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