Tools

LEADER 03540cam 22003974i 4500

001 ocn709673807;

003 OCoLC;

005 20250228104859.0;

008 111003s2011 wiua b 001 0 eng ;

010 a| 2011041505;

019 a| 779404556;

020 a| 9781574672015q| (paperback);

020 a| 1574672010q| (paperback);

024 1 a| 884088522179;

028 52 a| HL00333099b| Hal Leonard;

035 a| (OCoLC)709673807z| (OCoLC)779404556;

042 a| pcc;

050 00 a| MT956b| .H53 2011;

082 00 a| 792.502/82| 23;

049 a| EREM;

100 1 a| Hicks, Alan E.,e| author.?| UNAUTHORIZED;

245 10 a| Singer and actor :b| acting technique and the operatic performer /c| Alan E. Hicks.;

260 a| Milwaukee, WI :b| Amadeus Press,c| 2011.;

300 a| xx, 196 pages :b| illustrations ;c| 23 cm;

336 a| textb| txt2| rdacontent;

337 a| unmediatedb| n2| rdamedia;

338 a| volumeb| nc2| rdacarrier;

504 a| Includes bibliographical references (pages 183-190) and index.;

505 0 a| Background. An argument for opera as theatrical art form -- A brief history of acting across disciplines -- A new model for training singers -- An acting primer. The method of physical action -- Imagination and the magical, creative If -- Relaxation and concentration -- The importance of listening -- Action and feeling: theatrical synergy. Action -- Affective memory -- Unit, bits, and beats -- Objectives, obstacles, and actions -- Libretto analysis -- A new process for role preparation. Preparing auditions and performances -- The process and recitative -- "Being" the third girl from the left -- acting for choristers -- A word about physical appropriateness.;

520 a| The operatic landscape has fundamentally changed in recent years. Due in part to current market forces--such as aging audiences, electronic media, and HD broadcasts--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. In this book, the author 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. The book 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, this book deals with the misconception that only the singing matters in opera and includes a discussion of previous approaches to operatic acting.;

650 0 a| Acting in opera.=| ^A161513;

994 a| C0b| ERE;

596 a| 3;

998 a| 6560457;

999 a| MT956 .H53 2011w| LCc| 1i| 30372017579753l| MSTm| JMUSICr| Ys| Yt| MGESBKu| 3/13/2025x| BOOKz| MCIRCo| .STAFF. jjam;

Singer and actor : acting technique and the operatic performer / Alan E. Hicks.

Author/creator	Hicks, Alan E. author.
Format	Book
Publication Info	Milwaukee, WI : Amadeus Press, 2011.
Description	xx, 196 pages : illustrations ; 23 cm
Subjects	Acting in opera.

Contents	Background. An argument for opera as theatrical art form -- A brief history of acting across disciplines -- A new model for training singers -- An acting primer. The method of physical action -- Imagination and the magical, creative If -- Relaxation and concentration -- The importance of listening -- Action and feeling: theatrical synergy. Action -- Affective memory -- Unit, bits, and beats -- Objectives, obstacles, and actions -- Libretto analysis -- A new process for role preparation. Preparing auditions and performances -- The process and recitative -- "Being" the third girl from the left -- acting for choristers -- A word about physical appropriateness.
Abstract	The operatic landscape has fundamentally changed in recent years. Due in part to current market forces--such as aging audiences, electronic media, and HD broadcasts--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. In this book, the author 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. The book 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, this book deals with the misconception that only the singing matters in opera and includes a discussion of previous approaches to operatic acting.
Bibliography note	Includes bibliographical references (pages 183-190) and index.
LCCN	2011041505
ISBN	9781574672015 (paperback)
ISBN	1574672010 (paperback)
UPC	884088522179
Publisher number	HL00333099 Hal Leonard

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	MT956 .H53 2011	✔ Available	Place Hold

Singer and actor : acting technique and the operatic performer / Alan E. Hicks.

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