In an effort to secure a dramatic effect, many young actors tend to tie themselves up in agonizing knots. Realism is all very well, but strain, rigidity, and tenseness detract from the singer’s ability either to act or sing. The greatest actors are not those who feel the emotions of the character they are playing but, instead, those who can make the audience do the "feeling."
All movements on the stage must be relaxed and free, and in opera the gestures can be large or small, depending upon the occasion and the size of the auditorium; but while they must always be true to character, they must leave the singer free to sing and to change his position, in relation to others on the stage, without undue effort.
Since operatic performances may require the artist to sing in almost any position, lying down, sitting, kneeling, it is wise to give advanced pupils practice in such maneuvers. Whatever the position called for, the diaphragm must be free to allow the singer breath support and control. Practice and experience will give the student technique in singing freedom even while he gives the audience the illusion of strenuous acting. Although I am not a posture teacher, and specialized instruction of this important detail has no place in this book, erect yet graceful bearing is so vital to the singer that a few helpful rules will not be amiss here.
When the average person tries to stand erect, his shoulders are pulled up, his back pulled into a curve, and his head held in an awkward position that is supposed to give the effect of "chin up." This pose is not only ungainly but harmful to the singer, for such a rigid position cramps the abdomen (which is held in by force) and a deep, easy breath is impossible. Correct posture is so simple it should never require effort. Try this yourself. Stand in a relaxed fashion with your feet pointing straight ahead, a few inches apart. Now instead of stiffening up, follow these instructions easily so that every part of the body is relaxed yet controlled. Imagine that you have a string attached to your chest just below the throat. This string is attached to the ceiling, and pulls your chest up. Do not allow the shoulders to rise as the chest goes up. The shoulders must remain relaxed and in a normal position. Now that the chest is elevated, the abdomen doesn’t have to be held in through any actual effort, for the chest-lift automatically flattens the abdomen.
Now again imagine a string attached to each side of your hip bones or pelvis. These strings are pulled forward. In other words, the hips are kept in position directly under the rib cage. This assures you of a straight back. The spinal column is quite straight when the pelvis is directly under the ribs. The head remains relaxed, is not pushed forward, but seems to rest directly on top of the spinal column.
Too many people are round-shouldered and sway-backed. Why? Because they feel it too much of a struggle to stand up straight. Of course, it is a struggle when it is done incorrectly. But correct posture is delightfully easy and less tiring in every way than the usual curving of the spine or twisting of the backbone that is the result of lazy stooping or standing in a sway-backed position. The position of the body I have described removes ungainly bulges of derriere and abdomen and yet allows the singer perfect freedom of the diaphragm for breath and tone support. It is very important that the body remain relaxed, although mentally in hand, and that the shoulders remain normally low and easy.
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