Researching a play/opera - notes for singers & actors

Being fond Socrates, I believe in asking questions, and that asking the right questions is far more important and complex then finding the right answers. I believe if you arrive at the right questions the answers are come fairly easily! J

I therefore put down some general rules of researching a theatre piece, be it opera, a musical or a play. At the bottom I added a few general rules for working on stage, in the hope they will be useful for some talented actors and singers.

Research in your passport the world of musical and theatrical imagination

-         Concentrate on useful -not useless research - don’t confuse heritage with history. What do you think the difference is?

-         What social and historical background did the composer/playwright come from?

-         Where did his world come from and what was his position in it?

-         Why did he choose/write this particular piece?

-         In that context – where does the social background of your character stand?

-         When was the piece written and for what sort of audience?

-         What were the external influences on the composer?

-         What in your opinion is the most important thing you discovered about your piece?

-         Read a good biography of your composer/playwright.

-         When performing always be clear where you are, and what is your personal/secret motivation.

-         Show through the musical language/vocal intunation what is your secret motivation, staying as still as possible.

-         Always be clear on aspects of the musical linguistic era you are working on, and the clues in each individual piece spark your own imagination

-         Your relationship with your pianist is much like two actors on stage. Never treat him as a side salad!

-         Play from moment to moment

-         Don’t ever be afraid to think and feel!

Working on stage – general rules

-         Make it your own and don’t go for a stereotype.

-         Find out how your character fights through its obstacle course in the piece/play order to achieve its want/objective.

-         Play from moment to moment.

-         Does the audience identify with you or not? Clues are in orchestration in the case of an opera/musical, and in a play – the subtext.

Hopefully this has sparked someone’s imagination! Enjoy!!!!

Idit Arad