THE TRIPARTITE RECIPROCAL PRINCIPLE IN SELF PREPARATION OF THE MUSICAL AND OPERETTA SYNTHETIC PERFORMER
THE TRIPARTITE RECIPROCAL PRINCIPLE IN SELF PREPARATION OF THE MUSICAL AND OPERETTA SYNTHETIC PERFORMER

Summary/Abstract: The reciprocal principle of the synthetic performer's self-training is the focus of this study because it is a fundamental pillar of role construction in musicals and operetta performances. By the term synthetic I distinguish that performer who has mastered the vocal, dance and acting arts, through which he realizes his roles in a given musical-stage work. The definition Synthetic is most accurate because of its broadness. The purpose of the independent work is to help the artist, within a rehearsal period, to prepare for each subsequent stage of the process. It is important to be able to get to the point where, when you go out in front of an audience, you will feel confident, completely removed from the feeling of fear and mistakes. When the actor has worked out individual elements calmly during self-preparation, they remain in him as safe places and he incorporates them during rehearsals. The process that the performer enters into while exploring the role on their own, much more quickly and naturally reaches the building moment of unlocking the SPONTANEOUS GAME. It is important during the independent work that the performer calmly and analytically outlines for himself exactly who in his role makes him insecure. The three main aspects that a synthetic artist should work on are: - the actor's construction of the textual part of the overall structure of the musical-stage work. - vocal learning and situating in the role structure of the individual musical numbers. The logical linking of the previous acting scene and the musical number. The discovery and exploration of the musical touches given by the composer to enable the performer to build a full-blooded vocal-artistic image. - overall plastic ideas, searching, by improvising the most accurate physical characteristic of the character, during the rehearsals with the choreographer these ideas can be shared and become the basis for developing the dance passages. Another direction in which the performer can practice independently is working out and perfecting dance passages already set by the choreographer. There is a triunity between these elements of the musical and the operetta, with certain binary relationships between each of the elements. Particular attention is needed on the accompaniment. Again, by asking specific questions, one must gain insight into the relationship between the accompaniment, the message of the song, and the musical score. The synthetic performer may experiment different physical body behaviours during the performance of a musical number in order to be able to suggest ideas during rehearsals to continue working on with the director, choreographer and scene partners.

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