Stage Director: Opera-Theatre-Musicals
I wanted to write to you to thank you and say how much I learned from your course…I went on to audition at the Guildhall School of Music in London and in all three of the audition rounds I found myself re-creating/inventing the arias that we worked through together and because of the planning and “beats of action” we talked through, I felt so much more confident and comfortable…I have been accepted into the Opera Studies Programme at Guildhall on a full fees scholarship, which I am just over the moon about. I really believe that the coaching sessions with you made such an enormous difference to my thinking about singing and performing in general and I am very thankful to have had the time to work with you — thank you for helping me to set my standards for myself much higher. -Madison N., Soprano: Auckland NZ
Read more testimonials from Chuck’s Master Classes.
dell’Arte Opera Ensemble: NYC
* Acting and Movement Techniques for Singers
Check back often for additions to the schedule
To create and sustain a dimensional and truthful performance in whatever style may be presented. To explore and utilize the complete Psycho-physical energy of the performer; i.e., both physical and mental energies, which allows a greater control of expressiveness by linking specific movement and acting techniques with the generation and truthful expression of emotions and the presentation of dimensional characters in action.
In contrast to the majority of Movement Training courses designed for performers available in the United States, which present exercises that prepare the performer for the stage or that are generally therapeutic, these techniques allow the performer dramatic control over the entire body in order to go “beyond the music” and to “go beyond the words” in the development of character, sub textual conflicts, dramatic intentions, and active choices while performing on stage.
In contrast to the majority of Acting Classes available, these classes are antithetical to the schools dedicated only to Contemporary American Realism which generally distance the performer of style productions from creating truth in their given contexts.
A specific difficulty for chorus and supernumeraries is maintaining action and dimension while “just standing there” or “just sitting there,” and while performing in large groups and oratorio.
For more information about these master class presentations, or to bring a program to your organization, please contact Chuck