as you can. Enjoy this experience. Now say an affirmation to yourself about how well you are singing.
3. Coaching of recitatives and arias
ASSIGNMENT:
Sketch out a performance résumé for yourseif. Include training, opera and/or musical theatre roles, choir solos, awards. 72 FALL SEMESTER
WEEK 11 CLASS 3
TOPICS: Creative Visualization improvisation Coaching Recitatives and Arias
ACTIVITIES:
1. Creative Visualization - see class 2 week 11
2. Improvisation - Students are given their first line, see class 1 week 7
3. Improvisation - Students are given their location, see class 2 week 5
4. Coaching recitatives and arias
ASSIGNMENT:
Keep working on your résumé. Print out a formal version for the first class in week 13 73 FALL SEMESTER
WEEK 12 CLASS 1
TOPICS: Auditioning Theatre Exercises Coaching Arias
COMMENTS:
Auditions can be nerve-wracking experiences. We have already discussed the importance of a thorough preparation and some other techniques to make the situation less stressful. There are factors of an audition situation which you cannot control, however. Often, auditions which are held in larger cities take place in a ballroom of a hotel. The room usually has a low ceiling, carpeting, curtains, padded chairs - an acoustic nightmare! There is nothing you can do about it. If this is the case, just go in and sing your best. Unless you bring along your own accompanist (which can cost you a bunch if the audition is out of town), you will have an unknown at the keyboard. There are a few things you can do to help the situation. Make sure all of your music is in a notebook with the cuts clearly marked or covered with paper. You should also be able to communicate your tempi clearly. Remember, your andante may be a faster "walk" than that of your accompanist.
ACTIVITIES:
1. Trust Circle - see class 3 week 8
2. Machines - see class 1 week 2
3. Bus Stop - see class 1 week 5
4. Coaching Arias 74 FALL SEMESTER
WEEK 12 CLASS 2
TOPICS: Auditioning Coaching Arias
COMMENTS:
To many general managers, stage directors and conductors, your poise and presentation of yourself is almost as important as how you sing. "Your entrance can have purpose, impact and look as though there is an affinity between the stage and you." (Dornemann, 1992, p. 18) The one thing you cannot do is look like you hate being there and hate having to go through this process. Have a strong self image. Carry yourself as a professional. After you have given your music to the accompanist and shown him/her any cuts etc., take your place near the crook of the piano. Hopefully that area will have some kind of special lighting. If not, you may want to ask if there is a preferred place for you to stand. Before you sing, announce yourself and the title of the aria you will sing; for instance, "I am Mary Smith. I will sing 'Batti, batti o bel Masetto' from Don Giovanni ." If you brought your own accompanist, please announce his/her name. The following audition strategies come from Joan Dornemann (1992), opera coach and Assistant Conductor of the Metropolitan Opera in New York City.
In auditions, sing arias that add to you right now, not ones that point up
what you don't have yet. (p.24)
You do want to show all the aspects of your voice, to demonstrate all your
special abilities of range, color and technique, (p.25)
A true artist works toward being fully grounded...Don't rush your
moments! And fill them with atmosphere. These moments include the
introduction. Don't just wait for the piano to finish so you can sing. (p. 117)
ACTIVITIES:
1. Coaching arias - From now on, everyone will practice announcing him/herself and the aria that will be sung. 75 FALL SEMESTER
WEEK 12 CLASS 3
TOPICS: Theatre Exercises Improvisation Coaching Arias
ACTIVITIES:
1. Oooh - Aaah - see class 3 week 1
2. Continuing Story - see class 3 week 7
3. Changing Ball Toss - see class 2 week 1
4. Improvisations - Students are given the time during which the improv occurs, see class 3 week 5
5. Coaching Arias
ASSIGNMENT:
Bring a draft of your résumé to the next class meeting. 76 FALL SEMESTER
WEEK 13 CLASS 1
TOPICS: Auditioning Creative Visualization Coaching Arias
COMMENTS:
Opera companies, apprentice programs, just about anyone you might audition for will probably ask you for a résumé and photo. These two pieces of paper are very important to you as a performing artist. Unfortunately, too many young singers go to auditions sorely unprepared in this area. Your résumé should be a single sheet of paper that lists your name, address, telephone number, voice category, physical description, work experience and training. If you have a lot of experience, do not try to cram it all on one page. Be selective. Choose the most impressive roles to include. "Briefly, your résumé is a skeletal outline designed to give practical information and pique future interest." (Papolos, 1984, p. 18) For ideas on how to organize and present your résumé, see chapter two in Janice Papolos' book. The Performing Artist's Handbook. Black and white 8x10 photos are a must for anyone in the performing world. They are used for publicity purposes, fliers, brochures, and also as compliments to your résumé. "Your picture should make a single, strong impression and connect you humanly with the decision maker..." (Papolos, 1984, p.26) The picture should look like you. Women should have make-up done professionally to "naturally" bring out the eyes and cheekbones. Men should make sure that beards and mustaches are neat and trimmed. It is also a good idea to bring along two changes of clothing to your shoot - one formal, one more casual. Chapter three of Janice Papolos' book has more specific details about taking a good head shot. Keep in mind that during a week of auditions, opera company representatives will see and hear hundreds of singers. A memorable photo, concise résumé, and an expressive and beautifully sung audition present a good package for them to remember you by.
ACTIVITIES:
1. Discuss the résumés that the students brought. Make suggestipns for improvement.
2. Creative Visualization - see class 2 week 11
3. Coaching Arias 77 FALL SEMESTER
WEEK 13 CLASS 2
TOPICS: Auditioning Theatre Exercises Coaching Arias
COMMENTS:
The last, but certainly not the least important topic we will discuss regarding auditioning is your appearance. Make careful choices about your clothing, jewelry, hairstyle, make-up etc. "...it is most important that the dress enhance the person, but not upstage you or the audition..." (Dornemann, 1992, p. 17) You should wear comfortable, flattering, shined, broken-in shoes. The last thing you want is to walk in with a limp because your new shoes gave you a big blister! Men have fewer choices when it comes to their clothing, but a neat, well- fitted suit and an interesting yet complimentary tie do nicely. Women who are auditioning for a pants role may want to don a pants suit for the audition. If you are called back the next day, think about wearing the same dress or suit and tie - it may help the auditioners remember you more clearly. Above all else, prepare your music to the best of your ability and present yourself as professionally as you possibly can.
ACTIVITIES:
1. Object Transformation - see class 2 week 6
2. Honey Walk - see class 1 week 1 As a variation walk representing different ages.
3. Halftime Show - see class 3 week 2
4. Where Were You? - see class 3 week 3
5. Coaching Arias 7 8 FALL SEMESTER
WEEK 13 CLASS 3
TOPICS: Creative Visualization Coaching
ACTIVITIES:
1. Creative Visualization - see class 2 week 11
2. Coaching Arias - final coaching session before Mock Auditions. Each student will be assigned a time and day for his/her Mock Audition. No students will be allowed in the room with the judging panel during the Auditions.
ASSIGNMENT:
Prepare to the best of your ability. Take this experience as seriously as if it was an audition for a major opera company. 79 FALL SEMESTER
WEEK 14 CLASS 1,2,3
TOPICS: Mock Auditions
COMMENTS:
The purpose of these Mock Auditions is two-fold. It will serve as a final examination for the first semester and also as an audition for the Scenes Recital to be held at the end of the second semester. Each student will present a résumé to the panel of judges. The student will be prepared to sing three arias which have been coached during class this semester. The student will sing an aria of his/her choice, then the panel will choose the order of the remaining arias to be sung. Anyone on the panel may ask the singer about his/her character or for a brief translation of the text. The poise of the singer and the clarity of expression in these responses will be noted. To benefit the singer, each Mock Audition will be videotaped. Following the auditions, students will arrange a time with the instructor to view the videotape and receive comments. It is hoped that this exercise will help each student with his/her preparations for future auditions.
ACTIVITIES:
1. Mock Auditions
SUPPORTIVE NEEDS:
Faculty from the music area to serve on the audition panel. The same faculty should be present for all 3 days of Mock Auditions. 80 SPRING SEMESTER
WEEK 1 CLASS 1
TOPICS: Explanation of rehearsal schedule Assignment of Opera Scenes Theatre Exercises
COMMENTS: (The following opera scene assignments are made using the supposed vocal make-up of the workshop class as described in the Fall Semester plans. See class 3 week 6.)
The theme of the Spring Opera Scenes Recital is A Wedding Invitation . All of the scenes chosen are from Italian operas where a wedding or marriage (either deceitful, arranged, or true love) is the central theme. Seven scenes from five different operas have been chosen. All of the scenes will be sung in Italian. Most of you will participate in two scenes with the exception of our tenor who will have triple duty and three sopranos who will have one larger scene each. The rehearsal schedule is as follows.
During week 3 your translations and spoken diction will be checked. Please have the translations and I PA written in your scores.
A written character description wili be due the first class of week 4. Be prepared to discuss and support what you have written.
During weeks 5 and 6 your musical preparation will be checked.
All of your scenes must be memorized by the first class of week 7.
Staging will begin the first class of week 10.
Run-throughs, dress rehearsal and performance in week 14.
Once we begin staging we will work in two rooms with two pianists, rotating scenes to be staged or musically rehearsed from one day to the next. The following table should explain the process more clearly. The numbers 1 -7 represent each of the seven scenes in the order in which they will be performed. Room I will be for staging, room II will be for music rehearsals. If there are three scenes scheduled in a room each one will have 40 minutes of rehearsal. If there are four scenes scheduled, each one will have 30 minutes of rehearsal. In one two week rotation, each scene will have three staging sessions. There will be two two week rotations. 8 1 REHEARSAL SCHEDULE
Monday Wednesday Friday RM-I RM-II RM-I RM-II RM-I RM-II
1 4 4 7 7 3 2 5 5 1 1 4 3 6 6 2 2 5 7 3 6
Monday Wednesday Friday RM-I RM-II RM-I RM-II RM-I RM-II
3 7 7 4 4 1 4 1 1 5 5 2 5 2 2 6 6 3 6 3 7
ACTIVITIES:
1. Assignment of Opera Scenes for Spring Recital - Scene 1 - II Matrimonio Segreto by Cimarosa Opening duet between Carolina and Paolino Scene 2 - Don Pasquale by Donizetti - Act 1 beginning with Norina's Cayatina through the duet with Dr. Malatesta Scene 3 - Orfeo ed Euridice by Gluck - End of Act 3 beginning with Orfeo's aria "Che faro" through the final trio with Amor and Euridice Scene 4 - Le Nozze di Figaro by Mozart - Opening duets between Susanna and Figaro, end with "Se yuol ballare" Scene 5 - II Matrimonio Segreto - Act 1 trio between Carolina, Eiisetta and Fidalma Scene 6 - La Cenerentola by Rossini - End of Act 1 quartet with Clorinda, Thisbe, Don Ramiro and Dandini Scene 7 - Le Nozze di Figaro - Sextet with preceding recitatiye from Act 3. Susanna, Count, Marceiiina, Bartolo, Figaro, Don Curzio
2. Age Walk - see class 2 week 2 Fall Semester
3. Mirror - see class 3 week 2 Fall Semester
4. Gibberish - see class 1 week 2 Fall Semester 82 5. Where Are We? - see class 2 week 4 Fall Semester
ASSIGNMENT:
Obtain the score(s) you need for the scene(s) you have been assigned. If you are having trouble locating a score, see me as soon as possible. Remember, your music must be memorized by week 7. 8 3 SPRING SEMESTER
WEEK 1 CLASS 2
TOPICS: Marketing Yourself as a Performer Kinetic Awareness Theatre Exercises
COMMENTS:
In our previous discussions on auditioning, we talked about résumés and head shots. These two items are essential to any performing artist, especially if you are trying to build a career. You are probably saying, "But where do I begin?" The Performing Artist's Handbook by Janice Papolos is an exceilent place to start. In addition to the suggestions she has regarding professional résumés and head shots, she has also included chapters on the very pertinent issues of networking, audition tapes, management, taxes for the performing artist and publicity. Before heading off in ten directions at once, it is necessary for you to identify your goai. What do you ultimately want? Next, define the steps to achieving that goal. For most young artists the major hurdie is gaining experience. Many opera companies and arts organizations may not want to hire an inexperienced performer. You can get experience at places other than school, however. Investigate area churches to see if they have a concert series on which you couid sing a recital. Contact local arts organizations such as museums, gaileries, chamber groups, and theatre companies to let them know of your availability and interest in performing for them. Build on your résumé in this manner. Word of mouth wiil help you too after a while. Entering and doing well at competitions is another great way to get your name in front of the people who do the hiring. You can also meet and work with professionals by participating in workshops and summer apprentice programs. The more people that hear you the better. Remember to keep your résumé current (it is easy these days with the aid of computers and laser printers) and always be prepared musically. 84 ACTIVITIES:
1. Kinetic Awareness - A member of the Dance department faculty will lead students In exercises using the Effort-Shape system. (approx. 30 mln.)
2. Trust Circle - see class 3 week 8 Fall Semester
3. Blind Walk - see class 3 week 4 Fall Semester
4. Name Volleyball - see class 1 week 1 Fall Semester
SUPPORTIVE NEEDS:
A faculty member from the Dance department. Blindfolds for the Blind Walk exercise. 85 SPRING SEMESTER
WEEK 1 CLASS 3
TOPICS: Marketing Yourself as a Performer Kinetic Awareness Theatre Exercises
COMMENTS:
Continuing on the topic of marketing yourself, let us talk briefly about an audition tape. In the course of your job search, you will undoubtedly be asked for a tape. What should be on it? How much music? The answers to these questions will depend on who will be listening to the tape. Some tape requests may be for a specific type of repertoire or have language requirements, others may be more general. You may have to record more than you intend to put on any one tape, so you can have the flexibility of choosing the appropriate repertoire for the specific company or group. The point is to know who wants to hear what and be prepared to give it to them. It would be wise to record the standard five arias representing diversity in languages and style, plus some art songs also of contrasting language and style. Recording, copying and mailing your tapes can be expensive. But if you are making money as a performing artist, those expenses could be tax deductable. For tax purposes it is imperative that careful and accurate records be kept. Keep track of money spent on business mailing and phone calls, fees for your teacher and coach, mileage and tolls to and from job-related activities, and money spent on new music just to name a few deductable business expenses. (Check with a knowledgeable accountant for the specifics) Once you start making money as a professional you will want to make sure it is properly managed. Keep track of everything! What about a manager? When are you ready to sing for one? "The time to sing for a manager is when you think you have something that's salable." (Dornemann, 1992, p. 103) Do not expect to find a manager who will take you straight out of school. You need time in order to build experience for your résumé. A manager will want to see that you have been finding performing opportunities and that you know where your strengths lie. Present a good package to a manager at an audition. If you are not signed now you can always come back with more credits to your name. Maybe then you will be signed. There are singers who manage their own careers, do their own publicity etc. You can do the same until the time is right.
ACTIVITIES:
1. Kinetic Awareness - see class 2 week 1 Spring Semester (approx. 45 min.) 86 2. Oooh - Aaah - see class 3 week 1 Fall Semester
3. Machines - see class 1 week 2 Fall Semester
4. Improvisation - Students will be given who they are. see class 1 week 6 Fall Semester
5. Improvisation - Studetns will be given their first line, see class 1 week 7 Fall Semester
SUPPORTIVE NEEDS:
A faculty member from the Dance department.
ASSIGNMENT:
Be prepared to sing a song or aria next time in class. The song should be memorized. 87 SPRING SEMESTER
WEEK 2 CLASS 1
TOPICS: Theatre Exercises Singing with States of Being
ACTIVITIES:
1. Honey Walk - see class 1 week 1 Fall Semester
2. Mirror - see class 3 week 1 Fall Semester
3. Group Mime - see class 2 week 3 Fall Semester Today's tasks - wash an elephant decorate a ten foot Christmas tree
4. Singing with States of Being - see class 2 week 3 Fall Semester Instead of using one neutral syllable to replace the text, use gibberish speech. The instructor will use flash cards printed with the names of various emotions. Only the singer will see the card being held up. The class should guess the emotion(s) conveyed. 8 8 SPRING SEMESTER
WEEK 2 CLASS 2
TOPICS: Improvisation Singing with States of Being
ACTIVITIES:
1. Gibberish - see class 1 week 1 Fall Semester
2. Improvisation - Students will be given the time at which the scene takes place. see class 3 week 5 Fall Semester
3. Improvisation - Students will be given their location see class 2 week 5 Fall Semester
4. Singing with States of Being - see class 2 week 3 Fall Semester and class 1 week 2 Spring Semester. Add gestures. Gesture using "far reach" space within your kinesphere.
ASSIGNMENT:
Translations for your opera scene(s) will be checked the first class of week 3. Be prepared to give a translation in your own words. 89 SPRING SEMESTER
WEEK 2 CLASS 3
TOPICS: Body Awareness Theatre Exercises Singing with States of Being
ACTIVITIES:
1. Preliminary Awareness - see class 1 week 1 Fail Semester
2. Preliminary Awareness- see class 3 week 1 Fall Semester
3. Age Walk - see class 2 week 2 Fall Semester
4. Blind Walk - see class 3 week 4 Fall Semester
5. Changing Ball Toss - see class 2 week 1 Fall Semester
6. Singing with States of Being - same as previous class Gesture using "near reach" space within your kinesphere.
SUPPORTIVE NEEDS:
Blindfolds for the Blind Walk exercise.
ASSIGNMENT:
Translations are due next class. 90 SPRING SEMESTER
WEEK 3 CLASS 1
TOPICS: Opera Scene Translations Physical Health Theatre Exercises
COMMENTS:
The physical health of a singer is of the utmost importance. Your instrument is your body, so take care of it! There are a few relatively simple things you can do to keep your instrument in good shape. Remember the old saying "You are what you eat". With a student's hectic lifestyle it is easy to grab whatever you can whenever you can. Give some thought to what you eat. Foods high in water content such as fruits and vegetables are a singer's best friends. Carbohydrates such as whole grain breads and pastas are also good choices. For protein in your diet, go for chicken and fish. If you have ever read an article on good nutrition, these suggestions should sound familiar. Just eat sensibly. Water is a must for every singer. You should drink a minimum of eight eight ounce glasses of water per day. In order for the vocal apparatus and surrounding membranes to stay healthy, adequate hydration is important. As you may have already discovered, singing is a physical activity. As such, you should take care of your physical self through exercise. A moderate aerobic activity such as tennis, cycling, swimming and the like are excellent ways to stay in shape. It is not necessary to become a body builder, just to stay toned. This can be accomplished with three or four thirty minute sessions per week. One final word about physical health - get enough sleep. The body needs a certain amount of rest each night to restore and recharge tired muscles. A well-rested, toned body is more likely to resist infections as well. A trumpet player can still do his/her job with a sore throat, but a singer may have to cancel a job because of a sore throat. Stay fit, stay rested, stay healthy.
ACTIVITIES:
1. Checking translations of opera scene texts. Students will recite, in their own words, the translation of their scene(s).
2. Changing Ball Toss - see class 2 week 1 Fall Semester For a variation, throw at different ages.
3. Halftime Show - see class 3 week 2 Fall Semester
4. Bus Stop - see class 1 week 5 Fall Semester 9 1 ASSIGNMENT:
Be prepared to recite the Italian text of your scene next class. Have the I PA written in your score. 92 SPRING SEMESTER
WEEK 3 CLASS 2
TOPICS: Italian Diction Vocal Health Theatre Exercises
COMMENTS:
As vocal artists you must learn how to keep your voice healthy and in good shape. As we discussed in our last class, good physical health and vocal health go hand in hand - to a point. Vocal troubles can arise even when your physical health is fine. The voice, like the rest of the body, needs adequate rest. As a professional singer you need to develop a sensitivity to your vocal needs. Know what your vocal limitations are. How many hours per day can you rehearse without feeling vocally tired? How many days in a row can you sing for more than three or four hours? Do you know the signs of vocal fatigue? It is very easy to over sing and overlook the signs of fatigue when we are enthusiastic about what we are doing. Dr. Robert Sataloff (1986), noted laryngologist writes:
Dehydration, fatigue, and other general medical conditions may affect the
mucosa covering of the vocal folds, may alter lubrication, and may
decrease vocal efficiency. Optimizing physical conditions under the
singer's control, such as sleep and nutrition, is an important part of any
voice conservation regimen, (p.24)
Upper respiratory infections cause problems for many singers. If you have one, limit your singing or do not sing at all. The mucosal linings of the larynx are most likely Infected or at least swollen, thereby making them more vulnerable to injury. Use a cough suppressant if your illness is making you cough. Coughing is very dangerous to the vocal cords especially if they are already swollen. If the vocal cords or the mucous membranes are swollen, the best thing you can do is to stop talking, stop singing, and drink lots of water. Inhaling steam is also beneficial as is keeping the air humid by using a humidifier. Every singer should also know how to "mark" during a rehearsal. "Marking" means taking it easy vocally. If a piece or a phrase or a note is high, you sing it down the octave. One also sings with less volume while "marking". Many young and inexperienced singers "mark" incorrectly. In singing softly and resting the voice, "...there is a great temptation to rest abdominal and thoracic muscles as well...proper marking requires technique as meticulously good as that practiced during unrestricted singing." (Sataloff, 1986, p.25) 93 ACTIVITIES:
1. Italian Diction Check - Students will recite the Italian text(s) of their assigned opera scene(s). Comments and corrections will be made.
2. Where Were You? - see class 3 week 3 Fall Semester
3. Continuing Story - see class 3 week 7 Fall Semester
4. Improvisation - Students are given the location for their scene, see class 2 week 5 Fall Semester
ASSIGNMENT:
Practice the Italian with the corrections given during class today. We will repeat this activity next class. 94 SPRING SEMESTER
WEEK 3 CLASS 3
TOPICS: Italian Diction Theatre Exercises Singing with Body States
ACTIVITIES:
1. Italian Diction Check - Students will recite the Italian text(s) of their assigned opera scene(s).
2. Trust Circle - see class 3 week 8 Fall Semester
3. Object Transformation - see class 2 week 6 Fall Semester
4. Singing with Body States - see class 1 week 2 Fall Semester
ASSIGNMENT:
Bring in your character description(s). Be prepared to support what you have written. In addition, for the next two weeks, keep a diary of your practice habits, signs of vocal fatigue if any, amount of sleep, food and water intake. We will discuss these the last class of week 5. 95 SPRING SEMESTER
WEEK 4 CLASS 1
TOPICS: Character Descriptions Improvisation
ACTIVITIES:
1. Discussion of Character Descriptions - Students should know the entire story of the opera from which the scene comes and have a detailed description of his/her character. The description should include things such as age, social status, family relationships, important life experiences, what the character has been doing prior to the audience first seeing him/her, the character's goal, is he/she the protagonist or the antagonist?
2. Mirror - see class 3 week 1 Fall Semester
3. Improvisation - Students are given their first line of the scene, see class 1 week 7 Fail Semester
ASSIGNMENT:
A reminder to you that your musical preparation of your opera scenes will be checked next week in class. We will continue the activity of singing with different body states next class. 96 SPRING SEMESTER
WEEK 4 CLASS 2
TOPICS: Character Appropriate Gestures Theatre Exercises Singing with Body States
COMMENTS:
As you continue developing a more detailed description of your characters, the issue of character appropriate gestures becomes important. Every person carries him/herself in a different way. Someone of nobility who has had etiquette training (à la Emily Post) certainly has a different "look" than someone who grew up on a farm. The term "look" does not necessarily refer to dress, but to physical carriage, movement. The manner in which we gesture is also unique. The same noble will sit, eat, shake hands, and carry a coat differently from our farmer. Discover who your character is and then proceed gesturing and moving as he or she would likely move. Experiment. Use your imagination. Have objective observers comment on the validity of a chosen motion. Come up with a "bag of tricks" so that when it comes time for staging you do not feel awkward about what to do with your hands and props.
ACTIVITIES:
1. Machines - see class 1 week 2 Fall Semester
2. Where Are We? - see class 2 week 4 Fall Semester
3. Improvisation - Students will do improvisations with the characters they will portray in their opera scenes. At first the characters from the same opera scene will be grouped together, then as students become more comfortable, the characters from different scenes will be mixed together.
4. Singing with Body States - see class 1 week 2 Fall Semester 97 SPRING SEMESTER
WEEK 4 CLASS 3
TOPICS: Alexander Technique improvisation Singing with Body States
ACTIVITIES:
1. Alexander Technique - An instructor trained in the Alexander Technique will work with students for approximately 45 minutes. Students should use the upcoming Alexander Technique opportunities to develop a more consistent freedom in the head-neck joint.
2. Improvisation - Students will improvise scenes between their characters in the opera scenes, see class 2 week 4 Spring Semester
3. Singing with Body States - see class 1 week 2 Fall Semester
SUPPORTIVE NEEDS:
Someone trained in the Alexander Technique.
ASSIGNMENT:
In addition to checking the musical preparation of your opera scenes, we will continue working with the Alexander Technique. 98 SPRING SEMESTER
WEEK 5 CLASS 1
TOPICS: Opera Scenes Music Check
ACTIVITIES:
1. Music Check - Proceeding in the order of the scenes recital, students will sing through all seven opera scenes. The music does not have to be memorized, but the performance should demonstrate your security with language, rhythm, and pitch. We will not stop to correct musical mistakes, that is your job. We will stop, however, in the event that the singers and the pianist lose track of each other.
ASSIGNMENT:
Music will be checked again in one week. Please do the necessary work to make this next presentation even better. Diaries will be discussed on Friday. Please bring them with you. 99 SPRING SEMESTER
WEEK 5 CLASS 2
TOPICS: Alexander Technique Character Improvisation
COMMENTS:
As you begin experimenting with the physicality of your characters, it is important to remain alert the tensions which may develop in the body as a resuit of certain character movements or postures. Our Alexander instructor will visit the class periodically from now until the final dress rehearsal to work with you on specific probiems. Intermittent checks like this will not by any means solve all of your problems, but may assist you in trying to catch them before they become too big to handle on your own. Make notes in your score or in a notebook about areas or activities in which you wouid like the Alexander instructor to help you. By doing this, you wiii not forget where or what the trouble is and the instructor will know what to look for.
ACTIVITIES:
1. Alexander Technique - An instructor trained in the Alexander Technique will work with students for approximately 45 minutes. The instructor will stay for the remainder of the class to watch and assist students in movement during the improvisations.
2. Character Improvisation - see class 2 week 4 Characters from different opera scenes wiil be mixed together in the improvisations.
SUPPORTIVE NEEDS:
Someone trained in the Alexander Technique
ASSIGNMENT:
Bring in your two week diaries. We will discuss them next ciass. 100 SPRING SEMESTER
WEEK 5 CLASS 3
TOPICS: Diaries Alexander Technique Theatre Exercises
COMMENTS:
The purpose of having you keep this diary was for you to think about your daily routine. What do you put your body through in the course of one day? Do you eat a healthy diet? Do you get enough sleep? When do you practice? How much water do you drink in a day? It is hoped that by writing down what you do and when you do it you will be surprised - surprised enough to change some of the not-so-good habits. As a singer you must take care of your voice and its carrying case, your body.
ACTIVITIES:
1. Discussion of Student Diaries
2. Alexander Technique - An instructor trained in the Alexander Technique will work with students fro approximately 45 minutes.
3. Gibberish - see class 1 week 2 Fall Semester Variation - the gibberish conversations wiil be between characters in the opera scenes.
(This variation offers students another opportunity to develop their individual characters and learn how to interact with others.)
4. Oooh - Aaah - see class 3 week 1 Fall Semester
5. Honey Walk - see class 1 week 1 Fall Semester Variation - students will walk through the various liquids in character.
SUPPORTIVE NEEDS:
Someone trained in the Alexander Technique.
ASSIGNMENT:
There will be another opera scenes music check next class. 101 SPRING SEMESTER
WEEK 6 CLASS 1
TOPICS: Opera Scenes Music Check Staging Terms
COMMENTS:
Before we begin staging our opera scenes it is necessary to familiarize yourself with some basic terms which are commonly used to describe movement or placement of movement on the stage. Understanding these terms will allow you to work with most stage directors in a professional manner because most of them use these terms as regular speech when staging. Learn and be able to demonstrate understanding of these staging terms.
Downstage - toward the audience
Upstage - away from the audience
Stage Left - actor's left when facing the audience
Stage Right - actor's right when facing the audience
Down Center - toward the audience in the center of the stage
Up Center - away from the audience in the center of the stage
Below - in front of
Above - behind or in back of
Cross - pass from one spot to another
Gain Depth - move upstage
Clockwise and Counter Clockwise Turns - pivot in the same spot - do not change location on the stage
Upbeat Gesture - preparing a motion or movement before it is to occur
ACTIVITIES:
1. Music Check - Students will sing straight through each of the scenes in the order of performance. 102 ASSIGNMENT:
Study staging terms. During the next few weeks you may be asked to demonstrate your understanding of these terms. 103 SPRING SEMESTER
WEEK 6 CLASS 2
TOPICS: Character Rapport Theatre Exercises Improvisation
COMMENTS:
As you start thinking about stage movements for yourself, also keep in mind that there will invariably be other singer-actors on the stage with you. How do you react to them? What is considered appropriate or inappropriate? How do you stay involved in the scene even when you are not singing? There are techniques of maintaining a rapport with other singer-actors. A stage director will often block (stage) the listener (non-singer) in a position where the singer remains upstage of and is singing to the listener whose back may or may not be to the audience. If the listener's back is to the singer, the listener can still reflect a rapport by a tilt of the head or a shift with the eyes. Many stage directors working with young, inexperienced singers will take the time to carefully demonstrate such techniques. However, there are those who will not but rather will expect that you will do it automatically. A good rule of thumb, the listener should be slightly downstage of the singer so that the singer does not have to sing into the wings or upstage or have to contort the body to keep the sound going out front. The face and the eyes are two of the most expressive features we possess. When you are interacting with another singer, do not avoid his/her glance. Look that person in the eye as you would if you were talking to him/her at a restaurant. The audience wants realism - always looking away does not look convincing. As for the head and the face, remember to keep the head-neck joint loose. Feel tall, elongated. The audience will be able to read expressions and emotions even if your face is not turned straight out front as long as your eyes are not looking at the floor. In addition to knowing where and what you are supposed to be doing while in a scene, you should also make it a point to know where and what everyone else is doing as well. This information can come in handy in moments of crisis such as when someone misses an entrance, or forgets to fetch an important prop, or forgets his/her blocking. If you know what is supposed to happen, you may, with some quick thinking, be able to avoid a potential nightmare. 104 ACTIVITIES:
1. Age Walk - see class 2 week 2 Fall Semester
2. Machines - see class 1 week 2 Fall Semester
3. Bus Stop - see class 1 week 5 Fall Semester Variation - use characters from the opera scenes 105 SPRING SEMESTER
WEEK 6 CLASS 3
TOPICS: Characterizations Body Awareness Character Improvisations
COMMENTS:
Just a few more words about characters and character appropriate gestures and movements. The famous opera director Boris Goldovsky categorized movements as either reasons or urges. Reasons are represented by specific, direction-focused movements resulting from external stimuli. Urges are represented by more random and unfocused movements such as those resulting from an emotional state. Goldovsky believed "It is essential for a performer to have a clear and vivid understanding of the reason behind every action he makes." (Goldovsky, 1968, p. 107) This statement applies to actions which the stage director dictates and also gestures which you have developed for your character. As you work with character-related movement, keep this idea in mind. Goldovsky (1968) writes:
The mise-en-scène is created by the director, but the reasons and urges
that govern the behavior of the character must be re-created by the
singing-actor and must become the spontaneous and vivid expression of
his own mind and heart. The composer notates his intentions in the
score; the stage director explains, analyzes, and demonstrates; but it is
the singer who brings their ideas to life, and he must work at them until
he has made these ideas completely his own. (p.114)
ACTIVITIES:
1. Preliminary Awareness - see class 1 week 1 Fall Semester
2. Preliminary Awareness - see class 3 week 1 Fall Semester
3. Character Improvisations - Students will be given the time in which the action takes place. Students will be given the location of the scene. 106 ASSIGNMENT:
A reminder to you that memorization of the opera scenes will be checked next class period. 107 SPRING SEMESTER
WEEK 7 CLASS 1
TOPICS: Memorization of scenes music
COMMENTS:
The purpose of checking for memorization of music 3 weeks before staging begins is so that students who are making errors will have time to correct them and also to give the instructor time to coach each scene musically before staging distractions arise. Once staging is completed, the instructor will have time with each scene group to coach them musically as well as theatrically - this just affords extra time for the comfort of the student.
ACTIVITIES:
1. Memorization check ■ All scenes will be sung straight through. Areas in which the singers are weak will be pointed out. It is hoped that these areas will be cleaned up before the scene is heard again. Students are reminded that if a scene is not ready for performance it will be cut from the program.
ASSIGNMENT:
Keep working on your music - polishing vocally, musically and textually. 108 SPRING SEMESTER
WEEK 7 CLASS 2
TOPICS: Theatre Terms Theatre Exercises Coaching Opera Scenes
COMMENTS:
A knowledgeable stage performer should understand as much about the behind-the-scenes activity as about what goes on in front of the curtain. A basic theatrical vocabulary will be useful to you whether you do community productions or professional regional opera. The following list of terms and their meanings should give you a good start.
Scrim - a painted fabric curtain which can be opaque or see-through depending on the lighting. Can be used as a backdrop behind a set or in front of the main curtain.
Cyciorama - light blue fabric backdrop just in front of the back wall of the stage. There is often room to walk behind it to cross from one side of the stage to the other.
Proscenium - the arch-like frame around the stage opening.
Leg - a set/scenery piece that usually dresses the edges of the stage space.
Truck - a rolling platform that sets are built on and that move the sets to and from the stage.
Fly - to raise either a curtain or a set piece above the stage out of visibility from the audience.
Strike - to remove something from the stage.
Pre-set - to have a prop or costume piece on stage before the action begins.
Follow Spot - the spotlight that is able to follow a character around the stage.
Hot Spot - the place on the stage that is lit.
Gel - a colored piece of plastic which is slipped in front of a white spotlight to color it. 109 ACTIVITIES:
1. Oooh - Aaah - see class 3 week 1 Fall Semester
2. Where Were You? - see class 3 week 3 Fall Semester
3. Continuing Story - see class 3 week 7 Fall Semester
4. Coaching Opera Scenes - Scenes 1 and 2 will be coached. The instructor will give the singers a verbal and physical pop quiz on some of the staging terms discussed.
ASSIGNMENT:
Opera scenes 3 and 4 wiil be coached next time. 110 SPRING SEMESTER
WEEK 7 CLASS 3
TOPICS: Alexander Technique Theatre Exercises Coaching Opera Scenes
ACTIVITIES:
1. Alexander Technique - An instructor trained in the Alexander Technique wiii work with students for approximately 30 minutes.
2. Gibberish - conversation between opera scene characters see ciass 3 week 5 Spring Semester
3. Haiftime Show - see ciass 3 week 2 Fail Semester
4. Changing Bail Toss - see ciass 1 week 3 Spring Semester
5. Coaching Opera Scenes - Scenes 3 and 4 wiii be coached. Singers wiii be quizzed on staging terms, see ciass 2 week 7 Spring Semester
SUPPORTIVE NEEDS:
Someone trained in the Alexander Technique. 111 SPRING SEMESTER
WEEK 8 CLASS 1
TOPICS: Stage Combat Coaching Opera Scenes
COMMENTS:
There may be a time during an opera when some form of stage combat will be required of you. Knowing how to perform some basic moves may come in handy in future productions. Remember that the audience expects it to look real. There have been too many instances where the male hero of the opera is involved in a sword fight or a struggle and the event ends up making the audience laugh because the two singers looked rather foolish instead of realistic. An instructor from the theatre department will teach you, men and women, some of the basics of stage combat, slapping etc.
ACTIVITIES:
1. Stage Combat - An instructor from the theatre department will work with the class for approximately 1 hour on basic techniques.
2. Coaching Opera Scenes - Scenes 5 and 6 will be coached.
SUPPORTIVE NEEDS:
Someone trained in stage combat techniques.
ASSIGNMENT:
Practice some of the combat techniques you learned. 1 12 SPRING SEMESTER
WEEK 8 CLASS 2
TOPICS: Stage Combat Coaching Opera Scenes
ACTIVITIES:
1. Stage Combat - An instructor from the theatre department will work with students for approximately 1 hour on basic stage combat techniques.
2. Coaching Opera Scenes - Scenes 7 and 1 will be coached.
SUPPORTIVE NEEDS:
Someone trained in stage combat techniques. 1 13 SPRING SEMESTER
WEEK 8 CLASS 3
TOPICS: Theatre Exercises Improvisation Coaching Opera Scenes
ACTIVITIES:
1. Mirror - see class 3 week 2 Fall Semester
2. Machines - see class 1 week 2 Fall Semester
3. Trust Circle - see class 3 week 8 Fall Semester
4. Improvisaticn - Students are given their characters for the scene.
5. Freeze - During an improvised scene, the instructor calls out Freezeand the actors freeze in the position they are in. From this position, the actors begin a new improvisation on a new topic. As a variation, students from the audience can substitute for a frozen character if they have an idea for the improvisation.
6. Coaching Opera Scenes - Scenes 2 and 3 will be coached. 114 SPRING SEMESTER
WEEK 9 CLASS 1
TOPICS: Stage Make-up
COMMENTS:
Every stage performer should know the basics of stage make-up application, in many school productions and community based organizations, tfie funds are not available to hire professional make-up artists. You can do a credible job yourself by knowing a few simple techniques. A professional make up artist has brought samples of the type of make-up necessary for your make up kits. You will be taught about shadowing, eyes, and how to make yourself look older. You will be applying your own make-up for the opera scenes recital, so take notes and practice.
ACTIVITIES:
1. Stage Make-up - A professional make-up person will teach the class the basic techniques of applying make-up for the stage.
SUPPORTIVE NEEDS:
A professional make-up artist.
ASSIGNMENT:
Start building up your make-up kit. Practice the techniques you learned today. 1 15 SPRING SEMESTER
WEEK 9 CLASS 2
TOPICS: Costumes and Props Improvisation Coaching Opera Scenes
COMMENTS:
There may be times when working with community theatre groups or school productions that you wili need to provide your own costumes and props. Where will you find what you need? Hopefully you will have a list or a general idea of the kinds of things you are looking for. A good place to start your search is your closet. You would be amazed at what you find that you did not know you even had. You can also rummage in your mother's or grandmother's attic for goodies (they tend to save lots of junk that you could use). If family members do not have what you need, try thrift shops, flea markets, or garage sales. Items here will cost you, but if the piece is versatile you will get many uses for your money. If there are props which you feel your character should have, please see me. You may be asked to supply some props or costume pieces for your opera scenes. You will have plenty of advance notice if such is the case.
ACTIVITIES:
1. Freeze - Students wiil be given their first line, see class 3 week 8 Spring Semester
2. Freeze - Students will be given the location of the scene.
3. Coaching Opera Scenes - Scenes 4 and 5 will be coached. 116 SPRING SEMESTER
WEEK 9 CLASS 3
TOPICS: Alexander Technique Theatre Exercises Improvisation Coaching Opera Scenes
ACTIVITIES:
1. Alexander Technique - An instructor trained in the Alexander Technique wili work with students for approximately 30 minutes.
2. Gooh - Aaah - see class 3 week 1 Fall Semester
3. Object Transformation - see class 2 week 6 Fall Semester
4. Freeze - Students are given the time the action takes piace see class 3 week 8 Spring Semester
5. Coaching Opera Scenes - Scenes 6 and 7 will be coached
SUPPORTIVE NEEDS:
Someone trained in the Alexander Technique
ASSIGNMENT:
Staging of opera scenes begins next class. You have a schedule of which scenes work with me and which scenes have musical coaching. Please arrive 10 minutes before your scheduled time in case we are running ahead of schedule. 117 SPRING SEMESTER
WEEKS 10,11,12,13
REHEARSAL SCHEDULE
Weeks 10 and 11
Monday Wednesday Friday RM-I RM-II RM-I RM-II RM-I RM-II
1 4 4 7 7 3 2 5 5 1 1 4 3 6 6 2 2 5 7 3 6
Monday Wednesday Friday RM-I RM-II RM-I RM- RM-I RM-II
3 7 7 4 4 1 4 1 1 5 5 2 5 2 2 6 6 3 6 3 7
Weeks 12 and 13
Monday Wednesday Friday RM-I RM-II RM-I RM-II RM-I RM-II
1 4 4 7 7 3 2 5 5 1 1 4 3 6 6 2 2 5 7 3 6
Monday Wednesday Friday RM-I RM-II RM-I RM-II RM-I RM-II
3 7 7 4 4 1 4 1 1 5 5 2 5 2 2 6 6 3 6 3 7 1 1 8 SPRING SEMESTER
WEEK 14
TOPICS: Scenes Récitai rehearsals and performance
ACTIVITIES:
1. Class 1 - Run through entire program - no costumes, but using props
2. Class 2 - Dress rehearsal - final chance to polish
3. Performance - The program will be videotaped so students can see the final product and evaluate themselves.
SUPPORTIVE NEEDS:
Costumes for the scenes program. Students will have been gathering some of their own costume pieces and props. The remainder will have come from other sources such as the theatre department or community theatre organizations. REFERENCES
Atkins, G. (1994). Improv!: A handbook for the actor. Portsmouth, N.H.: Heinemann.
Balk, H.W. (1985). The complete singer-actor: Training for musicjheatre. (2nd ed.). Minneapolis: University of Minnesota Press.
Balk, H.W. (1991).The radiant performer: The spiral path to performing power. Minneapolis: University of Minnesota Press.
Bannerman, B. (Ed.). (1989).The singeras interpreter: Claire Croiza's master classes. London: Gollancz Ltd.
Bertherat, T. (1982). The body has its reasons. New York: Pantheon Books.
Brodnitz, F.S. (1988). Keep your voice healthy. Boston: College-Hill Press.
Caldwell, R. (1990).The performer prepares. Dallas: PST...Inc.
Dell, 0. (1970). A primer for movement description and analysis. New York: Dance Notation Bureau.
Dornemann, J. (1992). Complete preparation: A guide to auditioning for opera. New York: Excalibur Pub.
Forderhase, J.F. (1994, Jan ./Feb.). Attitudes toward team teaching as an approach to vocal instruction. The NATS Journal, pp.3-11.
Gawain, S. (1978).Creative visualization. San Rafael, CA: New World Library.
Goldovsky, B. (1968). Bringing opera to life: Operatic acting and stage direction. New York: Appleton-Century-Crofts.
Green, B. (1986). The inner game of music. New York: Doubleday.
Hagen, U. (1973). Respect for acting. New York: MacMillan.
Helfgot, D. (1993). The third line: The opera performer as interpreter. New York: Schirmer Books.
119 120 Jones, P.P. (1976). Body awareness in action. New York: Schocken Books.
Lewis, P.P. (1982). The Aiexander technique: Its relevance for singers and teachers of singing (Doctoral dissertation, Carnegie-Meilon University, 1980). Ann Arbor, Ml: University Microfilms international.
Owens, R. (1983). Towards a career in Europe. Dallas: American Institute of Musical Studies.
Papolos, J. (1984). The performing artist's handbook. Cincinnati: Writer's Digest Books.
Penrod, J. (1974). f\/lovement for the performing artist. Palo Alto: National Press Books.
Ristad, E. (1982).A soprano on her head. Moab, UT: Real People Press.
Said, E.W. (1991).fJiusicai elaborations. New York: Columbia University Press.
Sataloff, R.T. (1986). Voice rest.The NATS Journal, 42(5), 23-25.
Shurtleff, M. (1’978). Audition: Everything an actor needs to know to get the part. New York: Walker and Co.
Steinman, L. (1986). The knowing body. Boston: Shambhala Press.
Wallace, M.E. & Wallace, R. (1990).More opera scenes for class and stage. Carbondale, IL: Southern Illinois University Press.
Wallace, M.E. & Wallace, R., (1979).Opera scenes for class and stage. Carbondale, IL: Southern Illinois University Press.
Warrack, J. (1978). The indirect approach to singing. In W. Barlow (Ed.),More talk of Aiexander (pp.196-199). London: Victor Gollancz Ltd.