W3D4 - Bear Voice

Has anyone been close enough to a bear so see it roaring at you? If you have, I almost don't want to hear about it, because that is one of the scariest things. And where am I going with this, you might ask? Well today in acting class we watched a little clip from a movie called "The Bear." There is no talking, just a man living in and amongst nature. In the scene, the bear got really mad at the man. His mouth was massive, and it was amazing to watch his commitment to every sound he/she makes.

These acting class are brilliant for singers. We have to be able to community naturally too, which is why I think Opera and Theatre are coming closer and closer together. Michael also taught us about the superhero trick. When you are singing your party piece you think about he your favourite superhero, and then concentrate on shooting the power right to end of your fingers, out and to the back of the room/hall/auditorium. For me, focusing the energy on a physical point and getting into a lower ready position, will help me forget about my voice. Also, he talked about our energy levels when we sing. Often our energy level is way to high, and that's when it gets in the way of the voice. When helps me is to have palms of my heads facing down, and really feel grounded beneath me. To sing anything properly you have to be thinking both up and down - in to the ground and up out the top of your head - it all about support. And where does the support come from, the earth!
Another piece of food for thought is the idea of triggers that help you find your support quickly. Another way to explain this is how to switch in and out of accents. With any accent you have to find a certain vowel modulation, and as soon as you get that, your mind switches onto a new track and everything comes out of your mouth with a little bit of a different swagger. This takes practice, of course! The same idea can be applied to singing. You need triggers to help you calm down and bring the energy level down. I don't mean energy level, as in awake and tired, but rather the energy level, or place on your body, where the emotion and sound is coming from. (Sometimes it's coming from your heart area, or sometimes it goes down to your waist, hips. It all depends on what you are singing. Generally, you wouldn't want your energy level too high because it then starts to interfere with the breathing, and vocal folds.) These triggers can also be extremely helpful when you need to find your character on stage. You need to find out what helps you find your character when you need it! It has to be apart of you, because you will always be part of your character. Let the trigger find you:) Sometimes it takes going way to far over the line, absolutely crazy, to realize where you want to go.

I had a little session with myself in the practice room today, and it was amazing. I basically realized that in order to be balanced as person, I have to do sports. Sports is so closely related to performance, which is why I love it. I have to find ways to do both. When I'm physical, and not just standing still, my voice changes. So often I go into a rehearsal and think I have to stand a certain way, but in reality, not many people would be opposed to me doing whatever I felt I needed to do during a first sing through. And audition can be the same way, you are singing to a dead panel of people, the room feels like it's closing in on you, sucking the energy from you, you are nervous. Use your trigger, and find that balanced energy level and captivate the room. (so often all it takes it a little bend in the knees, literally, to lower the energy level) All of a sudden the panels eyes are all on you, wondering what's going to happen next. Another way to think about this auditioning thing is to watch what a rugby team does before each match. I believe it's called a HAKA. Before the game starts the men get into a formation and they scream a chant of intimidation across the field to the other player. It is the most commited, animalistic, organic, real performance I've ever seen. (I posted the youtube link, if you want to watch a HAKA dance) So in the practice room, I was practicing my Romeo and Juliet stuff while letting everything go. I was like a stick free pan, letting go of everything that came out of my mouth. There is so much more to explore in my voice. I was like an animal in the room, jumping off walls. It was amazingly freeing. For the first time, I wasn't watching the window thinking, "I hope no one hears me!!"

In dance class we learned a little about the jive, which was another solid highlight of my day. Otherwise it was a another day of rehearsals. The B and B is going to be fantastic, and Romeo and Juliet is also going to be breathtaking!!!

Tomorrow is another extremely busy day, and then it's the Aria Extravagansa in the evening!

Sign out, Justin Friesen

Over and out!