Song Character Analysis Worksheet - The University of North ...

More documents

Recommendations

Info

music. This is crucial because integrated musicals, such as Show Boat, parallel the operatic musical demands for continuity and dramatic characterization as well as vocal technique. 28 Many sources are available that address procedures for character analysis and development in a musical context, written by expert coaches and teachers. I have adapted the techniques of Fred Silver, David Craig, Mark Ross Clark, Thomas DeMallet Burgess, and Nicholas Skilbeck for my own work with high school and college age students in the preparation of individualized, embodied performances of songs and character roles. 29 The following is a procedural outline of methodology for building a three-dimensional, “living” character in a musical theatre role. This process works for any type of book musical but is particularly relevant to preparation for the operetta style. An exploration of the character’s motivations and objectives provides an emotional context with specificity to musical decisions and physical gestures. This process should be undertaken even before learning the pitches and musical phrases into the voice. 30 The singer must become an investigator who looks for clues by reading the entire libretto. She should note descriptions of the character in her opening scene and the reactions of other characters in subsequent scenes. From these descriptions she can infer the physical and emotional traits of the character. This detective work should discern 28 Geoffrey Block, “The Broadway Canon from Show Boat to West Side Story and the European Operatic Ideal,” The Journal of Musicology 11/4 (fall 1993): 525-544. 540. 29 Silver, Auditioning for the Musical Theatre (reprint, New York: Penguin Books, 1988); Craig, On Singing Onstage, rev. ed. (New York: Applause Books, 1990); Craig, A Performer Prepares: A Guide to Song Preparation (New York: Applause Books, 1993); Clark, Singing, Acting, and Movement in Opera: A Guide to Singergetics (Bloomington: Indiana University Press, 2002); Burgess and Skilbeck, The Singing and Acting Handbook: Games and Exercises for the Performer (London: Routledge, 1999). 30 Many young students are surprised at first approaching songs from the lyrics and libretto rather than the musical score, but that best supports an original interpretation. This exercise averts the typical performance of beautiful singing without comprehension or significance, without the “grain” in the voice. 91
elationships with other characters and provide a chart of the character’s journey, or emotional progression, until the final curtain. For a classic-style musical with an historical context, it is also necessary to research the social milieu of the era and the original source material (such as Edna Ferber’s novel). This information then provides a database for a character blueprint that becomes the basis for musical interpretation. 31 The pre-eminent acting teacher and dramatist, Anton Chekhov, asked his students to respond to the following questions about character, which are also relevant for a gender context: “Is it predom- inantly a thinking character, a feeling character, or a ‘will’ character? Is the character’s mind slow or quick? Are feelings passionate or lugubrious? Is the will cold or fiery?” The musical score also provides clues about the composer’s view of the character’s personality. 32 Once the life of the character has become real to the singer, she can focus on the song lyrics as a monologue. This step entails writing out the lyrics as a script and memo- rizing the words with the natural inflections of speech, rather than the imposed rhythms of the musical phrase. This technique is known as “phrasing from the lyric.” The “script” should be charted for breaths, specific word and sound emphases (including alliterations, onomatopoeias, glottal hesitations, and articulation), and emotional resonance. Breath and phrasing choices should also be marked in the music for the accompanist. Text decisions are reinforced verbally by experimenting with different 31 Clark’s book has an incredibly specific character questionnaire that includes an emotional range list. It even asks what is in the character’s pockets. Singing, Acting and Moving in Opera, 28-29. The questionnaire form that I use with students to stimulate their character development in individual songs for auditions and show preparation is in the Appendix. 32 Chekhov in Clark, 29. Clark also quotes opera superstar Frederica von Stade in promoting the method of character analysis through clues in the musical score, 25. 92
Page 1 and 2:
LEWIS, ANNE, D.M.A. An Examination
Page 3 and 4:
APPROVAL PAGE This dissertation has
Page 5 and 6:
TABLE OF CONTENTS iv Page ACKNOWLED
Page 7 and 8:
for research, this paper will explo
Page 9 and 10:
MacDonald, labeled musical theatre
Page 11 and 12:
The musicals that have entered the
Page 13 and 14:
and individually as handwriting.”
Page 15 and 16:
Methodology The base of research fo
Page 17 and 18:
Feminine Character in Selected Libr
Page 19 and 20:
from the 1920s, they are timeless i
Page 21 and 22:
e helpful to recognize the specific
Page 23 and 24:
as a Cinderella-type heiress who ma
Page 25 and 26:
Vereen described the “blackface c
Page 27 and 28:
Casino Theatre in Manhattan. The re
Page 29 and 30:
functional sets, and an eleven-piec
Page 31 and 32:
The History of the Musical, Show Bo
Page 33 and 34:
amount of instrumental music, the d
Page 35 and 36:
Ferber’s novel begins with the na
Page 37 and 38:
Act II begins four years later as G
Page 39 and 40:
CHAPTER III SOCIETAL STEREOTYPES OF
Page 41 and 42:
communion.” 5 This bias continued
Page 43 and 44:
children, however, did allow mother
Page 45 and 46: unhealthy, sub-human environments.
Page 47 and 48: dominated by masculine traits in ap
Page 49 and 50: magazines, including Ladies Home Jo
Page 51 and 52: Nineteenth Century Stereotypes of W
Page 53 and 54: usiness. She was responsible for th
Page 55 and 56: gender) inequality forced them inst
Page 57 and 58: The 1920s was the Jazz Age, a time
Page 59 and 60: CHAPTER IV THEATRICAL STEREOTYPES O
Page 61 and 62: peoples . . . to save us from our o
Page 63 and 64: separate seating arrangements). The
Page 65 and 66: Feminine Aesthetic in Theatre Any a
Page 67 and 68: gossip columns. 17 Exploitation on
Page 69 and 70: means to economic or career advance
Page 71 and 72: Florenz Ziegfeld, reportedly, was q
Page 73 and 74: in a subservient role as a domestic
Page 75 and 76: looked, Magnolia decided, as if the
Page 77 and 78: When he holds me close, Close as we
Page 79 and 80: In the novel, Parthy Ann is a three
Page 81 and 82: opens her handbag and takes out a p
Page 83 and 84: “hero”) and the piano player (t
Page 85 and 86: the nineteenth century’s gender r
Page 87 and 88: of that time. Performance practice
Page 89 and 90: possibilities for manipulation and
Page 91 and 92: order while the musical number repr
Page 93 and 94: “Finding in that sound all the ki
Page 95: often distorts vibrant voices, rend
Page 99 and 100: Finally, the process includes a mus
Page 101 and 102: any other theater music heard up to
Page 103 and 104: een presented in previous chapters,
Page 105 and 106: “Though the cold and brutal fact
Page 107 and 108: [Bridge]: When he goes away dat’s
Page 109 and 110: angelically while caught in the act
Page 111 and 112: The song appears twice more as a pl
Page 113 and 114: CHAPTER VI CURTAIN CALL The musical
Page 115 and 116: theatre performance practice. They
Page 117 and 118: BIBLIOGRAPHY General Sources Burkho
Page 119 and 120: Long, Mary Anne. “‘All Our Girl
Page 121 and 122: Kerber, Linda K., and Jane Sherron
Page 123 and 124: Levine, Lawrence W. The Opening of
Page 125 and 126: Song Title: Show Title: Lyricist: C
show all

Song Character Analysis Worksheet - The University of North ...

Create successful ePaper yourself

Delete template?

Save as template?