In opera, acting is often seen as secondary to vocal performance. This study considers the status of acting in the development of opera performance and considers whether a more complete actor training system might better equip classically trained singers as actors. It reviews the actor training offered by the Conservatoires in the United Kingdom, the experience of training for the stage reported by some notable 20th century singers and some singers and directors currently working internationally in opera.ududThe study draws its conclusions through a comparison of a production of Dido and Aeneas, where the singers use Stanislavski influenced methods of preparation and a collaborative approach to rehearsals, and a production of Acis and Galatea, employing the more usual didactic style of direction, which makes up the practice-based component of this research project.
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机译:在歌剧中,表演通常被认为是声乐表演的次要条件。这项研究考虑了表演在歌剧表演发展中的地位,并考虑了更完整的演员培训系统是否可以更好地使受过经典训练的歌手成为演员。它回顾了英国音乐学院提供的演员培训,一些20世纪著名歌手以及一些目前在国际歌剧界工作的歌手和导演所报道的舞台培训经验。 ud ud研究通过比较得出结论迪多(Dido)和埃涅阿斯(Aeneas)的作品,歌手使用斯坦尼斯拉夫斯基(Stanislavski)影响的准备方法和协作的方式进行彩排,而阿西斯(Acis)和加拉塔(Gatelia)的作品则采用了更常见的教学风格的指导,这构成了这个研究项目。
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