TY - JOUR
T1 - What Classical Musicians Can Learn from Working with Actors: Conceptual and Pedagogic Foundations and Outcomes of Bringing Musicians to Integrate in a Drama Training Environment
AU - Rea, Ken
N1 - Rea, Ken. "What Classical Musicians Can Learn from Working with Actors: Conceptual and Pedagogic Foundations and Outcomes of Bringing Musicians to Integrate in a Drama Training Environment.." British Journal of Music Education 32, 2 (2015), 195-210.
PY - 2015
Y1 - 2015
N2 - Effective teaching in a music conservatoire needs a continual quest to find new and better ways of delivering excellence. The challenge is to keep the work innovative. In this article I argue that, for a classical musician the communication of personality is a vital component of excellence in performance and I give reasons why an authentic, confident personality should be nurtured as part of conservatoire training. I also examine in detail one approach to this issue that I explored in my action-based research and teaching at London's Guildhall School of Music & Drama: that is the practice of music students learning certain acting techniques and collaborating with actors (drama students) on specific projects that were designed to widen the musicians' range of expression. The article focuses on a two-year study which involved musicians working alongside actors on two devised performance projects: Storytelling and Circus. It describes the process in which the musicians were prepared for the eventual performances. I set out to explore exactly what musicians could learn from working with actors and what impact this might have on their normal sphere of performance. The projects demonstrated that, even a year later, some of the musicians manifested noticeable benefits in their mainstream playing, including greater levels of confidence, creativity and presence. The article also discusses some of the difficulties and shortcomings of this approach.
AB - Effective teaching in a music conservatoire needs a continual quest to find new and better ways of delivering excellence. The challenge is to keep the work innovative. In this article I argue that, for a classical musician the communication of personality is a vital component of excellence in performance and I give reasons why an authentic, confident personality should be nurtured as part of conservatoire training. I also examine in detail one approach to this issue that I explored in my action-based research and teaching at London's Guildhall School of Music & Drama: that is the practice of music students learning certain acting techniques and collaborating with actors (drama students) on specific projects that were designed to widen the musicians' range of expression. The article focuses on a two-year study which involved musicians working alongside actors on two devised performance projects: Storytelling and Circus. It describes the process in which the musicians were prepared for the eventual performances. I set out to explore exactly what musicians could learn from working with actors and what impact this might have on their normal sphere of performance. The projects demonstrated that, even a year later, some of the musicians manifested noticeable benefits in their mainstream playing, including greater levels of confidence, creativity and presence. The article also discusses some of the difficulties and shortcomings of this approach.
U2 - doi.org/10.1017/S0265051715000108
DO - doi.org/10.1017/S0265051715000108
M3 - Article
SN - 0265-0517
VL - 32
SP - 195
EP - 210
JO - British Journal of Music Education
JF - British Journal of Music Education
IS - 2
ER -