from Michael;
>As far as
>technique goes, for me the automatic functioning of the voice comes from
>thinking of the words you are saying as clearly as possible so the idea can
>be transmitted from the brain to the vocal nerve, which stimulates the vocal
>folds to approximate naturally and speak the word that is being thought of.
Hi,
My joy at being given the opportunity to become
submerged in a role has always led to that part having a
continuing effect on my life there-after, and the natural feedback
from audience members after the show, is to me, a valuable indicator
of success or failure of what I was trying to do.
Another simple life encounter has taught me a great deal
about acting. In this respect I classify it as a guide to what is
meant by NATURAL.
The pleasure of casually meeting a friend in the street
brings over me an all pervasive sense of joy, but it's after
we've parted that observation yields some interesting detail that I've
found applicable to acting. The new body language I emit
because of the encounter, affects passers-by in a most
extraordinary way. They smile, they look embarrassed, they
look expectant, they look confused. So what was the message
I was so unintentionally sending? Clearly the inner joy and
affect of the recent meeting. So the affect on the audience is
most forceful when it originates from sincere involvement.
Is it any wonder at the long term effects of such involvement
on the performers! (Life upon the wicked stage??)
I once happened to pass an associate in a hallway,
smiled and said good-morning. As I continued into an office
beyond, a friend said, "Wow, what was that about?" I asked
what he meant. He described how I had offered a beaming smile
to this person followed by an angry scowl. I replied that the
persons response had been a sneering,
"We haven't been introduced".
Then a person, a part, or a song, leave lasting effects on
us all if we really get involved. Wenn ich in deine Augen seh,
and Quilter's Oh Mistress Mine are each, to me, one man
mini-operas, but if the vocal technique is not adequate, then
the dramatic intention cannot be realised because the sincerity
of our words are being 'white-anted' by the need to watch what
is happening in the background. Thus my intention of targeting
vocal technique first.
For me, body language carries the real drama, but the words
and music .... clothe its nakedness.
Best Wishes Reg.
|
|  |
