LEADER 03984nam 22006251a 450 001 9910957848903321 005 20251116142757.0 010 $a1-282-06305-7 010 $a0-253-10939-6 035 $a(CKB)111056485407300 035 $a(OCoLC)50724033 035 $a(CaPaEBR)ebrary10016676 035 $a(SSID)ssj0000309542 035 $a(PQKBManifestationID)11237634 035 $a(PQKBTitleCode)TC0000309542 035 $a(PQKBWorkID)10282980 035 $a(PQKB)11131103 035 $a(SSID)ssj0000246252 035 $a(PQKBManifestationID)11227040 035 $a(PQKBTitleCode)TC0000246252 035 $a(PQKBWorkID)10180366 035 $a(PQKB)11627218 035 $a(MiAaPQ)EBC3014833 035 $a(BIP)46851956 035 $a(BIP)7535589 035 $a(EXLCZ)99111056485407300 100 $a20020111d2002 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aSinging, acting, and movement in opera $ea guide to singer-getics /$fMark Ross Clark ; Lynn V. Clark, curriculum designer 205 $a1st ed. 210 $aBloomington $cIndiana University Press$dc2002 215 $a1 online resource (171 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 08$a0-253-34113-2 320 $aIncludes bibliographical references (p. [149]-150) and index. 327 $aIntro -- CONTENTS -- Foreword: A Message from Tito Capobianco -- List of Interviews -- Using the Guide -- Part I. Preparation -- Body Awareness -- Postural -- The Expressive Face -- Character Study -- Environment -- Part II. Integration -- Elements of Stagecraft -- Historical Etiquette -- Improvisation -- Monologues -- Physical Analysis -- Part III. Application -- The Aria -- The Scene -- The Opera -- Performance Anxiety -- Careers in Opera -- Appendix A. Attitude Chart -- Appendix B. Postural Alignment -- Appendix C. Literary and Historical Background of Selected Operas -- Appendix D. Stage Manager's Handbook -- Appendix E. Stage Combat: -- Bibliography -- Index. 330 $a..". a remarkable collection of observations and reflections on past experiences by many excellent artists and teachers that will doubtless help... those interested in creating opera magic. " Tito Capobianco Singing, Acting, and Movement in Opera is designed for use in opera and musical theater workshops and by beginning professional singers. Drawing on years of research, teaching, and performing, Mark Ross Clark provides an overview of dramatic methodology for the singing actor, encouraging the student s active participation through practical exercises and application to well-known works. The Singer-getics method emphasizes integration of the various dimensions of opera performance, creating synergies among vocal performance, character development, facial expression, and movement on the stage. The book presents important information about stagecraft, characterization, posture, historical styles, performance anxiety, aria, and scene analysis. Excerpts from interviews with performers, directors, conductors, coaches, composers, and teachers offer insights and advice, allowing the reader to "meet the artists." An appendix by postural alignment specialist Emily Bogard describes techniques of relaxation and self-awareness for the performer. This lively book will appeal to students, teachers, professionals, and general readers alike." 606 $aActing in opera 606 $aSinging$xInterpretation (Phrasing, dynamics, etc.) 615 0$aActing in opera. 615 0$aSinging$xInterpretation (Phrasing, dynamics, etc.) 676 $a792.5/028 700 $aClark$b Mark Ross$f1951-$0943206 701 $aClark$b Lynn V$01865496 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910957848903321 996 $aSinging, acting, and movement in opera$94472617 997 $aUNINA