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Littérature scientifique sur le sujet « Actor-singers »

Auteur : Grafiati

Publié le 2 juin 2025

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Actor-singers"

Treinkman, Melissa. "A Conversation with Bronson Norris Murphy." Journal of Singing 80, no. 2 (2023): 227–29. http://dx.doi.org/10.53830/vjkd5871.

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Self-described singing actor Bronson Norris Murphy discusses his career, including his nine years as part of the Broadway cast of Phantom of the Opera. Murphy shares the reality of a Broadway career and offers advice to aspiring musical theatre singers.

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Wang, Qun, and Zihao Liu. "Efficacy Analysis of Emotional Labor and Professional Self-Quality of Opera Actors Based on Metaregression Analysis in Small Sample Environment." Journal of Environmental and Public Health 2022 (September 14, 2022): 1–9. http://dx.doi.org/10.1155/2022/3704201.

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On the rules of emotional performance in performances, opera singers based it on their emotional labor. Opera actors need to use certain stage scenarios and script designs during performances in order to convey the emotions of the characters in a way that will resonate with the audience and provide excellent stage effects. Opera singers put a lot of emotional work into their performances, which is at the core of them. Whatever the actor’s genuine feelings may be, he or she must channel them as a skilled opera actor in order to provide the audience with a rich visual feast. This article investi

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Ivanova, Nadezhda S. "The Singer-Actor Role in the System of Staging Principles of Musical Theatre in the 1930–1940s (based on the fi rst roduction of S. Prokofi ev’s opera “War and Peace” in 1946)." Университетский научный журнал, no. 75 (August 25, 2023): 149–57. http://dx.doi.org/10.25807/22225064_2023_75_149.

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The article examines the role and signifi cance of a singer-actor in the system of staging principles of the 1930–1940s. The work shows the changes in the approaches to work on a performance adopted during the designated period and refl ects the basic principles in the work of artists preparing their roles. The author analyses reviews of critics of the 1940s and identifi es approaches to the analysis of stage materials and the place of the description of singers-actors in the articles. The study is carried out on the basis of the 1946 production of S. Prokofi ev’s opera “War and Peace” at the

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Asare, Masi. "The Black Broadway voice: calls and responses." Studies in Musical Theatre 14, no. 3 (2020): 343–59. http://dx.doi.org/10.1386/smt_00047_7.

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Black musical theatre artists in New York City share and theorize their experiences with industry expectations around racialized vocal performance. Musical director John Bronson, actor/singer Jamal James, composer/music director Dionne McClain-Freeney, composer/writer Khiyon Hursey, actor/singer Rheaume Crenshaw, actor/singer/voice teacher Elijah Caldwell, and actor/singer Zonya Love Johnson comprise the group. The artists grapple with the conundrum of sounding ‘Black enough’, how the demand for uniform Black vocalization confounds historical accuracy in period shows, and the fantasy of the ge

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Manning, Céline Frigau. "Phrenologizing Opera Singers: The Scientific “Proofs of Musical Genius”." 19th-Century Music 39, no. 2 (2015): 125–41. http://dx.doi.org/10.1525/ncm.2015.39.2.125.

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In some descriptions from the first half of the nineteenth century, scientific categories are used syncretically to explain opera singers' talents, including their innate and acquired dispositions, and their effects on audiences. Phrenology sought to read on the surface of skulls the developments of cerebral zones that corresponded to various instincts, or to affective and intellectual faculties. According to the partisans of this “only true Science of the Human Mind,” one could thus explain any aspect of human activity and life. Franz Joseph Gall's followers applied these theories to music an

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Kucher, L. I. "Educating the Actor Singer in the Opera Studio of Lviv M. V. Lysenko State Conservatory." Aspects of Historical Musicology 13, no. 13 (2018): 166–78. http://dx.doi.org/10.34064/khnum2-13.13.

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Background. Western Ukraine’s cultural musical life had its own paths of development. The fi rst musical school began working in this region in September 1903. The issue of creating a specialized musical educational institution with native-language teaching was repeatedly highlighted in Lviv newspapers in XIX and early XX centuries. Nevertheless, most musicians were forced to obtain knowledge either on their own or in Polish, German and Czech educational establishments. Composer S. Liudkevich was the most ardent fi ghter for foundation of a Ukrainian conservatory in Lviv. He became one of the

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Kolesnyk, Evdokia. "Education of a Singer-Actor in the Context of the Ukrainian Opera School." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(55) (June 16, 2022): 111–24. http://dx.doi.org/10.31318/2414-052x.2(55).2022.266551.

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The article examines the process of formation of the Ukrainian national opera school, establishing its fundamental principles in the context of the successive activities of several generations of vocal teachers. The author substantiates in detail the necessity of training a universal opera singer with fluency in the vocal technique of performing the Ukrainian and foreign repertoire in the original language. The specificity of the training of a singer-actor of the opera genre is determined in the context of the integrative interaction of domestic and foreign vocal systems. The algorithm of this

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Shevtsova, Maria. "Of ‘Butterfly’ and Men: Robert Wilson Directs Diana Soviero at the Paris Opéra." New Theatre Quarterly 11, no. 41 (1995): 3–11. http://dx.doi.org/10.1017/s0266464x00008824.

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In NTQ40 (November 1994), in the first of two pieces on modern directorial approaches to the staging of opera as music theatre, Maria Shevtsova discussed Peter Brook's production of Impressions de Pelléas, complementing her own analysis with an interview with one of the leading actor-singers, Vincent Le Texier. Pursuing a similar dual-faceted approach, here she provides a detailed explication of Robert Wilson's production of Madame Butterfly, seen at the Opéra de Paris Bastille in 1993, exploring the ways in which Puccini's original orientalisms are translated and transmuted into a version of

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Yeh, Catherine Vance. "A Public Love Affair or a Nasty Game? The Chinese Tabloid Newspaper and the Rise of the Opera Singer as Star." European Journal of East Asian Studies 2, no. 1 (2003): 13–51. http://dx.doi.org/10.1163/15700615-00201003.

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At the end of the nineteenth and beginning of the twentieth century an unlikely new figure emerged on the Chinese national stage to take its place as the new star: the Peking Opera singer and in particular the dan or female impersonator, hitherto a member of the lowest social caste and generally discriminated against by law and social custom. These singers’ newly gained national reputation had everything to do with Shanghai and its media industry, more precisely with the appearance of the tabloids, the xiaobao, in the 1890s. Within a decade, the opera singer had become the selling point of the

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Kovmir, Nataliia. "Oleksii Chumakov’s Creative Activity." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 2 (2021): 296–303. http://dx.doi.org/10.31866/2616-7581.4.2.2021.245820.

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The article analyzes various aspects of Oleksii Chumakov’s creative activity. Oleksii Chumakov’s activity can be considered as striking in its variety of creative manifestations. His singing career is harmoniously combined with his work as a composer and arranger. The purpose of the article is to identify the specifics of stylistic dimensions of O. Chumakov’s work. The article analyzes various aspects of O. Chumakov’s activity, which impresses with the variety of creative manifestations. The artist harmoniously combines the singer’s career with composing and arranging skills. The research meth

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Thèses sur le sujet "Actor-singers"

Christian, Bryan William. "Cardano (Chamber Opera for Three Singers, Actor, and Ensemble) and Combination-Tone Class Sets and Redefining the Role of les Couleurs in Claude Vivier's "Bouchara"." Diss., 2015. http://hdl.handle.net/10161/9864.

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<p>This dissertation consists of two parts: a chamber opera and an article on the work of Claude Vivier.</p><p>"Cardano" is a new chamber opera by composer Bryan Christian about the work and tragic life of the Renaissance polymath Gerolamo Cardano (1501-1576). Scored for three vocal soloists, an actor, and an eleven-part ensemble, "Cardano" represents a coalescence of Christian's interests in medieval and Renaissance sources, mathematics, and intensely dramatic vocal music. Christian constructed the libretto from fragmented excerpts of primary sources written by Cardano and his rival Niccolo T

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Livres sur le sujet "Actor-singers"

Ferrone, Siro. AMAtI (Archivio Multimendiale Attori Italiani). Edited by Francesca Simoncini. Firenze University Press, 2012. http://dx.doi.org/10.36253/978-88-6655-234-5.

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The Archivio Multimediale degli Attori Italiani (AMAtI) is an on-line computerized archive devoted to the Italian actors, dancers and singers who have practised the profession from the fifteenth to the twenty-first century. For every actor AMAtI offers a complete original and up-to-date profile, bibliography, list of sources, and a detailed selection of data on his/her career and single performances. Documents, images and multi-media material (video and audio), linked to the collected information, can be viewed in order to provide a more in-depth rundown on each actor. It is also possible to r

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Ehrlich, Scott. Paul Robeson: [singer and actor]. Chelsea House Publishers, 1988.

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Hicks, Alan E. Singer and Actor. Ap Amadeus Press, 2011. https://doi.org/10.5040/9798765194584.

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Current market forces in the performing arts, such as aging audiences, electronic media, and HD broadcasts, have changed the operatic landscape. Young opera singers entering the workforce find themselves navigating difficult and highly competitive waters. Previously ignored skill sets become assets – and, in many cases, requirements – in casting. But most singers graduate from college having never taken a formal acting class and knowing little about acting technique as it pertains to their craft. Singer and Actor demystifies theatrical acting technique stemming from Stanislavsky's Method of Ph

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Javad Nazari (Shekarchi): جواد نظری. Iran Film, 2023.

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Javad Nazari. Iran Film, 2023.

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Allen, Glenn Seven. The Singer Acts, The Actor Sings. Bloomsbury Publishing Plc, 2019. http://dx.doi.org/10.5040/9781350043091.

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The Singer Acts, The Actor Sings is a practical workbook for singers and actors in all disciplines, from musical theater through classical repertory to popular performance styles. The book addresses the needs of students and professionals alike, helping them face the challenges of musical performance undaunted and achieve the exhilarating feeling of living through song. Structured in three sections, this workbook first examines song structure, pitch, and style of accompaniment, enabling performers to live moment to moment within a piece of music. The subsequent sections provide clear explanati

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Pearlman, Jill. Elvis for Beginners (Writers and Readers Documentary Comic Book). Writers & Readers Publishing, 1986.

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Elvis Für Anfänger. Sachbuch Rororo, 1989.

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Blak, Eve. Last Words of Famous and Infamous Personalities: Last Death and Mysterious Words of Famous Personalities, Actor, Actresses, Presidents, Singers, Criminals and Many More Other Well-Known and Infamous People. Independently Published, 2017.

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Williams, Deanne. Girl Culture in the Middle Ages and Renaissance. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350343238.

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Deanne Williams offers the very first study of the medieval and early modern girl actor. Whereas previous histories of the actress begin with the Restoration, this book demonstrates that the girl is actually a well-documented category of performer and a key participant in the drama of the Middle Ages and Renaissance. It explores evidence of the girl actor in archival records of payment, eyewitness accounts, stage directions, paintings, and in the plays and masques that were explicitly composed for girls, and, in some cases, by them. Contradicting previous scholarly assumptions about the early

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Chapitres de livres sur le sujet "Actor-singers"

Hentschell, Roze. "Paul’s Boys." In St Paul's Cathedral Precinct in Early Modern Literature and Culture. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198848813.003.0005.

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This chapter focuses on the Children of Paul’s and emphasizes that the boys were choristers for the cathedral first and only occasionally actors. The boys’ spatial milieu, including the Almonry (which likely served as the singing school, residence hall, and ‘theatre’), the chancel, the churchyard, and the grammar school, is discussed. The make-up of the neighbourhood—the precinct and nearby spaces—is examined in order to get a better sense of the audience at Paul’s. Audiences were drawn to plays by Paul’s actors because they were talented singers and educated students. John Marston’s early pla

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O’Meara, Jennifer. "Identity Politics and Vocal “Whitewashing” in Celebrity Lip-Syncs." In Media Ventriloquism. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197563625.003.0007.

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The popularity of celebrity lip-syncing in contemporary media culture often lies in the presentation of racial and/or gender-based disjunctions between the connotations of the voice that is heard and the body that is seen. This chapter argues that such racial ventriloquism can be conceived as vocal “whitewashing,” which involves changing a preexisting vocal performance by a person of color into one by a white person. With a focus on two performances by white actors (Paul Rudd and Emma Stone) on The Tonight Show Starring Jimmy Fallon and a contrasting performance by a Black actor (Taraji P. Hen

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Kaur, Jasmandeep, Kirandeep Bedi, and Ramanjeet Singh. "Celebrity Endorsement and Cultural Orientation as per the Indo-African Perspective." In Handbook of Research on Deconstructing Culture and Communication in the Global South. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-8093-9.ch015.

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In many countries, celebrity endorsement is considered as the most premium form of advertisement where a renowned celebrity such as a popular actor/actress, singer, sports personality, etc. is made the brand ambassador. However, the consumer attitude towards celebrity endorsement is dependent on various cultural aspects. This chapter focuses on the different aspects of celebrity branding through the lenses of the culture and demography of two continents: Asia and Africa. The main focus of the chapter is on India from Asia and South Africa and Nigeria from Africa. In Asian countries like India,

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Lam, Joseph S. C. "Kunqu." In Kunqu. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888754328.003.0003.

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This chapter discusses Chinese idealization of kunqu as a heavenly opera, explains its virtuoso performance practices and materials, and analyzes three scenes from the Palace of Everlasting Life (Changsheng dian) as representative shows of kunqu performance and expressive excellence. Kunqu practitioners cherish the genre for its dramatic telling of Chinese stories and for its actor-singers’ dedicated pursuit of performative excellence. Continuously, they fine-tune their creative skills of writing literary libretti, composing and performing ornate vocal and instrumental music, choreographing vi

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Lam, Joseph S. C. "Kunqu Institutions, Practitioners, Terminology, and Theories." In Kunqu. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888754328.003.0002.

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This chapter introduces kunqu institutions, practitioners, their discursive keywords, and international theories for examining the genre in twenty-first-century contexts. Currently, there are eight state/city supported kunqu troupes in mainland China, each of which presents shows on a regular basis, and operates with a large staff of librettists, composers, actor-singers, instrumentalists, make-up and costume artists, sound and light designers, and other production specialists. Many semi-professional troupes and amateur institutions operating inside and/or outside mainland China mount kunqu sh

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Lam, Joseph S. C. "Kunqu Operations." In Kunqu. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888754328.003.0006.

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This chapter presents twenty-first-century kunqu not as a national and unified phenomenon but as a conglomerate of regional institutions and competing stakeholders. To mount artistically and commercially successful shows, kunqu practitioners have to operate in yuescapes, namely dynamic times and sites that shape and are shaped by stakeholders’ artistic talents, social-political identities, performance agendas and contexts, and access to nationally and locally available resources. In these yuescapes, such as those found in the cities of Suzhou and Taipei, and in mainland China as a nation, loca

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Ostwald, David F. "The Divine Marriage: Combining Believable Acting with Expressive Singing." In Acting For Singers. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195145403.003.0002.

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Abstract When you perform, you want to move your audiences by communicating all the nuances of the music, ideas, and feelings of each piece. You will succeed if you are believable as your character, because believability is the magic key with which you unlock the audience’s empathy. When audience members empathize with your character, they open the floodgates of their feelings; they are moved. You are believable when you appear to be in your character’s situation— when you seem to be inventing the music and words as spontaneous responses to what the character is experiencing. This requires tha

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