Artists must be complete to compete!

In addition to elite vocal ability, singers need ‘tools’ as actors and broad knowledge of creative approaches. Performers prepare to be ready, but we are sometimes unaware of what we don’t know until we need to know it. For artists, this epiphany may take place after surviving rehearsals and then standing in front of 2000 people. The following workshops cover much of the work I’ve done with singers for artist-in-development programs and universities. They are designed to provide artists with practical skills required to thrive on the stage - movement, physical expression, stage dynamics, improvisation, role preparation, characterisation, period styles, acting and performance techniques (stagecraft). And for established performers, there is work on approaching text with confidence, exploring how to physically inhabit a character, or gaining insight into the different approaches and rehearsal processes of stage directors.

Timeframe

These five workshops have been delivered in three hours or up to twelve hours - depending on the objectives of the program and artists involved.

Movement & the Opera Singer

How do I breathe and move at the same time?  How do I manage the physical impulses of my character and not compromise vocal performance?  Sit, stand, turn, run, fall physically free and sing?  How do I use movement and the space around me to create a strong performance?

This work looks at the unique challenges for the singer as a physical performer – how to use the breath to initiate movement, and discovering how to support the voice in movement.  How to challenge inherent movement patterns and expand the singer’s comfort zone, with tasks that may focus on self-awareness, co-ordination, muscle-memory, agility, spatial-awareness, group dynamics and partnering.  

Finding Character

This character is nothing like me – how do I transform?  How can I discover the lived experience of a different person?

These classes develop the singer’s ability to move sensitive to the demands of character and situation.  Laban movement theories are used to analyse and expand awareness, and to discover a range of movement choices.  Improvisation techniques are learned and used to create movement material for individual or group work. Tasks expand use of imagination, observation, experimentation.

Improvisation for Interaction & Historical Period

How do I approach 'acting' in period settings?  What is the world of this opera? How do I interact with other performers onstage?

This work looks at improvisation techniques in rehearsal and performance and aims to make singers comfortable and confident creating scene material. Singers develop a role in the context of period. Practical tasks look at period dress, social etiquette and conditions - discoveries inform character choices - singers take away more tools to better function in the studio as singing actors.  

Recital, The Text & Story-telling

How do I sing the words?  Where should I look?  What should I do with my hands?  How can I express an idea with my whole body?  What is the target for my thoughts?

These sessions look at recital performance, developing insight into the singers’ own performance techniques, the interpretation of text, use of gesture, approach to space, expressive language, use of focus, and story-telling.  The singer’s approach to preparation and performing for auditions and recitals is examined, with work ‘on the floor’ accompanied by a repetiteur, with music memorised.

Expectations & The Profession

Directors, choreographers, conductors are demanding of from opera singers – they must be physical, they must be able to collaborate with the director, offer ideas, improvise action and not compromise their singing.  How do I fulfill expectations?  Be better prepared? Become more adapatable?

Focused on extending performance skills and rehearsal room techniques using scenework. The aim is to condition singers for the professional environment, identifying areas for development and expanding areas of strength.  Libretti and music may be used for analysing texts, structure, characters, motivation, gesture, physicality and performance style.  Singers may be required to memorise dialogue or music.