dc.contributor.author | Wennersten, Maria Rozanna | |
dc.date.accessioned | 2015-03-20T08:07:51Z | |
dc.date.available | 2015-03-20T08:07:51Z | |
dc.date.issued | 2014 | |
dc.identifier.uri | http://hdl.handle.net/11250/279860 | |
dc.description | Masteroppgave musikk - Universitetet i Agder, 2014 | nb_NO |
dc.description.abstract | Opera combines two major art forms. Music and theater. To sing opera requires many years
of singing lessons and dedicated training of the vocal instrument. Actor training rarely get the
same focus and the ability of organic and believable acting can often be neglected. There are
many different methods and directions in acting technique. Konstantin Stanislavskij was the
first to systematize a fundamental actor training. Many different directions and methods are
developed based on his thoughts and ideas. One of these directions is Method Acting. I have
conducted an action research where I have used Method Acting in song. I have tried to answer
the following questions: What challenges do I face using Method Acting in song and how do I
overcome them? What does Method Acting add to my practice?
Working with Method Acting has added a systematic thoroughness to the work of getting the
acting and singing to function as a unit. The tools for analysing text gave me a deeper
understanding of the lyrics and greater insight into the character. Relaxation and
concentration exercises enabled me to think more clearly and gave me greater access to my
own creativity. The exercises reduced performance anxiety and nervousness. Musical focus is
a barrier to getting deep into sensory work, but it works well when impulses are established in
a slow pace and the exercises are effective in opening the senses and arouse feelings. I found
that the exercises of substitution and personalization had to be given less focus during
concert, because it required to much concentration capacity. The findings show that the
musical and textual work should be done in parallel all the way, but that it is sung without text
so that music and text do not affect each other in the initial stage. The most striking finding of
the study shows that access to true emotions supported and liberated the voice in such a way
that song technical challenges were reduced.
Keywords: Method Acting, Acting Technique, opera, interpretation, Menotti, ”The Medium” | nb_NO |
dc.language.iso | nob | nb_NO |
dc.publisher | Universitetet i Agder ; University of Agder | nb_NO |
dc.subject | MUK 500 | |
dc.title | Troverdig opera : en aksjonsstudie om bruk av method acting i sang | nb_NO |
dc.type | Master thesis | nb_NO |
dc.subject.nsi | VDP::Humanities: 000::Musicology: 110::Music theory: 112 | nb_NO |
dc.source.pagenumber | 79 s. | nb_NO |