A new method for the dramatic training of classical singers, based on the principles of historical acting and rhetoric and shaped by modern pedagogy. It is available in open access and can be downloaded for free from the Oxford University Research Archive here:
http://dx.doi.org/10.5287/ora-or45d6qb2 #acting #rhetoric #singer #baroque #gesture #opera #openaccess #research #oxford @opera @history @histodons @academicchatter @classicalmusicTeaching acting to singers: harnessing historical techniques to empower modern performers - ORA - Oxford University Research Archive
This thesis examines how seventeenth- and eighteenth-century acting techniques could be used in conjunction with twentieth- and twenty-first-century theory and praxis to create modern acting tools for the dramatic training of classical singers. Classical singing curricula tend to focus
Bpdf d = both hands, prone, are lowered to downwards and forward, while the head also slightly tips forward and the eyes look down
seq = right hand extends, and right hand, supine, is lifted to elevated and oblique
—sdq = left arm also extends, and left hand, supine, moves to downwards and oblique
R2 = the weight of the body shifts forward on the right leg
Bvhf rj = both hands, vertical, move to horizontal and forward, while the arms contract to bring the hands closer to the face; after the reach this position, they perform a rejecting motion, slightly extending the arms as if the hands are pushing something disgusting away, while at the same time the head turns towards the left and the gaze is averted
rR1 = while the hands are pushing back and the head turns, the left foot slides slightly back and takes the weight of the body
shf sh = right hand, supine, moves to horizontal and forward and shakes
—sdq = left hand, now supine, remains in downwards and oblique
aR2x = right foot takes a big step forward, keeping the stance wide, and takes all the weight of the body, with the right knee straight
ceb sh = right hand clenched into a fist (as if holding a dagger) moves to elevated and backwards and shakes
—cdq = left hand also clenched (but not shaking) moves to downwards and oblique
L1x = left foot moves slightly forward, widening the stance, touching only on the toes, while the weight of the body moves towards the back, with the right knee slightly bended, further widening the stance
Bphc = both hands, prone, elevate to the horizontal plane, cross (as can be seen on the plate) on the word ‘world’, and the start extending until they reach, still prone, the horizontal and extended position on the word ‘ev’ry’
br = right hand is placed on the breast
—R = left hand drops to the rest position by the side of the body
seb sw = the right hand is performing a sweeping preparatory motion towards the left (as shown on the plate) before lifting up, supine, to elevated and backwards on the word ‘honour’
—sdq = the left hand remains in the same position, supine and downwards and oblique
rL1 = the right foot takes a step backwards, as well as all the weight of the body, leaving the left foot in front
shf st = right hand, supine, drops with a striking motion to horizontal and forward on the word ‘defeat’
—sdq = at the same time as the right, the left, also supine, drops lower, to downwards and oblique
