Teaching Acting to Singers: Harnessing Historical Techniques to Empower Modern Performers

This thesis examines how seventeenth- and eighteenth-century acting techniques could be used in conjunction with twentieth- and twenty-first-century theory and praxis to create modern acting tools for the dramatic training of classical singers. Classical singing curricula tend to focus overwhelmingly on the vocal element of performance, with acting and movement classes ordinarily comprising only a fraction of the overall tuition. This thesis argues that techniques deriving from historical acting are by their nature especially suitable for the training of singers and can be effective and beneficial even when taught within a short timeframe. The historical precepts underpinning this work’s theoretical foundations are drawn from a large corpus of treatises published across Europe between 1528 and 1832, and from a contextual investigation of the London stage in the first half of the eighteenth century. Historical insights are then brought into conversation with modern theatrical practices and studies in pedagogy, drama and psychology to produce blueprints for new techniques, which are subsequently refined through application in teaching settings. Chapter 1 outlines the theoretical basis of historical acting: classical beauty, the art of rhetoric and naturalness. Chapter 2 explores more technical aspects of the craft, proposing a classification system of gesture relevant to opera. Chapter 3 expands the enquiry into the practice and training of eighteenth-century performers and begins the methodological discussion for the new teaching method. Finally, Chapter 4 examines key stages in the development of the new teaching method and outlines the main exercises comprising it. The new teaching method aims to equip singers with a compendium of innovative and specialised tools for aiding their preparation and performance in the visual domain (movement and gesture). While the resulting skills are especially fitting for pre-1900 operatic repertoire, they can be used to perform repertoire from any period. The broad applicability of this method and its targeted development for the conservatoire curriculum could significantly improve the acting training provision for classical singers.