On one video I noticed that I have what I call 'sausage arms'(in context
it actually worked because of the rather rustic character I was playing,
but it wasn't intentional!). It really helps to have something to do with
one's hands, and I've taken much more care with my posture as part of a
role since seeing that. The Count (in Mozart's Figaro) in his gorgeous
costume call out for poses that would seem very affected in any other
context. I've noticed that hands can look very big on video unless I can
contrive to keep them sideways to the auditorium, or make a pointy-thumb
fist. I wonder if the audience notices this hand-bigness, or if it is the
result of the hypersensitive performer watching something that video tends
to magnify (hands being bright!).
It's odd, I get to play characters whose posture is better than mine is!
Except Rigoletto.
I also notice that general stillness, with big smooth motions is
important, and that normal motions and reactions seem too fussy, or just
aren't visible. Thanks to video, this is something I can work on. Our
director has a good understanding of what to do with feet, which I'm trying
to internalise. john
At 04:20 PM 7/3/01 -0400, you wrote:
>In a message dated 07/03/2001 1:06:31 PM Central Daylight Time,
>mightymezzo@h... writes:
>><< As I said, my first look at myself on videotape certainly frightened me
>off,
> but I'm OK on a more recent tape (playing Mrs. Pearce in "My Fair Lady").
I
> have a tape of the "Candide" in which I played the Old Lady, but I haven't
> had the courage to watch it. >>
>
>I happened to catch myself on video a few years back for the first time in
>YEARS and was quite surprised - I was so much more fluid onstage than I was
>in real life that I couldn't believe it was ME.
>
>Christine Thomas
...
John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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