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Post by caberwald on Mar 28, 2019 13:12:04 GMT
Hello,
I'm currently finishing my diploma in Film and TV media. For my project I am making a 5-10 minute video exploring the raw emotion people show/feel to certain sounds. (currently at my research stage).
Therefore I am asking you to tell me what Emotions you find hardest to perform on stage? And weather you would be interested in a video that shows you other people Raw Emotion?
Please respond with anything you have to say about this as anything is good feedback to work with.
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Post by Dave25 on Mar 28, 2019 13:34:24 GMT
This is a very interesting topic!
I am always particularly interested in raw emotion in singing. Most people fail to understand what this is.
Well and naturally sung notes work as actor themselves and evoke a very raw emotion. Unfortunately some performers and directors think they have to act out every note on top of that as well, which makes it over-acted and insincere. Others think that toning the singing down, make it more like speaking, basically, apologizing for the notes and the artform makes it more "raw". It does not, it creates a gap between 2 languages and makes the performance insincere too. It forces the audience to switch between artforms all the time in 1 line. This only tends to work in crying scenes because then the performer can hide behind that for the failed notes/disconnect. In every other emotion it does not work at all.
So it is very important that not every note is acted out on top of the sung note and it is very important to not apologize for the artform by speak-bleating because that makes it too literal and this language per definition is not, so the raw emotion is gone and the performance feels bumbled. A good example of this is the Les Mis movie.
This used to be done very well in older shows, such as Miss Saigon, and movies like The Sound of Music, Grease and for example, animated musicals like Aladdin. The singing was fully embraced but not over-acted to death because the notes take over that function.
In modern shows, even the Miss Saigon revival they do a lot more of this over-acting and speak bleating (apologizing). Many of the angelic notes that Kim sings are gone, and so is the emotional impact for the audience. This is a good example of that, when you compare the first clips with the last clips:
This video gives another great example of why over-acting in singing does not work and why apologizing for the singing and speak bleating and then make a switch and sing the last syllable also does not work. Both pitfalls feel insincere and lose it from the raw emotion of natural singing:
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Post by caberwald on Mar 28, 2019 13:48:50 GMT
Thanks for the awesome comment, all things that is good to think about when i'm researching. and I must even though I'm not much of a musical theatre performer I find myself agreeing with what you are saying.
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Post by Dave25 on Mar 28, 2019 13:51:22 GMT
You're welcome! Good luck with your project!
Someone on youtube commented this, and put it into words well too:
"About Lea, I think she thinks she is "acting" extra well in the 2nd one (pulling a Hugh Jackman, creating a disconnect). The bizarre thing is that her first clip is much more raw, real, sincere and emotional. That's where the music and the sincerity of the singing translate into acting, which is the essence of this artform. As long as people don't understand that we will have these parody messes. It seems like people have disdain for the artform by feeling the need to make every syllable extra dramatic by speaking or exaggerating it. As if the natural source or natural believable singing isn't good enough. As if people only believe them if they make constant crazy switches between singing and acting or something. It's the opposite. I only believe the first clips."
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