If your young ballerina, tap dancer or hip-hop performer starts to express more anxiety than excitement there are ways to help. Firstly, you may be hearing expressions of natural stage fright, which almost everyone feels when the reality of opening night strikes - even if just for a few moments. If you have a child that worries, let her/his teacher know that he/she needs encouragement as well as corrections. Remind your child of compliments regarding their dancing you may have overheard from the studio or stage area. Some dance teachers like to provide each student with the music of their dances, so that they can practice mentally. When they are resting with their sore feet up at home, they can visualize and feel themselves performing, applying their corrections over and over. The earlier they learn this the better. It is a method that actually helps develop neural pathways and better performance. This is a great way to increase confidence, without getting exhausted, or spraining and straining muscles.
The musical Young Frankenstein open on Broadway in November of 2007, and it was a hit right from the beginning. The musical is an adaptation of the 1974 film by Mel Brooks, starring Gene Wilder. Based on Mary Shelley's horror novel published in 1818, the Gothic story was first made into a science fiction film in 1910. It has since been made into motion pictures, comics, theatrical performances and even a mini series. There have been sequels of the movie, including Brooks' Young Frankenstein, a story about the original Dr. Frankenstein's grandson. Young Frankenstein is a tongue and cheek look at the original Dr. Frankenstein's grandson attempt at the "family business" after he discovers he's inherited the original Frankenstein castle in Transylvania. After arriving at the castle, Dr. Frankenstein's grandson begins crazy experiments, among them transplanting a live brain in a cadaver. The experiment works, but the brain in defective. The story then follows the newly created monster as he rampages throughout the village, but also find himself in many crazy situations.
How would you like to learn the real secrets of the best magicians? There is a lot out there in the field of magic -- old books and new, dvds and magic web sites, and on it goes. How do you learn worthwhile magic tricks? How do you distinguish the crud from the true gems? Here are some suggestions to get you on the right track: 1) Find an internet magician who is respected (or revered) by just about everyone. And then focus on the material that he (not to be sexist) sells and teaches from his web site. Also, look for guys that have their own sites and their own materials. (Again, find other magicians who have heard of the site that you are interested in. Ask their opinions of the guy's magic.) Names that come to mind are Lee Asher, David Stone, Steve Beam, Aaron Fisher. 2) Find an older magician who knows his stuff. This can be an in-person meeting with lessons or you can purchase DVDs and books. Also, don't avoid learning magic from books. There is a myriad of tricks that will never be shot in front of a camera.
If there is one realization I have made recently as an actor, it is this: Proper Warm-Up and Stretching is crucial for Actors. For some of my personal tips and methods, read on... I used to be the type of actor who felt that I could simply walk into a space, take a few seconds to "get into character", and just launch myself into a brilliant, dramatic piece of acting. Was I ever wrong! One of the biggest stumbling blocks of novice (as well as veteran! ) actors is the fact that many do not give themselves adequate time before an audition, rehearsal or performance to warm up their instruments. Now you may find it silly that I refer to an actor's "instruments". But if you really think about it, that is exactly what the body and mind of an actor is, an instrument! For example: if an gymnastics squad is about to compete in a tournament, you had better believe that each individual member of the squad is going to warm-up both mentally and physically in preparation for the tournament.
Why do so many great actors and actresses have such difficulty dealing with their emotional well-being? Almost daily we hear about entertainers who have a history of drug abuse or who take heavy doses of anti-depressants. Many of these conditions are diagnosed by medical professionals as nervous disorders or low self-esteem, however the standard medical treatments have not yet resolved this widespread social phenomenon. There are many metaphysical details about acting that remain unknown to most of the acting population. As long as these details are ignored, many actors and actresses will continue to fall in the trap of drug abuse and heavy prescription medicine. Acting in itself is a form of channeling. This form of channeling is not the same, for example, as psychics who communicate with spirits or other non-physical beings. This form of channeling is focused on emotional responses associated with certain events. Actors either retrieve their emotional response from their personal past experience, or they retrieve these emotions from the greater Universe's Akashic records.
For centuries the world's greatest musicians and composers have had a secret weapon that only few knew about. The astounding fact is that every single person has this same ability lying undiscovered inside! This special ability is pitch recognition, more commonly known as perfect pitch and relative pitch. These two skills have been the guiding force behind some of music's biggest names. Here are some interesting facts that you should know: 10% of students at the leading music schools, including Julliard School of Music, have perfect pitch. A symphony orchestra usually includes 20% - 40% of musicians with perfect pitch. Numerous leading surveys have concluded that at least 50% of today's top recording artists have either perfect pitch, relative pitch, or both! Perfect pitch can be taught to anyone regardless of their genetics or age. This method has been taught to musicians who are in their 50s and 60s! It is simply a skill like any other. There is no such thing as a natural, only a student.
The postural plumb line is where you start, in looking at what is going to make a pirouette succeed. Firstly, can you stand with good posture? If so, can you rise up and down, firstly in a cou de pied position, on one leg, without losing your postural plumb line? If so, can you do a series of releves holding a good position, without neck or shoulder strain? If you do lose it, correct your posture, then see if you lose it going into your demi plie. Is your weight sitting back? Do you lose any placement at the hips? Do you lose any turnout? If any of the three things above occur, you need to get those fixed and forget about pirouettes until you build strength to maintain the basics of posture, turnout and a correct demi plie. You will still do your pirouettes in your ballet class, but for your daily practice routines, you need a step-by-step approach to get stronger. If everything is good so far, raise your leg into a retire position and check that no placement gets lost at the hips.
Most beginning magicians experience a little success -- they manage to fool the spectator (sometimes), but the performance of the trick isn't very entertaining. The amateur struggles to hold the audience's attention. It doesn't have to be this way. Beginners can experience more successful magic performances with this one simple tip.... Beginning Magicians, Read Your Audience Use your audience for pacing clues. Watch their reactions. Are they getting bored? Is your patter too long. Are you making up a boring story, for the sake of the trick. Don't put your audience to sleep. And with this tip, you won't. Watch the eyes -- are they wandering? Looking at a clock in the room? Is the person, trying to hurry you up by finishing your sentences or some other rude behavior? Again, let the audience guide your pace and the rhythm of the trick. Believe it or not, there is another suggestion for novice magicians that has to do with pacing.... Magic Advice -- Slow Down, You Move too Fast Beginning magicians often rush through a trick.
When it comes to buying Broadway tickets on the secondary ticket market in New York City, there are a number of ticket scams that you should watch out for. Our report " Top 10 Broadway Ticket Scams" can help you avoid many of the pitfalls. This report applies mostly to the top Broadway shows - as, the hotter the show, the more ticket fraud is attempted. Amazingly, stolen Broadway tickets didn't even make it into our top 10 list of deceptions because it was less prevalent than other more sophisticated hustles. Obviously you should still watch out for stolen tickets though as they do exist, as do sales with stolen credit cards. Remember, if you forgo the secondary ticket market altogether and buy your Broadway tickets through the normal and direct channels (e.g. Theatre Box Office, TicketMaster or Telecharge), they guarantee that your tickets will be legitimate and you will experience no problems. 1. Fake Tickets The most egregious form of a Broadway ticket scam is the fake ticket.
Broadway Ticket Discount Codes Discount ticket codes exist for most Broadway shows and are distributed for marketing purposes to generate sales - This is the most popular method to obtain discount Broadway tickets in advance and its a great way to avoid the TKTS discount ticket stand TKTS - Half Price Ticket Stand The discount Broadway tickets available at the TKTS tickets booth are only good for the same day - So weather, ticket availability and a wait in line is an important factor - There are two discount ticket stands, one located in Times Square and the other at South St Seaport Standing Room Only - SRO A very cheap way of getting into a Broadway show - There is no guarantee of getting a seat with these tickets - You may have to stand for the whole show, but these ticket discounts are often up to 80% discount and seats usually do become available during the show Anyone RUSH Tickets Anyone can buy these discount tickets that get you into many of the top Broadway Shows - it's used to create a buzz and reward true fans of the show - front row tickets often offered for just $20 Student RUSH Tickets Similar to Anyone Rush tickets - But only students can wait in line for a small amount of reserved tickets that are heavily discounted, often for top Broadway Shows Partial View Tickets Many seats in the theatre have less-than-perfect sight lines or poor audio - Broadway tickets for these seats are heavily discounted.