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The Opera Singer's Acting Toolkit Martin Constantine

The Opera Singer's Acting Toolkit By Martin Constantine

The Opera Singer's Acting Toolkit by Martin Constantine


$12.99
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The Opera Singer's Acting Toolkit Summary

The Opera Singer's Acting Toolkit: An Essential Guide to Creating A Role by Martin Constantine

The complete dramatic toolbox for the opera singer - a step-by-step guide detailing how to create character, from auditions through to rehearsal and performance and formulate a successful career. Drawing upon the innovative approach to the training of young opera singers developed by Martin Constantine, Co-Director of ENO Opera Works, The Opera Singer's Acting Toolkit leads the singer through the process of bringing the libretto and score to life in order to create character. It draws on the work of practitioners such as Stanislavski, Lecoq, Laban and Cicely Berry to introduce the singer to the tools needed to create an interior and physical life for character. The book draws on operatic repertoire from Handel through Mozart to Britten to present practical techniques and exercises to help the singer develop their own individual dramatic toolbox. The Opera Singer's Acting Toolkit features interviews with leading conductors, directors, singers and casting agents to offer invaluable insights into the professional operatic world, and advice on how to remain focused on the importance of the work itself.

The Opera Singer's Acting Toolkit Reviews

Martin Constantine's vast experience in opera opens the mystery and discipline of the opera singers' craft to all - offering emerging singers, in particular, a fantastic viewpoint of the key tools required to bring opera to life. * Daniel Kramer, Artistic Director of the ENO *

About Martin Constantine

Martin Constantine is an award-winning theatre and opera director. He has directed for such companies as the Royal Opera House, Royal Shakespeare Company, English National Opera, Welsh National Opera, Almeida Theatre, Bristol Old Vic, National Theatre Studio, Chichester Festival Theatre, and Grange Park Opera. He established and is co-Director of ENO Opera Works. Constantine has taught and directed in some of the leading conservatoires throughout the UK and abroad, and is currently International Chair of Directing at the Royal Welsh College of Music and Drama. He is Co-Artistic Director of liveartshow, an award-winning company making new work with music. ENO Opera Works is a professional development programme for singers who have strong vocal technique and a clear commitment to developing a career in opera. Opera Works encompasses individual coaching sessions and tailored group workshops enabling singers to develop their vocal and dramatic skills in a professional environment, with unprecedented access to the wealth of expertise at ENO, insight into the world of professional opera, and valuable opportunities for dialogue with key people within the company.

Table of Contents

Acknowledgements Introduction PART ONE: THE TOOLS 1 The Foundations The Body: Releasing Tension The Mind: Awareness + Focus The Imagination Play and Spontaneity 2 A Note About Emotion 3 Creating Character 4 Text and Music Organising Information: Given Circumstances Organising Information: Other Approaches Organising Information: Music Objectives Actions Obstacles Points of Concentration Events Further Text Tools Text and Music: Conclusion 5 The Body and Movement Laban Lecoq Character Types and Commedia dell'Arte The Clown Devising 6 Words and Music in Action PART TWO: IN PRACTICE 1 Preparing for Rehearsals 2 Rehearsals 3 Rehearsals in Depth 4 Performance 5 Auditions PART THREE: INTERVIEWS 1 Repertoire Interviews with Conductors 2 Approaches to Rehearsal Interviews with Directors 3 Singers' Case Studies List of exercises Further reading Index

Additional information

GOR013616244
9781350006454
1350006459
The Opera Singer's Acting Toolkit: An Essential Guide to Creating A Role by Martin Constantine
Used - Like New
Paperback
Bloomsbury Publishing PLC
20191031
392
N/A
Book picture is for illustrative purposes only, actual binding, cover or edition may vary.
The book has been read, but looks new. The book cover has no visible wear, and the dust jacket is included if applicable. No missing or damaged pages, no tears, possible very minimal creasing, no underlining or highlighting of text, and no writing in the margins

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