Xise@a... wrote:
> I always tell my students that you should feel from your lips out. If you
> let emotion get hold of you, you lose control. I feel that we are
> interpreters and our duty is to make others feel what the composer wrote. If
> we feel inside, we cannot sing, the feeling should be on the outside and
> directed to the public. When the person feels inside, you are the only who
> knows what you are feeling but you are not projecting the emotion to the
> public. They may think something is wrong with you. Always keep a cool head.
I agree partially with this statement. I think we as performers have to keep
our heads
and not lose control, and that our job is to make the audiences feel and not
ourselves.
However I disagree that what I as the interpreter feel inside has nothing to do
with
projecting the emotion I'm trying to portray. I think it's extremely important
for we
interpreters to believe the text we're singing, as well as subtexts.
I also think that in 99.99 percent of the cases, a performer's sobbing
uncontrollably is
not effective on stage (whether real or "fake"). I believe it's usually more
effective
when the performer appears to be struggling to hold back the tears or sobs.
When the sobs
(or any other strong emotion) go on and on, as an audience member I become
impatient with
the character (sort of like the way I feel about the unending hysteria
projected by a
certain young Miami woman who's been giving numerous news statements on
television
lately).
Peggy
--
Margaret Harrison, Alexandria, Virginia, USA
"Music for a While Shall All Your Cares Beguile"
mailto:peggyh@i...
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