One of the most important things you can do in a scene is find the conflict. Whether it is a monologue (internal conflict) or a scene with a partner (external conflict) there is always something that is at stake for the character you are playing. Think of it this way, if there is no conflict in a scene why are you watching it? People do not want to see everyday activities, they want to see drama. With that being said, the question of how to find the conflict arises. First off let's define what conflict is. Conflict is two opposing forces trying to get what they want at the same time. For instance, one character wants a bag of money and the other character wants the same bag. This creates dramatic tension as both the characters will try by whatever means necessary to get that bag of money! What makes the scene interesting is the conflict between the two characters and the bag of money. If they both decided to share the bag of money and went happily on their way, there would be no reason to watch.
If your ballet teacher outlined a customized instruction list for every student in their ballet academy to use for technical priorities, each list would include the basic technical cornerstones of: ***the postural plumb line (involving mechanics) and the exact degree of tension to maintain it (introducing qualities) ***the holding of one's turnout in both position and movement (involving mechanics) ***the shifting of tensions in the demi plie and grand plie while maintaining the postural plumb line and turnout These three basic aspects of classical ballet technique could be called technical cornerstones. They introduce the mechanics and introduce the qualities that will determine all of your barre work, and all of your center work. Being able to exert more effort or tension quickly and then revert to a lesser tension in a beat, requires practice, prediction and musicality. Again, mechanics and quality. For example, more exertion is required in the core muscles for faster tendus than slow, for faster degages than slow.
Theater, I think, is probably the most understated area of the Arts. So much these days is on the big screen and DVD's now that maybe we have forgotten just what amazing writing and acting actually takes place each day on the stage. There are some amazing stage shows, most start off in London and then tour the country, some run for a period of time and then come back again a few years later just as good and just as popular. I remember my first theater experience being a pantonmine... ok, this is in a different category to other brilliant shows but I thoroughly enjoyed it as do most children... but unlike most children nowadays I have continued to go to the theater having seen some fabulous stage shows. I really do think that as children grow they should be exposed more to the theatre, everyone has different tastes, I personally enjoy musicals, others enjoy the serious and dark but lets all try to experience more of them. I have seen Saturday Night Fever in London, Oliver, Tommy.
If you've decided you love singing and want to take it a stage further, you may be wondering if you have enough talent to take singing seriously and have lessons. Don't ask yourself if you're talented enough, ask yourself if you're if committed enough. Consistent practice of the correct techniques is much more important than the vocal abilities you start with. The following tips should help you get started in the right direction. 1. Practice makes perfect, so make sure you put some time aside to practice regularly. How much practice should you do? I suggest at least three times a week for approximately half an hour each. Practice is not singing along to the radio or your favourite CD whilst doing a household chore. It involves being disciplined and focusing on technical exercises as well as songs and knowing what you are trying to achieve. 2. A practice session should always start with a warm-up. Just as a warm up before a sporting event will protect you from injury, a good vocal warm-up will protect your voice from damage.
Your voice, along with your face and your body, is a major tool that you rely upon in storytelling. If your voice is not in optimum condition, then your storytelling performance may suffer accordingly. Here, then, are some tips for maintaining that intrinsic element of your work. Your voice is part of your body. Keeping your body healthy will help to keep your voice healthy. Sleep can be critical to the condition of your voice: if you get too little sleep, you may find that your voice is husky or hoarse or has more phlegm than normal, or that your throat is scratchy. Drinking milk before a performance may "coat" your throat and produce phlegm. Some people are sensitive to any milk products, including cheese and yogurt, and you may need to avoid them prior to a performance. Drinking alcohol can impair your vocal performance, as it relaxes the vocal folds and makes it harder for them to approximate. When performing in cold weather, the throat should be kept warm. If the throat is unusually cold and the voice is used, hoarseness or vocal strain could result.
During Brazil's Carnival, one of the most disputed (and sometimes controversial) unofficial contests is deciding who was the "ultimate muse", after the four-day party holiday is over. Brazilians, international press, and publicity agencies, reflect upon who was the most dazzling drum queen or parading muse in Rio's Sambadrome. There is no official title for this informal contest, but national media always try to elect Carnival model number 1. Many criticize this "new" beauty frenzy. People question why does this vibrant contest even exist? Is it a sin to be a muse in the Brazilian Carnival? Is it there any problem in being attractive, sensual or graceful? This is main topic of this article. Most of the time, muses and drum queens have a lot to profit in the advertising business if they are selected as the top Brazilian beauty during carnival. Carnival muses are extremely well paid by the publicity market and pampered by top samba schools. The beer, retail, cosmetics and fashion industry are some of segments that constantly rely on Brazilian models to support their brands.
During my tenure as a Voice Instructor, I have coached Singers, Speakers and Actors of every age and musical of speaking style. Some typical singing styles would be, Classical, Opera, Musical Theatre, Jazz, Pop, Folk, Rock, Rhythm and Blues and Country. Some typical speaking styles would be, Corporate Trainer, Corporate Speaker, Politician, Teacher, Poet or Rap Artist. Some typical Acting styles would be, Stage Actor, Musical Theatre, Film Actor, Commercial Actor, Voice Over or the creation of specific Characters or Accents. If I missed any, please add them to the list. My point is that there are so many uses for the Human Voice, an incredible miracle of an instrument. After working with all of these people through the years, I have found these consistent themes in how they perceive their chosen method and/or style. 1) They often worship their chosen style and exclude all others. (This is especially prevalent with snooty academic/classical crowd) 2) They think that their style of singing is the only correct way the voice can operate.
"Thanks for your article. I've been dancing since 1951 and I've been the newsletter editor for the San Diego Swing Dance Club off and on for the past fifteen years. I know what our newsletter readers want. Our club gets about twenty or thirty brand new dancers a month. Only about two or three stick around long enough to really learn the dance. I've interviewed several people that have quit after a few lessons. Their universal complaints are: the instructor talks too much and they don't understand the lingo." Ron Ford, editor of the SDSDC newsletter. When I began writing Imperial Swing Dancing many years ago, I was uncertain about the best way to describe the many dance moves that I was learning at the different swing clubs around St. Louis. Should I emphasize Jan Altman's* insightful philosophy that: "you can choose to make dancing as easy or as challenging as you want; however, the easier that you make it, the harder it is for you to become very good at it?" Or, should I downplay the challenging details in favor of Marie Jamison's* more folksy philosophy that is summed up by her quote: "open and close, open and close, how you get in and out is what swing's all about?
Teresa Reichlen of the New York City Ballet is a premier dancer in the competitive and demanding world of ballet but, as a person, she remains centered and inspired by her art. Her poised, serene face, long legs and elegant jumps have made her a soloist at age 23 in one of the world's greatest ballet companies. Her journey from the Russell School of Ballet in Chantilly, Va to the School of American Ballet at age 15 and onto the City Ballet has taught her lessons about expressing herself as an artist and person. The following are three important lessons Reichlen has learned to help her grow as a ballerina and person. These same lessons can help performers in school, sports and the arts advance their talents and more fully express themselves in their field. Performance Lesson 1: Don't over try on stage As the NY Times explains, "Since being named a soloist in 2005, Reichlen has preserved her poise and attained a new rigor in her technique. 'It took me a long time to realize that you can try too hard onstage, ' she said after a company class one day last month at the New York State Theater.
Have you ever wondered why people dance? Lately, with shows such as Dancing With the Stars, dancing has taken on an entirely new meaning. When we look back at the history of dance, not many people can definitively say where or when dance originated or when it actually became a part of the human culture. Ancient history does tell us, however, that dance was an important part of ceremonies, rituals, celebrations and entertainment since before the birth of the earliest human civilizations. According to Wikipedia, archeology delivers traces of dance from prehistoric times such as Egyptian tomb paintings depicting dancing figures from around 3300 BC. One of the earliest dance forms, Wikipedia continues, may have been in the performance and in the telling of myths. It was also sometimes used to show feelings for the opposite sex. There are even some who would venture to believe that the actual "art" of lovemaking is in and of itself a form of dance. Prior to the production of written languages, dance was often used as the primary method for passing stories on from generation to generation.