Making Your Stage Entrance
An artist’s entrance manner reflects his personality. There are singers, both men and women, who stride on crossing a long stage in a very few steps. They slam themselves into position before the piano and, nodding vigorously in the general direction of the pianist, go to work at singing at once as if to say, "This is my job and I dare the audience to do anything about it!"
There are others who enter inordinately shy, scarcely daring even to smile. They hesitate, and finally, to the relief of the audience, embark upon the program.
Some artists feel that smiles and nods and bows, in answer to any sort of acclaim, is flattery that audiences appreciate. They smirk, nod in deprecation of the applause they are trying to stimulate, and finally settle down to sing. On occasion, this sort of behavior draws sighs of "Oh, how sweet," from a small part of the feminine audience, while it irritates the rest.
A simple, direct manner; a pleasant smile; an unhurried walk; a moment to pull oneself together; and a confident nod to the accompanist are correct for the concert stage. In operatic performances the action of the drama must be the first and foremost consideration.
A singer’s behavior at the end of his performance can win him much applause, or check whatever applause he would have had. Applause is a barometer of approval to the audience as well as to the artist, and the singer will do well to encourage as much as possible. Large, incongruous gestures at the end of a song are usually absurd and theatrical, but the mood of the song must always be maintained until the piano reprise is completed. A genial relaxation, and perhaps a smile, tell the audience that the song is over, and a pleased and happy demeanor in acknowledgment of applause will usually result in more.
A bow can be an awkward jerk, a conceited parody, or a genuine gesture of thanks. The type of bow depends upon the sex and personality of the artist and the place of performance. It would be well if the student would spend some time in front of a mirror practicing a bow that is neither too humble nor too perfunctory. It is hardly necessary to tell a beginner to leave the stage before the applause has ceased, but many need suggestions on how soon to return for a second bow. Every artist likes to feel that he is so well appreciated that the audience wishes for an encore, and correct timing of the return and the attitude of the singer can make the audience demand more. All these movements should be practiced during rehearsals and in class work.
Correct deportment must be second nature to the student so that all his faculties may be reserved for the effort of singing well, despite the nervousness incidental to his first appearances. Since his appearance is of serious import to the artist, some knowledge of the subject is indispensable to anyone who aspires to a stage career, but considering the number of books written on the subject, everyone can learn at least the rudiments of correct dress very easily.