Wednesday musings...
Sorry I've been MIA - the end of summer got ridiculously full.
As the fall season begins to develop momentum, I have a wish for the development of opera and music theatre.
I wish Opera Singers and the training that goes into singing opera - be it undergrad, grad school, conservatory programs and semi-professional/professional YAPs and summer programs - could find a consistency in the development of opera singer as ACTOR.
Overall, this is lacking in operatic training. Yes, there are some programs that spend time and energy on it, but in general it is a major part of theatrical training that is lacking, or in some cases, not there at all!
Ideally, Operatic training needs, along with voice development and language training et al, NEEDS movement classes, basic dance classes, acting through physicality, acting through language, character development, stage combat classes and an introduction to stage make up and wigs.
Opera is indeed about the VOCE, but it IS theatre after all!! It is NOT park and bark. It is NOT "light my good side", it is not "look away acting"!!! (ask me if you aren't sure about THAT one!!!)
What saddens me is that there are MANY singers who are operatically trained who have little to no stage craft, little to no acting skills or discipline and have to often figure it out themselves.
If we began the integration of voice and physicality of acting from the beginning, how much more versatile our opera singers would be!!! How much more evolved would singers be in the integration of craft and discipline - singing AND acting. Not singing and pretending to act.
Acting is NOT pretending. Acting is behavior just like singing is. We don't want to see your technique while you sing, nor do we want to see it, or the lack of it when you act! Combining of the two takes time and exposure and development.
Opera singers who have acting training, who understand language and character - through tone, through breath, through physicality - don't walk and move and gesture like an opera singer! They develop a dimensional sensibility of the physicality of the character. There is dimensional realization that is larger than life and not positioned! Character reality emerges!
On the flip side - what I wish for ALL music theatre singers is that they all study voice REGULARLY to develop a behavioral technique that allows them to align and discover the ENTIRE voice.
Singers who have learned how to find their TRUE voice, how it aligns, how it resonates, how it physicalizes with the breath and the body, how athletic it can be, are so much more able to discover stylistic authenticity, AND develop strength of endurance and stability!
Many theatre singers are afraid if they study they might sound too "classical". Wrong. All "classical" training does it to develop the voice fully, so the singer can then begin to explore the details of further technical prowess to inform the styles he/she is pursuing.
The so-called "classical" training should be required for EVERY singer. Why? It allows the singer to emerge from somewhere and have a place to return. It creates a balanced alignment of muscle, breath, resonance and athleticism to allow a place of departure. If there is a "neutrally balanced" instrument (my term), the voice has OPTIONS to move and develop specificity of style and genre.
This will allow the singer to utilize only what he/she needs. This gives options! This develops security of technical behavior and clear technical decision.
Great technique means the voice will LAST!!! In music theatre, because we are required to part of the equipment and often do 8 shows a week, wouldn't you WANT a voice that LASTED?!?!?
The voice develops endurance and sustainability and longevity not cause you wish it so; but because you BUILD IT HEALTHILY!!!
Imagine in all of "Musical Theatre" - be it Opera, or contemporary Music Theatre - that we had authenticity of character, of acting, AND of singing in EVERY style.
If each teacher and each singer takes responsibility to do their part - it is possible.
It takes recognition, responsibility, dedication and the DOING!
I will do what I can in my little corner - so what are YOU doing?
Wednesday, September 1, 2010
Friday, August 20, 2010
The "Skin" of the Singer!
Friday musings...
How thick is your skin?
As singers in this business - or even just getting started - we will endure criticism from many places: the business, the studio, the stage, colleagues and anybody else who thinks they can add their 2 cents, or anybody you deem to ask (this can be a smart move - or not!)
Criticism can come unbidden - both constructive AND destructive.
How do we deal with it? How do we absorb and learn from the constructive, and let the destructive fall away from us?
The human psychology is unique and complex.
As artists, we need the openness, and the pliable vulnerability to grow and develop our craft.
As artists in the business, we need to be clear of the distinction. We need to understand and not take personally some of the business activities.
Criticism is one of those complex and very gray areas.
How do you allow for both the openness and pliability to be an artist and the ability to repel anything that is destructive?
I wish there was a simple answer.
Perhaps we begin with "to thyself be true".
If we are unaware of who we are, and what we are about, we haven't a hope in hell. We will be led and manipulated and often wasted.
The truth of self means an ability to be honest - with where we are, what we have to work with, where we are in the process, what we need to do, how we need to work.
This self-truth will draw us toward those people who will see us honestly too - and allow for constructive criticism and development.
The self-denial of talent, ability, process, can often create a denial community: we surround ourselves with people who simply tell us what we THINK we want to hear.
The skin of the singer has to have a bullshit detector. Thin, thick or developing, it has to be able to RESPOND to truth!
Growth doesn't happen when you are being told you are wonderful all the time. On the flip side, growth doesn't happen when you are being told you are awful and will never amount to anything, or that your only chance at anything real will only happen with the person abusing you!
As you will need to prove yourself to the powers that be, so do the people you entrust for that constructive criticism. We all have to EARN our place.
Earning our place means developing an understanding or WHO we are and where we stand, and who we stand in front of and simply why we are there.
If you are a "singer" that chooses not to listen to constructive criticism and tunes out anything that may help in the development of that process, then my question is simply, why are you singing?
If you, as a singer, ask for feedback from a colleague or friend, or coach and then are taken aback by that feedback - then maybe you shouldn't have asked, or perhaps you should have been prepared fully for the possibility!
"Skin" is simply how we process information. Some of us recognize the difference between constructive and accessible and developmental criticism versus destructive and controlling criticism versus blowing smoke up your ass versus simply jealousy.
Some of us don't. Some of us recognize the difference on paper and haven't been able to live the difference...yet.
Some of us simply have created a cocoon of denial so that the truth will not penetrate.
Some of us have no filter and wander from one person to the other looking for answers outside of ourselves - changing teachers, technique, ideology, repertoire faster then changing clothes - looking for a quick fix or a place that makes us feel "good".
The"skin" of the singer needs to develop - in order to recognize the TRUTH of what is being delivered to us, and the ability to recognize the truth from within.
Often, a sense of devastation isn't so much about a thin skin or no skin, but has more to do with the internal dialogue that has deluded self.
If we ask for input and are unwilling to hear it and find a place for it - then why did we ask?
If you don't want to know, don't ask. If you feel you don't need to know - why sing?
If you are pursuing singing, you need to pursue the TRUTH of that and where you stand in that pursuit.
If you are pursuing singing in the business, you need to pursue the truth of what that means and what it means of you.
We need to be able to HEAR what we need to be prepared to do, and then decide whether or not we CAN or even WANT to!
Finding out what you NEED to do is less about feeling it, and simply about claiming it and doing it! We don't have to get overly sensitive or feel put upon. We need to HEAR that which is being said and KNOW who it is coming from and in what spirit it is being said.
"Skin" is simply an ability of detection. Do we ask for information and are we prepared to hear it?
Do we know and respect the person who is giving the criticism? Do we understand why that criticism is being given? Is it constructive or destructive? How does it uphold the craft or the knowledge of the business? How does it benefit YOU as a singer?
Is there something in that criticism that you can take and create into a better you?
This is TRUE SKIN! Claiming truth and development in self; seeing and seeking honestly in self and others; responding with an artistic yearning and desire; responding with a business sensibility that does not deny the truth of the craft.
So, if the skin is real, then ask away! Ask from those that have the answers and be willing to hear and absorb!
If the criticism comes unbidden - consider the source, consider the situation and make a decision to give it weight, or dismiss it. Either way, you will learn from it, and learn more about your skin's ability in the process!
Criticism in constructive mode will always have humanity in it, it will have a reason for being said that is complex and important, and it will not be a blanket statement or dismissal.
Truth needs to be pursued and recognized if you are to be a singer with depth and knowledge and craft! If you cannot be truthful with yourself, you will not hear the truth from others.
"Skin" is a filter. It is not a denial. It is not a impenetrable wall. Skin breathes, skin sheds, skin has layers and layers!!
Filter the bullshit - from within and from outside!
Absorb the truth - that is yours and that you learn!
DO the work. BE a singer!
How thick is your skin?
As singers in this business - or even just getting started - we will endure criticism from many places: the business, the studio, the stage, colleagues and anybody else who thinks they can add their 2 cents, or anybody you deem to ask (this can be a smart move - or not!)
Criticism can come unbidden - both constructive AND destructive.
How do we deal with it? How do we absorb and learn from the constructive, and let the destructive fall away from us?
The human psychology is unique and complex.
As artists, we need the openness, and the pliable vulnerability to grow and develop our craft.
As artists in the business, we need to be clear of the distinction. We need to understand and not take personally some of the business activities.
Criticism is one of those complex and very gray areas.
How do you allow for both the openness and pliability to be an artist and the ability to repel anything that is destructive?
I wish there was a simple answer.
Perhaps we begin with "to thyself be true".
If we are unaware of who we are, and what we are about, we haven't a hope in hell. We will be led and manipulated and often wasted.
The truth of self means an ability to be honest - with where we are, what we have to work with, where we are in the process, what we need to do, how we need to work.
This self-truth will draw us toward those people who will see us honestly too - and allow for constructive criticism and development.
The self-denial of talent, ability, process, can often create a denial community: we surround ourselves with people who simply tell us what we THINK we want to hear.
The skin of the singer has to have a bullshit detector. Thin, thick or developing, it has to be able to RESPOND to truth!
Growth doesn't happen when you are being told you are wonderful all the time. On the flip side, growth doesn't happen when you are being told you are awful and will never amount to anything, or that your only chance at anything real will only happen with the person abusing you!
As you will need to prove yourself to the powers that be, so do the people you entrust for that constructive criticism. We all have to EARN our place.
Earning our place means developing an understanding or WHO we are and where we stand, and who we stand in front of and simply why we are there.
If you are a "singer" that chooses not to listen to constructive criticism and tunes out anything that may help in the development of that process, then my question is simply, why are you singing?
If you, as a singer, ask for feedback from a colleague or friend, or coach and then are taken aback by that feedback - then maybe you shouldn't have asked, or perhaps you should have been prepared fully for the possibility!
"Skin" is simply how we process information. Some of us recognize the difference between constructive and accessible and developmental criticism versus destructive and controlling criticism versus blowing smoke up your ass versus simply jealousy.
Some of us don't. Some of us recognize the difference on paper and haven't been able to live the difference...yet.
Some of us simply have created a cocoon of denial so that the truth will not penetrate.
Some of us have no filter and wander from one person to the other looking for answers outside of ourselves - changing teachers, technique, ideology, repertoire faster then changing clothes - looking for a quick fix or a place that makes us feel "good".
The"skin" of the singer needs to develop - in order to recognize the TRUTH of what is being delivered to us, and the ability to recognize the truth from within.
Often, a sense of devastation isn't so much about a thin skin or no skin, but has more to do with the internal dialogue that has deluded self.
If we ask for input and are unwilling to hear it and find a place for it - then why did we ask?
If you don't want to know, don't ask. If you feel you don't need to know - why sing?
If you are pursuing singing, you need to pursue the TRUTH of that and where you stand in that pursuit.
If you are pursuing singing in the business, you need to pursue the truth of what that means and what it means of you.
We need to be able to HEAR what we need to be prepared to do, and then decide whether or not we CAN or even WANT to!
Finding out what you NEED to do is less about feeling it, and simply about claiming it and doing it! We don't have to get overly sensitive or feel put upon. We need to HEAR that which is being said and KNOW who it is coming from and in what spirit it is being said.
"Skin" is simply an ability of detection. Do we ask for information and are we prepared to hear it?
Do we know and respect the person who is giving the criticism? Do we understand why that criticism is being given? Is it constructive or destructive? How does it uphold the craft or the knowledge of the business? How does it benefit YOU as a singer?
Is there something in that criticism that you can take and create into a better you?
This is TRUE SKIN! Claiming truth and development in self; seeing and seeking honestly in self and others; responding with an artistic yearning and desire; responding with a business sensibility that does not deny the truth of the craft.
So, if the skin is real, then ask away! Ask from those that have the answers and be willing to hear and absorb!
If the criticism comes unbidden - consider the source, consider the situation and make a decision to give it weight, or dismiss it. Either way, you will learn from it, and learn more about your skin's ability in the process!
Criticism in constructive mode will always have humanity in it, it will have a reason for being said that is complex and important, and it will not be a blanket statement or dismissal.
Truth needs to be pursued and recognized if you are to be a singer with depth and knowledge and craft! If you cannot be truthful with yourself, you will not hear the truth from others.
"Skin" is a filter. It is not a denial. It is not a impenetrable wall. Skin breathes, skin sheds, skin has layers and layers!!
Filter the bullshit - from within and from outside!
Absorb the truth - that is yours and that you learn!
DO the work. BE a singer!
Sunday, August 15, 2010
Ladies, Do I Need to Talk About SHOES?!
Yes, yes I do...
Whether it is an audition, a masterclass and certainly a performance - if you are performing and presenting as YOU and not a character who is in costume - YOU HAVE TO EXPLORE THE HEEL!
Quit whining you who only wear a ballet flat!!
There MIGHT (and I say a very qualified "might") but certain "types" in Music Theatre, that can get away with a flat - child role for example - for an audition, but I have actually heard Casting Directors say if they see one more ballet flat they are going to scream!
Opera? Classical? NO WAY!
The heel is the acceptable shoe of choice.
And guess what? There are TONS of choices!!!! Type of shoe, heel height, fabric, colour - all those things that can enhance your body, your outfit and your performance!
Some of us were born to wear heels comfortably - but guess what? We still practice walking in them, working in them and finding the correct heel for the outfit and the occasion.
You need to discover what works for you. If you've never worn heels and you wobble out in 4 inch stilettos, that's ridiculous too.
Flats make you look like you have stove pipes for legs and generally make you stand like a duck. If I'm noticing this, I'm not listening to you, am I?
We SEE YOU FIRST. Learn how to pull it together, and work it!!! Quit making excuses and whining! YOU ARE IN THEATRE FOR GODSSAKE!
DO NOT WEAR CHARACTER SHOES for performance or audition;
DO NOT WEAR REINFORCED TOE PANTYHOSE with OPEN TOE shoes!
The KITTEN HEEL was made popular by Audrey Hepburn and it still is a wonderful option if you aren't a high-heeled girl!! It still gives you lift and curve without making it impossible to walk! The heel can be a low as 3 centimeters with a narrow "stiletto". Are you kidding?! Get some!!!
Whether it is an audition, a masterclass and certainly a performance - if you are performing and presenting as YOU and not a character who is in costume - YOU HAVE TO EXPLORE THE HEEL!
Quit whining you who only wear a ballet flat!!
There MIGHT (and I say a very qualified "might") but certain "types" in Music Theatre, that can get away with a flat - child role for example - for an audition, but I have actually heard Casting Directors say if they see one more ballet flat they are going to scream!
Opera? Classical? NO WAY!
The heel is the acceptable shoe of choice.
And guess what? There are TONS of choices!!!! Type of shoe, heel height, fabric, colour - all those things that can enhance your body, your outfit and your performance!
Some of us were born to wear heels comfortably - but guess what? We still practice walking in them, working in them and finding the correct heel for the outfit and the occasion.
You need to discover what works for you. If you've never worn heels and you wobble out in 4 inch stilettos, that's ridiculous too.
Flats make you look like you have stove pipes for legs and generally make you stand like a duck. If I'm noticing this, I'm not listening to you, am I?
We SEE YOU FIRST. Learn how to pull it together, and work it!!! Quit making excuses and whining! YOU ARE IN THEATRE FOR GODSSAKE!
DO NOT WEAR CHARACTER SHOES for performance or audition;
DO NOT WEAR REINFORCED TOE PANTYHOSE with OPEN TOE shoes!
The KITTEN HEEL was made popular by Audrey Hepburn and it still is a wonderful option if you aren't a high-heeled girl!! It still gives you lift and curve without making it impossible to walk! The heel can be a low as 3 centimeters with a narrow "stiletto". Are you kidding?! Get some!!!
STILETTO HEELS come in EVERY height - they are really more about the dimension of the heel. They were named after the Stiletto Dagger of the 1930s. They can be 1" in height up to whatever you can wear!!!
A REAL Stiletto heel has steel or alloy - thus the beeping at airport security!
Stay away from the heels that are clear (!) or too much club wear...(!)
Here are some "stilettos" at EVERY height:
STACKED HEELS are also appropriate for daytime, with a suit and the like - again they come in every height. They are more casual, sometimes a thicker heel, and give the illusion of a wood heel.
THE WEDGE heel is also an option - again, a little more casual depending on the occasion!
This was my FIRST high heel - and if you have trouble in heels, you might want to try a wedge.
It was created by Salvatore Ferragamo in 1936 in Italy and made its way to North American in the 40s.
They are better with wide legged pants or longer skirts...
THE MARY JANE can be found in numerous heel heights and types of heel as well:
As you can see - there is more than enough to choose from - these are just a start!
Your occasion, your fabrics, your colours will all play into your choice of shoe - not just the HEEL - height and make!
THE PLATFORM is not for the faint of heart - and really gives height, but is easier to walk in than you think - work your way up to this!!!
SO explore what works for you!
Even those of us who love our high heels, have heels of every height, dimension and description!
Just DISCOVER those heels - of ANY height, and walk and sing and work in them.
YOU CAN SO!
Edited to add: STRETCHING is so important when you wear heels! Calves, hip flexors and plantar metatarsal stretches.
Also, those of us over 40 begin to lose the fat in the metatarsal - ball of the foot - (could just shift some fat from other places, but I digress) so if you need to - wear a silicone metatarsal pad!
I highly recommend Yoga Toes - to stretch the foot and keep the bones aligned et al.
Saturday, August 14, 2010
The "Difficult" Artist?
As the business continues to shed interesting light on interesting happenings...
What is the "difficult" Artist?
Performers who come across as "difficult" seem that way only from certain perspectives.
Sometimes performers are simply difficult because they are not professional enough to really claim their artistry - or simply are not artists. They think they need to behave a certain way to give them some kind of credibility. What they do, is give those of us who are truly artists, emerging artists, performers of substance and integrity, a bad name.
SO - if the artist truly IS one - why are they labelled "Difficult"? And who does that labelling?
I have many clients, great friends, relatives, and self who have been labelled "difficult". We are simply not.
We simply are ready to stand up for what we believe in, and say so, and back it up with professionalism, and the ability to bring our craft to the stage.
Perhaps, what is the most insulting to an artist, is being dismissed. The "dismissed" artist certainly will let you know when you've crossed that line. As they should. As someone should.
An artist is a human being. We would like to be treated with that basic dignity. We are not a commodity, we have feelings, we have a spirit and a soul. We are not part of the equipment. We are a living, breathing life force that deserves the simple respect of every other human being.
An artist is not "difficult" if he/she is not "dismissed".
An artist carries a special quality called talent and craft with them. This is why they are hired. They are hired to do a job because they are qualified for it.
Artists honestly do not ask for much.
Simply, an artist wants recognition for what they do, and who they are. They would like to be respected for what they need in order to do their job to the best of their ability. They would like a simple thank you, a simple human dignity, an exchange for their time and their effort.
I can count on one hand the number of times I have actually been asked "what can we do to make it work for you to be here?" or something of that nature...
Imagine having a work environment that treats you with respect and dignity? That is safe on every level? That allows you to create? That does not cause anxiety?
If you disrespect your artists, do not expect loyalty or ease of execution. You will be met with what you deserve: a hostile environment that YOU have created.
It comes down to relationships, boundaries and mutual respect. If the relationship is misrepresented, if the boundaries are breached, and the respect is not there, how can we as artists work?
Yes, the artist must take ownership in this. Of course!
Again, I ask - what is so difficult about making an offer that is with respect, dignity and fairness?
If you offer respect, dignity and fairness, chances are you will get it back - as well as loyalty and an extra mile from that artist!
If you get that loyalty and work from the artist, then the show goes on - to great success!!
When you create an atmosphere to inhibit, disregard and dismiss an artist...you will get what you deserve.
Why have we lost the "treat others the way you wish to be treated?" in business? It could work you know! The pretenders and "over-egos" and the plain crazy people might even be shaken loose in order to make way for respectful, strong, dignified and fair human beings who have integrity and live by a code and honor larger than some one's greed. On BOTH sides of the footlights.
Am I dreaming? I can wish and hope.
And I can live my life and my art that way. And in doing so, shed some much light and awareness on that dark hole that can create difficulty where there was none to begin with.
Difficult? Absolutely not. Real artists aren't difficult. Perhaps you are hiring the wrong people.
But if you dismiss me and disrespect me, as an artist - then it is YOUR decision to be difficult - prepare for consequences on a karmic level.
What is the "difficult" Artist?
Performers who come across as "difficult" seem that way only from certain perspectives.
Sometimes performers are simply difficult because they are not professional enough to really claim their artistry - or simply are not artists. They think they need to behave a certain way to give them some kind of credibility. What they do, is give those of us who are truly artists, emerging artists, performers of substance and integrity, a bad name.
SO - if the artist truly IS one - why are they labelled "Difficult"? And who does that labelling?
I have many clients, great friends, relatives, and self who have been labelled "difficult". We are simply not.
We simply are ready to stand up for what we believe in, and say so, and back it up with professionalism, and the ability to bring our craft to the stage.
Perhaps, what is the most insulting to an artist, is being dismissed. The "dismissed" artist certainly will let you know when you've crossed that line. As they should. As someone should.
An artist is a human being. We would like to be treated with that basic dignity. We are not a commodity, we have feelings, we have a spirit and a soul. We are not part of the equipment. We are a living, breathing life force that deserves the simple respect of every other human being.
An artist is not "difficult" if he/she is not "dismissed".
An artist carries a special quality called talent and craft with them. This is why they are hired. They are hired to do a job because they are qualified for it.
Artists honestly do not ask for much.
Simply, an artist wants recognition for what they do, and who they are. They would like to be respected for what they need in order to do their job to the best of their ability. They would like a simple thank you, a simple human dignity, an exchange for their time and their effort.
I can count on one hand the number of times I have actually been asked "what can we do to make it work for you to be here?" or something of that nature...
Imagine having a work environment that treats you with respect and dignity? That is safe on every level? That allows you to create? That does not cause anxiety?
If you disrespect your artists, do not expect loyalty or ease of execution. You will be met with what you deserve: a hostile environment that YOU have created.
It comes down to relationships, boundaries and mutual respect. If the relationship is misrepresented, if the boundaries are breached, and the respect is not there, how can we as artists work?
Yes, the artist must take ownership in this. Of course!
Again, I ask - what is so difficult about making an offer that is with respect, dignity and fairness?
If you offer respect, dignity and fairness, chances are you will get it back - as well as loyalty and an extra mile from that artist!
If you get that loyalty and work from the artist, then the show goes on - to great success!!
When you create an atmosphere to inhibit, disregard and dismiss an artist...you will get what you deserve.
Why have we lost the "treat others the way you wish to be treated?" in business? It could work you know! The pretenders and "over-egos" and the plain crazy people might even be shaken loose in order to make way for respectful, strong, dignified and fair human beings who have integrity and live by a code and honor larger than some one's greed. On BOTH sides of the footlights.
Am I dreaming? I can wish and hope.
And I can live my life and my art that way. And in doing so, shed some much light and awareness on that dark hole that can create difficulty where there was none to begin with.
Difficult? Absolutely not. Real artists aren't difficult. Perhaps you are hiring the wrong people.
But if you dismiss me and disrespect me, as an artist - then it is YOUR decision to be difficult - prepare for consequences on a karmic level.
Subscribe to:
Posts (Atom)