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APPENDIX 1 - All the ‘useful rules’ in overview, for those who make opera

Published online by Cambridge University Press:  25 October 2017

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Summary

What is opera?

  • ✭ Opera: enacting a story through music.

  • ✭ Understand the difference between music, and music for a purpose.

  • ✭ Define the purpose of the music.

  • ✭ Become a ‘music detective’.

  • ✭ Know the orchestra.

  • ✭ Give the orchestra a reason to play.

  • ✭ Train your imagination.

  • The heart

  • ✭ Go straight to the heart.

  • The seven ‘W’ s

  • ✭ Start with the six ‘W’ s: Who? Where? When? What? hoW? Why?

  • ✭ Then define the seventh: Whom? – the addressee.

  • ✭ Locate the addressee.

  • ✭ Change the addressee where necessary.

  • ✭ If the addressee is imaginary, choose a fixed point and address it instead.

  • Sense and sensuality

  • ✭ Find out: what does the work mean?

  • ✭ Consider: what does your role contribute to it?

  • ✭ Make sense. Both in the details and in the overall context.

  • ✭ Sense trumps effect.

  • Bodies in space

  • ✭ The body in the space is already part of the action.

  • ✭ Develop a feeling for space in relation to your co-performers.

  • ✭ Sameness is boring. Be dissimilar.

  • ✭ The singer stands further upstage, the listener further downstage.

  • ✭ Position yourself according to the golden section, not in the centre.

  • ✭ A king can't play himself. Those surrounding him play him.

  • ✭ Stand at an angle to the stage ramp, not in the ‘pancake position’.

  • ✭ Maintain your relationship with your partner. Avoid the ‘tenor's turn’.

  • ✭ Seek a position between two fronts. It's dramatically effective.

  • ✭ Wherever possible, place the leading voice in an ensemble on the left.

  • ✭ Leave space around you. Otherwise objects can become competitors.

  • ✭ Hold your stance – don't wobble around.

  • ✭ When you move, make sure it's with a purpose and a specific goal.

  • ✭ Violence and torture have a greater impact on a live body on stage than in the two-dimensional images of film and TV.

  • ✭ Fill the space with breath. If the audience coughs, you've got too little breath.

  • ✭ Regard sentences and musical phrases as the arch of a bridge. Make sure to reach the other side.

  • ✭ Master the play of tension and release.

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    Publisher: Boydell & Brewer
    Print publication year: 2016

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