Stage Performance for Singers

A Practical Course in 12 Basic Steps

Martin Karnolsky

• Publisher: Jenny Stanford Publishing
• Year: 2018
• ISBN:
  9780429767753
• Edition: 1
• Topic: Media & Performing Arts
• Subtopic: Performance Art

There are about ten books in the world on stage performance training. Most of them are in English, but there are a few in Spanish. Thereare none in Russian, although the father of modern theater, Konstantin Stanislavski, was born in Russia. In singing, regardless of genre and style, the element of stage performance is missing. There is no normal training for communicating with the audience. It is accepted by most vocal pedagogues that it is enough to sing the notes correctly, but there is much more to do. For singers who study opera and operetta, it is essential to stretch the limits of performance, and that is why they also study acting. For everyone else, this is not necessary, because they have other tasks on stage. They must learn to self-regulate, not to wait for directional instructions.

This book is valuable in that it teaches singers to direct their own stage performance. Representing the author's conclusions based on careful analysis of a number of successful and unsuccessful stage performances of numerous singers of different stature, it gives them the basic knowledge and guidance on how to approach and develop their show from one song to one concert. It teaches singers how to be more successful on stage, how to be more charismatic and how to manage their audience the way they want.

Contents

Introduction

1. Preparation and Beginning of Performance

2. Stage Space Split

3. Body Position and Communication with the Audience

4. Using the Microphone

5. Gestures

6. The Look

7. The Phrase in the Gesture and the Look

8. Working with Lyrics

9. Artistry in the Voice

10. The Costume

11. Makeup and Hairstyle

12. The Bow and Leaving the Stage

Exercises

Conclusion

Bibliography

Index

Introduction

Not everything is as complicated as it may seem. However, the contrary is also true. I am writing this book with the purpose of provoking the people who believe that walking out on the stage and singing a song is already a sign of success in itself. I am also writing for those for whom walking on stage and singing a song with their eyes closed and the microphone held in both hands is a heroic deed and unique in its artistry. And also for those who wish to achieve a bit more than holding the mike’s ‘head’ and making infinite repetitions of the same gestures with hands in their pockets and eyes fixed on the floor or on the sky. Of course, I am also addressing those who do nothing of the above and do not know what to do at all. I am writing for vocal pedagogues, for students in all genres of singing, as well as for people who would like to go deeper into the techniques of correct and esthetic behavior and natural contact with the audience.

What should one expect from this text dedicated to stage performance? These are 12 basic steps any person should know when walking out on stage. These are approaches to the subject of stage performance from the last 20 years, put together and organized in this book. They represent my conclusions based on careful analysis of a number of successful and unsuccessful stage performances of singers of different statures. What we will actually do is study how to communicate with the audience.

I believe that every person is born with some knowledge and knows more than what this book may offer. However, I also believe that reading what I have rendered systematic here, will make it easier to achieve that coveted success. At least this is what my experience tells me.

I wish you interesting moments with Stage Performance for Singers and hope that each and every one of you will discover something personally valuable in this book. This will vindicate my work and please me enormously.

Chapter 1

Preparation and Beginning of Performance

In this chapter you will learn of the basic positions in the preparation for singing one or several songs, pieces, or a whole concert. You will also learn when the performance of a piece or a concert starts and ends. I will deal with preparation for a concert or concert performance as an important aspect of the perfect performer’s delivery. This subject is as important as the other aspects examined in this book. Practically, everyone should know that a system composed of different elements is as strong as its weakest element. That is, we must not underestimate any aspect of our preparation, the actual performance on the stage, and our behavior after it. All these elements are of absolute importance!

The preparation for the performance includes all preliminary work in the rehearsal hall, working with designers, photographers and others, and it may last for weeks or months. This is besides the specific actions before the concert appearance. If we agree that everything that needs to be done in the course of the preliminary stages of the preparation is completed and we already are on the concert platform or in the hall, let us discuss what needs to be done right before the concert. This includes locating the spot where the actor can get ready without distraction, at least as far as this is possible. In the dressing room the makeup, hairstyle, change of costumes and small, last moment adjustments as well as other seemingly insignificant things are done. This is the place where the actor arranges his thoughts and focuses before stepping on the stage. This is where he rehearses a text or choreography or warms up his voice. When does the performance begin? I always ask this question and expect every actor to formulate the answer for himself. I have heard an endless number of answers. Starting from “When we start singing” to “At the moment when we took the decision to sing this particular song.” I categorically disagree with the first answer. We cannot step onto the stage featuring the staggering walk of a sailor and when the moment of singing comes, to turn into the princess for which we have dressed up. Please note that I am talking about US, as I rank myself among the creative and artistic people and have often been on stage in different roles. We should “be” in character long before the singing starts. It is not by accident that I ask the question on when our performance should begin. Certainly not when our singing takes off.

I can agree with the second somewhat extreme answer, but with an additional reservation which may slightly alter the real essence of the question. If at the very moment when we decide which song to perform, we are ready with everything needed to walk on stage and give a brilliant performance, then we belong to the category of the super genius who also possesses elements of clairvoyance and unlimited abilities. The decision to take a step is not the actual step. From a philosophical point of view it is important that we visualize the goal from the very first moment. It is important that we have a vision of what we want to achieve. However, this does not mean that we are ready. Not at all! If we do not know where we are heading, we may not get anywhere!

The truth is that the performance starts before our appearance on stag...