Finding Your Individual Voice
A Three Day Workshop with Kimberly Barber
Focus:
Establishment and solidifying of individual audition repertoire through exploration of and play with goal-oriented exercises for breaking down blocks, release from tension, enhancing vocal and expressive potential, resulting in an increased intensity of performance.
Format:
The workshop is presented in an informal setting over three days, with sessions taking place on three separate days in a week or over a period of three weeks. The workshop days consist of two two-hour sessions separated by a one-hour lunch break. The workshop groups should consist of maximum of 12 singers. Adjustments to this format are possible (in terms of both time involved and numbers of singers).
Repertoire:
Operatic arias appropriate to the singer’s level of development and voice type. (Once the groups have been established, duets between members of the same group can also be used for exercise purposes.)
Day One and Two:
(two three-hour morning group sessions of applied exercises, two three-hour afternoon sessions of individual coachings)Group Sessions
Finding where your "passions" lie (carving out an individual niche for yourself)Group session using exercises to stimulate right-brain activity to come closer to finding out what each individual is drawn to and where he or she can make their mark. We do a version of "20 Questions" called "A Survey of Ourselves", which helps us to pinpoint what our strengths and individual passions are. We then discuss the results as a group.
Exercises in freedom of movement, release of entanglements, reaching full expressive potential
Working in a group setting, we go through individual arias and experiment with and explore new ways of looking at them with the goal of ridding ourselves of excess tension and blockages to expression. We will use exercises based on Wesley Balk’s "Performing Power" theories, among others. These exercises work on the theory of "mode dominance"; each of us is dominant in one of the sensory modes: Hearing-Vocal, Visual, or Kinesthetic. These modes affect how we learn, how we perceive and also how we express or project ourselves. As singer-actors, our strengths and weaknesses as performers are strongly impacted by our own personal mode dominance. These exercises are geared to strengthening weaker modes and to exercising each mode individually, then in combination with one another, to release blockages that can be a hindrance to us physically, vocally or expressively. Singers work in pairs, singly in front of the class or together as a group. The singers are highly involved in the observation process and evaluation process as well as in the exercise process itself. One major point that we consider during these sessions is teamwork in a non-judgemental environment. The singers are encouraged to be highly objective in their observations of themselves as well as those of their fellow singer-actors. We endeavour to be as detailed and specific in our criticisms of our fellow performers as we possibly can, without getting into the personal sphere, which is a decisive element in blocks in performers. We attempt to determine our mode dominance through these exercises, then to equalize the powers of expression for each of the modes and develop our awareness for our individual performing "crutches" or entanglements, so that we can enhance our effectiveness as performers and unleash untapped potential.
Individual Sessions
Repertoire (the Fach system, finding your individual audition arias - "the Big 5")Since one of the main stumbling blocks for young singers is the establishment of exactly what audition repertoire is appropriate for them, in the individual coaching sessions we go through each of their audition arias in detail to discover which ones present them the best. Each singer brings four-five arias which are memorized and prepared and performs them in the session. We discuss potential other repertoire if there are inappropriate choices or ones that aren’t working well for the singer. We decide which arias will be presented in the Mock Audition on the last day, taking into special consideration the strengths of the individual singer. We centre in on the crucial "starting" aria and how it impacts on what a jury might choose as a second aria, building the audition program so that the strongest aspects of each singer’s talents come to the fore. We also consider the weighting of the audition program and stress the importance of having five arias (with a possible alternate or two) with which the singer feels entirely comfortable and sovereign and which show the artist’s unique capabilities setting him or her apart.
Day Three: The Audition & The Career
(morning session of Mock Audition, followed by group discussion of the results and observations, afternoon session of question and answer period, group discussion)Mock Audition
- In the final session we do a mock audition, so that the singers have the opportunity to try out their audition material and "present" themselves as they would to a potential employer, yet in a supportive and critically constructive situation
- The singers come dressed and prepared to "audition" for the group. The singer introduces him/herself and then tells the "jury" which aria they would like to sing. After the first choice, the jury decides as a group which aria they would like to hear next, with a possibility of a third choice also being heard. During the audition process, all participants are encouraged to make detailed notes of their colleague’s performances, to be used in the ensuing discussion. Special consideration should be given to the observation of the usefulness or non-usefulness of artistic choices, as well as to the effectiveness of the particular arias, the presence of blockages/interference of the performing modes or freedom of same, and the aesthetic effect of the performer on the jury. Again the emphasis is on constructive and objective criticism.
- When all singers have auditioned, we discuss each audition in detail as a group, starting with the individual auditioner him/herself. He/she discusses any observations or revelations that occurred during the audition process and then group discussion and exchange begins, so that each artist has very specific feedback and constructive criticism which can be used in the learning process. Part of the discussion will also focus on how best to present yourself and how to feel comfortable with the way you look in the audition situation.
Question and Answer Period
Individual questions from the group as time allows: possible discussion topics may include:- Publicity materials: we discuss and work through the details of this all-important marketing tool. What arias should be on your CD? What information is necessary in your bio or resume? What should you look for in the photo you choose to present? What picture do you want to present to agents and potential engagers?
- Goal-setting: Group discussion of where each singer sees themselves, where they want to go and how they can go about doing this (these issues can also be addressed in individual sessions)
- Next steps: Where singers should go to develop their artistry and their careers. Information sharing about young artist’s programs, apprenticeships and further education. Discussion of career opportunities, how to go about a European audition tour, the intricacies of networking and the importance of the individual initiative of the artist in managing their own career.
- Agents: How to make contact, who the best ones are for young singers and what the right timing is
- Self-Study: The creation of study and work groups to continue the learning process already begun in the workshop setting.
- An evaluation of the workshop will be given to each student, to be completed before leaving the session.