Stage presence while dancing
Stage presence is a very central topic in our learning workshop. This is about everything a choir does on stage and, above all, how it does it. And since it is well known that you cannot do nothing, the issue of stage presence affects every choir that presents its art on a stage. You could say that the word stage presence expresses the extent to which a choir is aware of the situation on stage and can deal with it.
What the audience can see, hear and perceive in the end consists on the one hand of what has been learned and firmly anchored, on the other hand of spontaneous interaction with each other and with the audience at the moment of performance. If both work perfectly, alternately and mutually stimulating, we speak of a good stage presence. Unfortunately, stage presence cannot be practiced directly. But we can devote ourselves to the aspects that make it up! The presence itself arises later, when everything that has been learned can be presented fearlessly, and there is still room for the spontaneous.
The charisma of the individual and the whole group is an important aspect of the stage presence. How do I appear on stage personally? Do I feel good there? How do we as a group affect the viewer? Do they believe what we sing about? Do we seem relaxed and confident? Do we appear sympathetic?
Body language, in turn, is an essential aspect of charisma. We mostly communicate unconsciously through our body. In the case of the stage presentation, this means that we are not really in control of the matter. If we do not know how our own body speaks and how it expresses its inner world, we cannot influence what is "spoken" either. This then leads to the fact that the viewer reads very carefully the whole fearful chaos that can take place in a performer. Unfortunately, this distracts the viewer a lot from the music. We ourselves too, of course 🙂 So we should align our body language with what we are expressing want and at the same time dedicating ourselves to the factors that keep us from doing so, namely our stage fear, for example.
facial expressions and gesturing
Facial expressions and gestures are part of body language. We treat them specifically and specifically because they are so important and crucial to several aspects of choral music. On the one hand, they have a huge impact on the credibility of a performance. On the other hand, they also have an effect on ourselves! For example, when we look sad, we feel sad. And that's what really matters in the end! Because this is how our lecture gets real depth. Another important aspect is that in this way we stimulate the mirror neurons of others. So on the one hand we create an attunement to the feeling of sadness for ourselves, but on the other hand also for our fellow singers, the choir director and the audience. This is how feelings and emotions potentiate. Incidentally, we note the respective facial expressions and emotions from the beginning as a pictogram in the notes. The 5 basic emotions that you see below are of course practiced individually and skillfully before they are to be used in the song. We can then add them as soon as the singers bring sounds and text / speech formation together.
Emotional singing occurs when we bring body language, facial expressions and gestures together to create an overall aura that corresponds to the song we are singing. As soon as we have mastered the "technique" and we no longer have to concentrate too much on it, we dedicate ourselves more and more to the meaning of the piece. Now it becomes really music 🙂 The impact on the audience becomes more intense the more uniformly the singers harmonize with the choir director. Emotional singing is a very dynamic topic, as the emotions of a song develop strongly, alternate and tell their own musical story. It is closely interwoven with the concept of musicality. Someone who is musical can grasp, individually color and express the different emotional undertones of music. In the choir, a uniform feeling is required so that a strong effect on the audience can arise.
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