Stage Director, Master Teacher
There is much talk at the Met these days about the importance of recruiting “singing actors” instead of “park and bark” performers. Vivien Schweitzer, New York Times: September 24, 2009
Even if you have coached privately with Chuck before, this group master class will unlock the world of arias, auditioning, and solo performance in a visually dynamic, exploratory way.
Saturday March 20, 2010 1PM-3PM
Find out more, including an early enrollment discount.
From July 25-August 15, 2010 I will be instructing Movement and Acting Master Classes as well as coaching Arias at LA LINGUA DELLA LIRICA in Novafeltria, Italy.
For more information about participating in this exciting program, please go to their webiste: La Lingua della Lirica.
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.
What does the performer do with the body on stage when s/he is not dancing, fighting, or doing acrobatics? “What do I do with my hands?” and “How should I stand?” are signals that the performer is not comfortable with his/her body; How and why a person moves the way they do is linked with finding ways to create action and overcome obstacles on stage. Drawing on traditional and contemporary European schools of thought, these master classes will dynamics, rhythm, and the use of three-dimensional movements, aiding in the union of the words, music, and the performer’s entire self.
The world of Opera in changing: Producers and Directors constantly insist on singers having the same level of control over their acting abilities as a speaking actor does, or as the musician has over their musical instrument—yet rarely does anyone provide singers with the tools they need to meet these demands and to be successful in this field.
Each master class will be divided as follows: Psychophysical warm-up, study of a particular technique, utilization of this technique in an improvisation or scene work, group discussion and the critical process. A variety of my own technique documents will be designed and generated to meet specific needs.
For more information about these master class presentations, or to bring a program to your organization, please contact Chuck