In recent weeks most of my students have been involved in some form of performance or other. For some, this was their first foray into public performance, and for others one of a long list of recital opportunities they have experienced.
I am a firm believer that performance is a huge part of learning to be a musician, and consequently encourage all my pupils to participate in the opportunities for singing in public which are available to them – even if they are reticent to do so! I am fortunate that in both places where I work there are a wide range of performing opportunities open to my students ‘on the doorstep’, but I also make an effort to provide them with other ways to develop their skills when and where appropriate by encouraging them to participate in music festivals, competitions, external concerts and masterclasses.
The art of ‘performance’ is so much more than singing (or playing!) a piece of music in front of people – and it really is an Art. Whilst I took part in many school concerts when I was younger, and considered myself an ‘experienced’ performer, it was not until I was at University and studying singing with more focus that I began to really understand how many things contribute towards a polished and poised performance.
Of course, the piece of music – and one’s rendition of it – is central to the success of any performance. It is this which is the focus of lessons and practice time for the person on stage, and what the audience turn up for. Without a piece which is well prepared, all the ‘fripperies’ of stagecraft (or how to perform well) are almost pointless – which is why so few teachers concern themselves with the ‘extras’ until much further into the learning process. Having learned the hard way how important these other things are, I have made a concerted effort to educate my students from their very first performance so that they learn the basics initially, and then develop them along with their technique. Naturally my expectations increase along with the technical demands of their repertoire, and thus performance confidence grows alongside the technique.
So, what are the extras which might need taking into consideration? The way you look (how you dress – not the need for a crash diet or Botox!), the way you walk on stage, the manner in which you introduce your performance, how you interact with the accompanist(s)/ orchestra / conductor, the way you cope with ‘blips’ in the performance, how you acknowledge appreciation, and the way in which you leave your stage are all included in what we loosely term as ‘Stagecraft’.
And how do I teach these things? Naturally much of this is taught as I discuss a performance in the weeks leading up to it during lessons. My students practise their introductions before singing their pieces, we discuss what they will wear, and they rehearse with their pianists so we can iron out any problems. We also discuss how to deal with things that might go wrong, and develop coping mechanisms. After a performance we de-brief, talking about how that particular performance went, and what the student can learn for the next time.
The students at school also have an annual Performance Class. This is taken by one of the vocal teachers in the department, and is organised in small groups of students by year group. The girls meet with the teacher and allocate one lesson slot to a discussion of these issues, consolidated by the opportunity to put what they have talked about into practice in front of the rest of the group. This is an excellent forum for all students and teachers. The students are in a relaxed environment where they can practise the skills they are developing, and gain instant feedback on how well they achieved their objectives. Ideas instigated in lessons are the object of specific focus, and the students leave the session better prepared for the next time these skills are required. For the staff it gives the opportunity to see other students of other teachers, gain new ideas, think about good teaching practice, and encourages discussion within the department about development of students. It also allows the teachers to observe students in a different way – taking a step back and seeing them afresh.
There are many studies and articles written by academics about the benefits of musical education on all aspects of academic life. The Stagecraft skills practised by my students naturally adapt to any form of public speaking or dramatic performance, as well as developing confidence and awareness of interacting and working with others, the importance of appearance when in formal situations, and the simple ability to stand in front of others and present. What a fantastic skill set to establish in any person!