Singing, Acting, and Movement in Opera

Singing, Acting, and Movement in Opera

A Guide to Singer-getics
Mark Ross Clark
Distribution: World
Publication date: 3/19/2009
Format: paper 176 pages, 1 figures, 1 bibliog., 1 index
6.125 x 9.25
ISBN: 978-0-253-21532-1
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Description

“. . . a remarkable collection of observations and reflections on past experiences by many excellent artists and teachers that will doubtless help . . . those interested in creating ‘opera magic.’” —Tito Capobianco

Singing, Acting, and Movement in Opera is designed for use in opera and musical theater workshops and by beginning professional singers. Drawing on years of research, teaching, and performing, Mark Ross Clark provides an overview of dramatic methodology for the singing actor, encouraging the student’s active participation through practical exercises and application to well-known works. The Singer-getics method emphasizes integration of the various dimensions of opera performance, creating synergies among vocal performance, character development, facial expression, and movement on the stage. The book presents important information about stagecraft, characterization, posture, historical styles, performance anxiety, aria, and scene analysis. Excerpts from interviews with performers, directors, conductors, coaches, composers, and teachers offer insights and advice, allowing the reader to “meet the artists.” An appendix by postural alignment specialist Emily Bogard describes techniques of relaxation and self-awareness for the performer. This lively book will appeal to students, teachers, professionals, and general readers alike.

Author Bio

A singer and teacher, Mark Ross Clark has taught opera workshop for 20 years and has directed and produced over 50 operas in professional and university venues. He holds a doctorate in opera production and degrees in vocal performance, and is currently Associate Professor in the Indiana University School of Music and IU Opera Theater Production Director.

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Table of Contents

Preliminary :

Contents
Foreword: A Message from Tito Capobianco
List of Interviews
Using the Guidebook

I. PREPARATION
1. Body Awareness: Stretching For Flexibility and Power
2. Postural: Aligning the Body
3. The Expressive Face: Communicating Emotions Onstage
4. Character Study: Decoding the Clues to Character
5. Environment: Setting the Stage

II. INTEGRATION
6. Elements of Stagecraft: Learning the Language
7. Historical Etiquette: Bowing to Tradition
8. Improvisation: Unlocking the Imagination
9. Monologues: Talking Opera
10. Physical Analysis: Moving in Character

III. APPLICATION
11. The Aria: Making Choices
12. The Scene: Putting it all Together
13. The Opera: Preparing a Role
14. Performance Anxiety: Facing Fear
15. Careers in Opera: Stepping Out


Appendix A: Attitude Chart
Appendix B: "Postural Alignment" by Emily Bogard
Appendix C: Literary Background of Selected Operas
Appendix D: Stage Manager's Handbook
Appendix E: Stage Combat: Faints, Falls, and Fights

Bibliography