| Learning proper singing technique is of
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| | condemnation help anyone? There's such
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| course vital to your success as a
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| | finality in condemnation.
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| performer. However, more important than
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| | How effective do you think you'll be as a
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| this is the sense of your core, and your
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| | performer if you look out upon the
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| empathy with others -- in short, your
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| | audience and feel only anger or an
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| humanity. Without these traits, a
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| | inclination to find fault? Will it make
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| performer cannot hold an audience's
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| | you any more effective to turn this harsh
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| interest, let alone captivate an
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| | perspective on yourself? No. Listening is
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| audience. How do you develop these
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| | the key to replacing such a condemning
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| traits?
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| | point of view. Listening helps us raise
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| Be a social creature. Mix with people and
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| | our consciousness, and that's just
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| nature, and realize that you are a member
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| | another way of saying, "Learning what is
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| of both groups. When constantly engaged
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| | objectively true."
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| in a dialogue with your fellow humans,
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| | Listening involves, at least in part,
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| you will recognize the essence of a great
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| | listening to all things happening inside
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| singer; it is the same as the essence of
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| | you: in your heart, your mind, and your
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| a great human being.
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| | body. It's been proven that any anxiety,
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| To develop this recognition, simply meet
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| | or any emotion you feel, manifests itself
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| and greet people with warmth every chance
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| | in some physical form in your body. When
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| you get. Greeting audience members before
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| | we listen for our body responses, and
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| or after a performance is a good start.
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| | connect them to our emotions, we become
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| There are opportunities throughout your
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| | better able to control those emotions.
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| off-stage life for you to do this, also.
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| | One way to listen to these body responses
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| Consider that even though you may be in a
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| | is possible through a relatively new form
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| checkout line in a supermarket, or eating
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| | of therapy called biofeedback, where a
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| a meal in a Chinese restaurant, you're
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| | device is attached to you to monitor
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| still on stage and still performing. The
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| | certain of your bodily processes and
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| personas we unconsciously don when we
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| | excretions. Some devices can detect
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| interact with the external world can help
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| | levels of nervousness by measuring the
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| us connect with others, or distance us
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| | amount of sweat on your skin. Other
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| from others. The choice is yours. Decide
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| | devices measure other emotions, albeit
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| to connect, and you'll discover resources
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| | indirectly. People have found that they
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| that penetrate your persona. These
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| | can consciously affect not only their
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| resources can only help your singing.
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| | states of mind, but also precise parts of
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| Recognize that you are your first
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| | their anatomy, by listening to the
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| audience, and critic. You may not be your
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| | devices, and focusing their thoughts
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| best audience or critic, but you can
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| | accordingly. This contradicts the
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| develop greater objectivity about how you
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| | conviction formerly held by many
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| sound. First, identify what it is about
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| | scientists, that such a high degree of
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| your singing that you like. Are there
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| | control over the body and mind was not
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| particular songs, or songs by a
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| | possible. Yoga is an alternative to
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| particular composer that make you value
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| | biofeedback devices that achieves the
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| your singing more? Conversely, are there
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| | same basic result: a much better ability
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| songs you sing that make you cringe at
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| | to hear what's happening inside your
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| the sound of your voice? Write these
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| | body, so that you can change it. Such
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| distinctions down, and find patterns in
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| | body awareness is vital to a performer's
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| them to help you discover what exactly it
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| | success in captivating an audience.
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| is you like best about your voice.
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| | Is there any musician more acutely aware
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| Take the time to record your singing, and
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| | of the role of the body in the shaping of
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| listen to it. Many singers can remember
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| | his performance than a singer? Is there a
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| their surprise when they first heard
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| | professional singer anywhere who does not
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| their own voice on a recording device.
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| | have some wrinkle in his singing
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| This surprise comes from the change in
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| | connected to a part of his body? Our
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| perspective from singer to listener, and
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| | bodies are our instruments. When we learn
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| due to the physics involved in listening
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| | to listen properly to our bodies and how
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| to yourself while singing.
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| | our emotions directly impact our bodies,
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| A metaphor to illustrate this can be
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| | we become the masters of our instrument.
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| found in the sun. The sun is obviously
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| | Listen, sometimes, to the thoughts of
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| the primary source of heat for all people
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| | others with whom you normally wouldn't
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| on the earth. Yet, different parts of the
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| | associate. If you've labeled yourself as
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| earth experience different amounts of
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| | a "liberal," listen to some Rush
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| heat. Why? Because the media that the
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| | Limbaugh. Find a grain of truth or
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| sun's heat is "communicated" through are
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| | goodness in what he says. If you're a fan
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| different for those living near the
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| | of George Bush, read the thoughts of Al
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| Equator, for example, and those closer to
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| | Gore. Why should we do this? To
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| the North or South poles. Among other
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| | experience different points of view. When
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| factors, the ground near the Equator is a
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| | you perform in a role as part of a play,
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| more directed and thus effective
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| | and even when you sing a song, you take
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| reflector of this heat than the ground
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| | on a persona that's not you. You adopt
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| near the Poles. For both the voice and
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| | the personality of another. You gain
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| the sun's heat, the source is the same,
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| | skill in doing this when you read the
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| but the perception of it differs, based
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| | thoughts of those with whom you would
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| on the means of communication.
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| | normally disagree. I guarantee that doing
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| The key point to gather from this is the
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| | this will enhance your playing from the
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| following: the perception others have of
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| | broadened view of life it creates in you.
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| your singing is an invaluable source of
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| | Give it to God. When you receive applause
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| feedback you can apply to improve your
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| | for your performances, you know how such
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| singing.
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| | a response can go to your head. Our egos
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| Love all creatures and savor nature.
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| | are stroked by such responses. There's a
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| Everyone has their own distinctive key to
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| | little voice inside saying, "It's all for
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| their inner humanity. The path to
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| | me, it's all through me, it's all because
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| discovering what interests and even
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| | of me!" You've become the center of the
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| captivates another is different for each
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| | universe, as far as your ego is
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| person. That said, there are some things
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| | concerned. You then come to believe that
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| that make everyone respond with warmth.
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| | this is the way it should always feel.
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| This warmth radiates through us when we
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| | Learn to channel these instances of
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| perform.
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| | positive feedback back to the audience,
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| Pets, for example, can bring out
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| | and to a higher power. Learn to associate
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| everyone's friendliness and warmth. A pet
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| | yourself with that higher power and the
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| -- whether a dog, cat, hamster or
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| | audience. You are the focal point for the
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| goldfish -- can stir feelings of
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| | praise, yet you are not the repository or
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| compassion and devotion in you. When we
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| | destination of the praise. You are the
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| feel these things, they manifest in our
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| | lens that captures applause and praise,
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| body, gestures and expressions. How could
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| | and directs them with gratitude and love
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| such feelings not draw an audience's
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| | to God, to the audience, and whatever
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| interest when you manifest them in a
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| | sources you give credit for building your
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| performance?
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| | skill and dedication to singing and to
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| During the Second World War, when a young
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| | performing.
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| man, I had a dog named Jerry. He was my
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| | Don't block feelings; let them flow
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| constant companion since I was about six
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| | through you. When you hold onto negative
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| years old. I cherished him as a playmate.
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| | or positive feelings without expressing
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| I knew he loved me innately, yet I took
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| | them, you become greedy with your
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| his love for granted. A short while after
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| | feelings. You become an emotional miser.
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| being inducted into the Air Force, I
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| | Such a creature is unfit for performing,
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| received a letter from my family. Jerry
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| | and unfit for transmitting and
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| had stopped eating after I left home, and
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| | interpreting works by great composers for
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| had died from hunger, pining for me. To
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| | any kind of audience.
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| this day, every performance I give has a
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| | If you are such a miser, all hope is not
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| bit of that pain I feel from Jerry's
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| | lost. Condition your mind to see yourself
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| death. Never underestimate the power and
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| | as a kind of way station for thoughts,
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| resonance of love, and how it can affect
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| | ideas and emotions. As stated before, you
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| your performance, no matter the source of
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| | are not the destination, you are the
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| that love.
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| | messenger.
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| The effects that other elements of Mother
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| | This doesn't apply just to performing,
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| Nature have on us can also help us engage
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| | but to living. As you experience any
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| our audience's interest. For one thing,
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| | emotion in your non-performing life, do
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| it's said that being near water is a boon
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| | so with relish, letting the feeling wash
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| to solving many problems. I can't explain
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| | through you. Taste its sweetness. This
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| this, but can testify to it a bit.
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| | doesn't mean you give in to destructive
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| Remember the last time you were at the
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| | feelings such as hate or jealousy. You
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| beach? (When your enjoyment of it wasn't
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| | can experience these emotions, and yet
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| hindered by a horde of people.) Do you
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| | still maintain an objective part of you
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| remember the feelings of calm and release
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| | that corrals the feeling in one door of
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| that you felt then? This is nature's
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| | your mind, and out another, so to speak.
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| great gift. Remember that our bodies are
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| | Talk of expressing and conveying emotions
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| composed mostly of water. It's as if
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| | to an audience often brings up the topic
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| bodies of water, when experienced in
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| | of crying. The following questions arise:
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| natural, open and peaceful settings,
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| | Is it proper for a performer to cry
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| somehow transmit their life-sustaining
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| | onstage before an audience? Does this
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| qualities to us.
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| | help or hinder the performance? Most
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| Rather than judge, listen. There's a
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| | important, does crying engage an
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| saying that goes, "Happiness is that
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| | audience? To this, a famous actress once
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| condition felt upon seeing the misfortune
| |
| | offered, "If you cry, the audience
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| of a friend." That's pretty gloomy, yet
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| | won't." This may be true. Remember, there
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| it holds true when we judge instead of
| |
| | is a subtle distinction between being a
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| listening. Is it possible to listen when
| |
| | "carrier" or a "transmitter" of emotions,
|
| we want to judge? Isn't it just human
| |
| | and being a collecting point or
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| nature to judge?
| |
| | receptacle for emotions. Let feelings
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| Judging means more than gauging the
| |
| | flow through you and to the audience,
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| apparent degree of similarity a person
| |
| | without letting them become trapped
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| has to us. A man may judge that someone
| |
| | within.
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| else is like him. Yet, he may not like
| |
| | In the film Remains of the Day, Anthony
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| himself. A more focused definition of
| |
| | Hopkins, no slouch at conveying the full
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| judging is needed. I believe what we
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| | range of human emotion, communicates
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| usually refer to as judging in social
| |
| | feelings that leave you emotionally
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| interactions is actually condemning and
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| | ripped apart at the end of the film. Yet,
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| finding fault. We seek weakness so we can
| |
| | his character doesn't cry once in the
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| disregard what others are saying. We do
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| | film. For much of the film his character
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| this so another's views of the world
| |
| | is stoic, quiet, laconic, and
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| won't upturn our apple carts. Our
| |
| | subservient. Hopkins' mastery of being a
|
| condemnation of others is an indicator of
| |
| | conduit or conductor for emotion, rather
|
| our propensity to condemn ourselves. We
| |
| | than a recipient or host, makes the
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| must be gentler with ourselves, before we
| |
| | character and film successful.
|
| even face other people. How does
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| |
|
