Singing, Acting, and Movement in Opera

Singing, Acting, and Movement in Opera : A Guide to Singer-getics

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... 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 CapobiancoSinging, 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.show more

Product details

  • Paperback | 176 pages
  • 154 x 230 x 14mm | 281.23g
  • Indiana University Press
  • Bloomington, IN, United States
  • English
  • 1 figures, 1 bibliog., 1 index
  • 0253215323
  • 9780253215321
  • 537,819

About Mark Clark

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.show more

Table of contents

Preliminary Table of Contents: ContentsForeword: A Message from Tito CapobiancoList of InterviewsUsing the GuidebookI. PREPARATION1. Body Awareness: Stretching For Flexibility and Power2. Postural: Aligning the Body3. The Expressive Face: Communicating Emotions Onstage4. Character Study: Decoding the Clues to Character5. Environment: Setting the StageII. INTEGRATION6. Elements of Stagecraft: Learning the Language7. Historical Etiquette: Bowing to Tradition8. Improvisation: Unlocking the Imagination9. Monologues: Talking Opera10. Physical Analysis: Moving in CharacterIII. APPLICATION11. The Aria: Making Choices12. The Scene: Putting it all Together13. The Opera: Preparing a Role14. Performance Anxiety: Facing Fear15. Careers in Opera: Stepping Out Appendix A: Attitude ChartAppendix B: "Postural Alignment" by Emily BogardAppendix C: Literary Background of Selected OperasAppendix D: Stage Manager's HandbookAppendix E: Stage Combat: Faints, Falls, and FightsBibliographyshow more

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