STAGE DEPORTMENT

Your effectiveness as a singer depends not only upon your voice, the manner in which you use it, and the appropriateness of your songs, but also upon your general appearance or your stage presence. Although some people seem naturally to have a good platform manner, the majority have to cultivate it. When singing, you should put aside all detracting mannerisms and take on an air of dignity, poise, and sincerity. If you wish your audience to enjoy your selections, you must appear at ease. This does not sound particularly difficult to do, but anyone who has sung in public knows that nervousness and self-consciousness are the general state of mind. Indeed, you need to be concerned about your performance, for, unless you are, the results will never be of high order. However, you must learn not to show your concern. If you look anxious or nervous, your audience will feel so, too. On the other hand, an over-confident attitude with the air of a braggadocio is not desirable. Modesty with justifiable assurance is the ideal manner.

Practice and thought generally help in acquiring a pleasing presence. Also the more vocal skill you have, the finer your musicianship is, and the more you sing before people, the more poise and grace you will gain. In case you are nervous, it may help you to approach your work calmly and with the right attitude if you spend a few minutes breathing deeply and rhythmically before going upon the stage. It also will help you if you know exactly what to do when there. Certain forms of manner, that have been generally accepted for platform etiquette, should be observed by the young singer. For instance, when entering or leaving the stage, the accompanist usually follows the soloist. However, a man ignores this convention if the accompanist is a woman. When you make your entrance, know the place you wish to stand and walk there alertly and easily. Your steps should be of average length adapted to your physique. Do not hurry; on the contrary, do not lag. When you have reached the proper spot (usually the curved part of the piano), stand still and stand correctly. The feet should be fairly close together, preferably with one foot somewhat in advance of the other. The weight of the body should be on the forward foot, or if you prefer, it may be equally distributed on the balls of both feet. Avoid moving about or shifting weight from one foot to the other, for it gives the appearance of swaying or a rocking effect. The chest should be up, the abdomen in, and the head held naturally and comfortably erect.

How to hold the hands is a problem for many singers. The usual custom is to hold them easily in front of you, approximately at the waist line. Do not raise them toward the chest, for that gives an unnatural and affected appearance. Yet you should not hold them clasped too low, for such a position gives an air of heaviness or weight. Whatever the pose, do not allow the hands to fidget. Do not clasp them or interlace the fingers tightly. To avoid such a tendency, some people hold a small card or program.
In greeting your audience, your face should reflect amiability and interest. During the song your expression should be in keeping with the mood of the composition. It is suggested that, when you are singing, you focus your eyes just over the heads of your listeners, rather than looking directly into their faces, for you are less likely to be distracted. Do not stare fixedly at on spot, nor close your eyes while singing. On the other hand, do not gaze about in a nervous, restless manner. Chorus members, of necessity, should keep their eyes on the conductor and watch his directions closely. Never look at other members of the group nor speak to a neighbor, for such actions may cause the audience to wonder what is wrong with the performance. For the same reason, the soloist should not look toward his accompanist except to give him the signal to begin the introduction of the song. This should be done quietly and inconspicuously by nodding the head. Before giving this signal, be sure your audience is ready to listen. Be attentive yourself during the introduction and interludes of the song and maintain its atmosphere until the final notes of the composition have been played.

If you intend to sing an encore, wait long enough to determine whether the applause you received is evidence of mere politeness or desire for another song. On the contrary, do not wait so long that enthusiasm wanes. Everyone should learn to accept applause in a gracious manner. An extremely low, sweeping bow is not effective for most people, while a stiff, jerky nod of the head is awkward. If your standing position is correct, you can easily place your
weight on the rear foot and slightly bend the body from the waist. At the same time, you should glance about the room so as to include everyone in your acknowledgment. Look pleased that your listeners have shown appreciation for your singing. The bow should not be made hurriedly, nor should it be made too slowly. To a great extent, its character depends upon the song it follows. However, it should always he in good taste and in keeping with your personality.