GREAT MIND AND ARTS

How to Begin Being a Magician

agque2006@gmail.com (Dodong) — Sun, 26 Apr 2009 13:07:00 +0000

Over the last several years magic has enjoyed a resurgence in popularity. Once again people are thoroughly enjoying watching the performance of magic tricks. And once again more people are beginning to take an interest in becoming magicians. While it certainly isn't easy to perform magic it isn't impossible either. Here is how to begin being a magician.

Obviously to be a magician you need to be able to perform magic tricks and the best way to do this is to start out with easy tricks. There are many easy tricks that you can learn. Many of these are also entertaining to audiences. These easier tricks will allow you to learn to use your hands for the slight of hand tricks. They will also help you learn the pacing that is so important to performing magic. Work on the basics and put together a few basic tricks that you perform more and more.

Once you get a few tricks down then you should practice as much as possible. Practice as much as you can and get as good as you can be. There is no substitute for practice and there is no way around it either. So practice, practice, and then practice some more. Once you get good at the basic tricks then you can continue to begin being a magician by practicing more complex tricks.

Once you get good enough to finally put a show together then you need to begin performing as much as possible. Just as there's no substitute for practice, there's also no substitute for performing. You have to get on the stage as much as possible and perform as often as possible. The more you perform the better you'll get at being a magician. And before you know it you'll go from being a beginning magician to being an experienced magician.

How to begin being a magician is easy to know but not so easy to do. It takes a lot of hard work and a lot of practice. You should begin learning to perform easy tricks and then you should practice these tricks as much as possible. Then you can perform more complex tricks until you're able to put together a show. From there you should log as much stage time as possible and become the best magician you can possibly be. With knowledge, practice, and repeated performances, you will be able to become a great magician.

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So You Want to Put on a Show - Getting the Staging Right

agque2006@gmail.com (Dodong) — Tue, 13 Jan 2009 06:24:00 +0000

If you are a seasoned Director you might want to ignore this piece. Anyone new to the role will know some, but not all of what follows. Before you ever go the a rehearsal, or even introduce the show to the potential cast, you need to be very sure of what the final show will look and sound like. This involves reading it, making copious notes, re-reading it and practically learning it.

Sometimes a show or play comes with a very definite set of staging instructions. You may want to try to obey them, but most shows are written for the professional stage where there is an abundance of technical stuff available. If you are working in a community hall, or a school hall, the facilities will be very different. But you still need to know what you would like to have, so that when you meet the set, sound and light designers (who are sometimes one person) you know what you are going to ask of them. You need to provide them with a marked-up script which includes sound effects indications, what lighting you want where and when and what scenery is required. At the first meeting they will tell you what cannot be done and you will rethink. (This might not happen, but it often does).

Then they will go away and come back later with plans. If they are very, very good, they will tell you that it can all be done, within budget and with no moaning, but don't hold your breath! Really, they don't do it on purpose, but the ideal set, lighting and sound are seldom achievable, even in the professional theatre. Then you will adjust your expectations and they will go away and think it through again.

There is some wonderful software available now which stage designers can harness to show the director what to expect from their design. It generates 3D drawings, shows lighting states, and can be worked on and then harnessed to a good theatre system. The Director can see what is planned and make little changes and see what they will look like. It is well worth looking for such a piece of software, or asking the design crew if they work with one. They are not terribly expensive and are well worth searching for and buying if you intend to do more than one show/play.

Once you have some knowledge of what the stage will look like, then you can make the cast aware of what to expect. Sometimes it is useful to let them see the drawings or print-outs of the staging, so they can have some idea what they will be contending with. I was in a production of 'Seussical' recently where we were surprised and somewhat horrified to discover that there wasn't room for all of us to dance as we had learned once the set was in place. I try to place chairs in people's way, declaring them to be - 'a tree', 'the desk' - this helps performers to be more aware of the limitations of the stage. It is sometimes useful to define the acting area for rehearsals by chalking the shape on the floor of the rehearsal room. Chalk wipes off easily and it really does help the performers.

If you are really lucky with your designers you will get something like what you were hoping for, in time and under budget. And during the Technical Rehearsal, when all the snags are revealed, and dealt with, you will be grateful you did the preparation. Whatever the perceived disaster in the 'Tech', it would be a great deal worse if you had not done the preparation, and far less easily dealt with. The audience will never know what you went through, and neither, probably will the cast. Good. That's how it should be. If it looks hard it isn't working. If the audience applauds the set, I get worried. It's the play they should be seeing - not the set. That's just the canvas the piece of art is drawn upon.

I am Dianna Moylan, in my mid-sixties, an ex-teacher who has been involved for many years in local amateur dramatics, I have directed, designed and made costumes, taught the songs and performed in many musicals and plays. I live in a small house which is rapidly becoming swamped with doll house stuff which I build, renovate, sell and hoard. My site, http://www.diannadollhouses.co.uk is newly launched. I also sell on eBay. In addition to loving making dolls' houses I enjoy writing a lot and welcome this opportunity to have a say.

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Magician's Workshop - The Importance of Practicing Your Magic Tricks

agque2006@gmail.com (Dodong) — Tue, 13 Jan 2009 06:23:00 +0000

You've just hit the local magic shop, picked up some cool new magic tricks, and are ready to astound your friends and family members with your wizardry, right? Not so fast. While many magic tricks are easy to perform, practice makes perfect! As with any art form, practicing magic requires extensive practice. Not only must you master the mechanics of the trick, you must also master your script, delivery, and distraction techniques - all while injecting your own personal flair into the act.

Start by getting to know your magic tricks. How do they work? What other props might you need to pull off the trick? Read the instructions and then try the trick out for yourself. Your first few attempts will likely be clumsy, which is fine. At this point, you want to understand the mechanics of the magic trick so that you can do it properly. Once you know what to do, practice without worrying about showmanship. The goal is to be able to handle the trick with ease.

After you're comfortable with the basics, it's time work up a routine. When you buy magic tricks at the magic shop, ask for a demonstration. This will give you an idea of how the trick is typically performed. If you've ordered your tricks from an online magic shop, check to see if a video demo is available. Seeing the magic tricks in action first will give you a better idea of the showmanship involved. Now, begin practicing your lines.

Use a video camera to record yourself performing your magic tricks. You'll be able to see how others may perceive the illusion as well as analyze your delivery style. If your trick requires sleight of hand, a video camera is an excellent tool for evaluating your progress. Once you've perfected your act, you're ready to amaze your audience!

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Preparing For Your Dance Auditions

agque2006@gmail.com (Dodong) — Mon, 22 Dec 2008 11:53:00 +0000

We've all been there. Heard about an audition for that dream job. Maybe it's for a music video, a world tour or to get onto the client roster of a prestigious dance agency. And we want it so much and wonder how we can best prepare for it.

Well it is possible to prepare for auditions. Of course there isn't that much background reading to do or learning lines like for an acting audition. In fact anything could happen at an audition, you never know and they can throw something unexpected at you if they feel like it.

However certain types of information about the audition can be very useful for your preparations. The first is what dance styles the audition will be based around. You will then know what to expect and can even pop into some dance classes in that dance style so that you're up to speed with it.

It also helps to know who the choreographer is and a bit about them. If you know who the choreographer is you can find out about their previous work. This'll give you an idea of their choreography style as there can be very different choreography styles even within one style of dance. Knowing who the choreographer is can even give you a clue to what types of dancers they like to work with if you look at their previous work. Watch any videos of the choreographer that you can.

Knowing what the director is looking for is also a great piece of information to have. They will often tell you how they want you to dress and the type of role this is. You can then think about what you should wear to look the part for the role you are auditioning for.

The day before a dancing audition you should find out how you're going to get to the audition and how long it will take to get there. Always leave more time than you think is necessary. Find out about any changes to travel, disruptions to trains and anything which might affect your journey.

Have clothes prepared and ironed for the next day. It can be a good idea to have several different clothing options with you so that you can change costumes with any new information that comes to light on the day.

Travel to auditions with a map, water, CV and pics and clothing alternatives. You may also choose to bring music just in case and even your showreel but these are optional and would probably be things they would bring up if they wanted you to bring them.

Ryan Heddik is the author of the unique and inspiring guide 'Dance In A Pop Video.' In it he lays down exactly what it takes to become a successful dancer at auditions and making the transition into music videos and TV work. Sign up for his free email tips at http://www.boxdancer.com

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Leonard Bernstein and the Story of the West Side Story

agque2006@gmail.com (Dodong) — Mon, 22 Dec 2008 11:52:00 +0000

At the age of 15, Louis became Leonard Bernstein. As a child, Leonard was always interested in music and was frequently taken to concerts. He began to play piano and attended the Garrison School, Boston Latin School, Harvard University, and the Curtis Institute of Music. In his life, Bernstein accomplished a great deal. When "West Side Story" came to life, his career skyrocketed.

Shakespeare's "Romeo and Juliet" has been a classic love story for hundreds of years. In 1957, the classic masterpiece of love, death, and fury was given a new flare. Leonard Bernstein composed the music for the cast of main characters. With a plot similar to "Romeo and Juliet," the musical amazed audiences worldwide. Arthur Laurents wrote the book. Bernstein composed the music, and Stephen Sondheim created the lyrics for Bernstein's music.

The love story is set in 1950's upper west side Manhattan. The plot, similar to Shakespeare's infamous love story, surrounds two gangs. A member from each gang falls in love. Tony, who is a Manhattan gang member, falls in love with Maria, a Puerto Rican gang leader's sister. Like Shakespeare's "Romeo and Juliet," "West Side Story" illuminated themes of juvenile delinquency, but the delinquency was represented through the gang wars and mischief instead of rival families.

The music by Leonard Bernstein from the play has become quite popular over the last 51 years, especially with the 1961 release of "West Side Story" the film. Bernstein's most famous numbers include the following: "Maria," "America," "Somewhere," "Jet Song," and "I Feel Pretty".

Starting on September 26, 1957, "West Side Story" was performed 732 times prior to going on tour. It was nominated for Best Musical in 1957's Tony Awards, but it did not win. However, the Tony Award for Best Choreography did go to "West Side Story" that year. 2008 marks the 50th anniversary revival of "West Side Story." The revival begins July 22 at Sadler's Wells Theatre in London. While the original cast will not be performing, the new cast is eager to perform this amazing play, which has been staged in numerous theatres and opera houses all over the world. Another revival is set for Washington, D.C.'s National Theatre and in mid-December.

National tours for "West Side Story" have crossed the United States, the United Kingdom, Hong Kong, Australia, Israel, and Africa. Adaptations of the play have also been written. Philippe Gobeille presented a French version of this play in 2008 in Quebec and a Philippine version is scheduled to begin performances in September 2008.

References to "West Side Story" and many of the musical pieces in it have influenced many facets of music and culture. "I Feel Pretty" has been featured in the films "Anger Management" and "Dirty Dancing." References to the play can also be exhibited in "Analyze That," "Shrek," Michael Jackson's "Beat It" music video, Saturday Night Live, and Friends.

References to the play can also be heard in modern music. Santana's "Maria Maria," Kiss's "Hide Your Heart," Metallica's "America," Dire Straits' "Romeo and Juliet," and Alice Cooper's "Gutter Cat vs. the Jets" all have ties or references to "West Side Story." Bernstein's legendary music will remain a staple of pop culture for centuries to come.

A free email newsletter on exciting piano chords and chord progressions from Duane Shinn is available free at Exciting Piano Chords & Chord Progressions!

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Basic Magic Tricks For Basic Magic Kits

agque2006@gmail.com (Dodong) — Tue, 09 Dec 2008 03:38:00 +0000

Well, giving you the first trick, it is actually very easy to perform. Water to Ice, well what you will do is pour water into a cup and then dump out a couple of ice cubes and no water. People will wonder how the water turned into ice. This can be really surprising for some who don't know the trick, for this trick you need a cup that isn't see-through, maybe a solid color cup will do. When no one is looking, you will stuff a sponge in the bottom of the cup. Then put a couple ice cubes on top of the sponge inside the cup. While everyone is watching, pour water into the cup. The sponge will absorb the water so when you turn the cup over all that will pour out will be the ice cubes. That can definitely a treat and the magic kits are so simple as well.

How about the famous disappearing coin trick? Well it is another easy magic trick that uses a simple magic kit. Well, basically for this trick you will sit at a table and place a coin in front of everyone. Then you will take one of your hands and place it over the coin. With three fingers, you will drag the coin across the table making sure you keep your hand and arm parallel to the table. Drag the coin to the edge of the table and let it drop into your lap. As you pick your hand up, rub your fingers together and look surprised like the coin is vanishing. Then turn your hand to the on-lookers and show them your hand is empty. Another well played magic trick that has people guessing again the only magic kit you used was a coin.

Those 2 easy magic tricks can get you started on learning more. People might look at it as a very simple trick but it can still surprise a lot of people and you'll be surprised as well as on how the simple tricks uses simple props or magic kits. Essentially, more and more people will be amazed if you can continually do tricks in a manner and make everyone seems pleased on how the tricks are being made. Well, having simple magic tricks using simple magic kits can really be enjoyable and practical as well.

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Entertaining Through Magic Tricks

agque2006@gmail.com (Dodong) — Tue, 18 Nov 2008 10:08:00 +0000

There are many people who love to perform in front of others. Although it is common that you would see dancers and singers, there are also those who prefer to amaze their audience through the use of their magic tricks. If you are interested to learn the process, then you can start browsing the Internet for possible tips that may be useful for you in the process.

With most magicians, they simply have to make sure that they perform their trick the right way. Then the people would be amazed by the trick and keep on thinking how they were able to do it. You can also do this by learning through different articles and self help videos. You should also remember that practice is important if you want to get the best results when you are already on stage. This will give you more options and you can even practice more to make your tricks harder for the audience to know.

There are many individuals who are interested to know how the tricks are done. If you are one of them, you should try to understand the scientific concepts behind it so that you would also know how you can do it in front of other people. You will not have a hard time getting audience when you perform the magic tricks since the people are always ready and willing to see how the tricks are done and participate during the process. You should amuse them and keep them from thinking how to do the tricks and this is the basis of a good magician- having a good show.

Entertaining can be done if you know some magic tricks. You can do the tricks professionally or you simply have to break the ice in a party. There will be more people delighted with what is happening and you can feel more fulfilled as you get to see the audience happy or shocked by the tricks that you have just done. You should remember to practice so that you will not make a fun out of yourself when you are already performing. The smallest details should not be forgotten. Thus, you have to be very careful in performing your tricks and learning the magic tricks would not be possible for you overnight. Thus, you have to spend more time and even continue practicing so as you get to be so familiar with the tricks. After which you understand the concept behind the tricks, it would be easier to make your own tricks and have them personalized.

You should not worry about those who do not approve of the use of magic tricks but you should only put in mind that all that you want would be to entertain your friends and other important individuals.

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Make Your Own Magic Tricks

agque2006@gmail.com (Dodong) — Tue, 18 Nov 2008 10:07:00 +0000

You may know popular magicians that are able to allure many audiences because of their unique and complicated magic tricks. If you are also an aspiring magician, you would want to learn how they perform their tricks and how they are able to make it as if it was done through the use of magic. But just like any other thing that must e learned, you have to start with the simpler ideas and information before you can actually learn the more complex tricks.

To start, you have to observe how they perform the tricks. You have to try to understand the magic tricks so that you will also learn how you will be able to perform them the right way. You have to practice the tricks for many times so that you would really be familiar with it and doing it in front of other people would not be too difficult.

If you can observe, there are many tricks that make use of a certain apparatus or material that can help the magician with their magic tricks. Often this is the one that creates deviation and shift of interest of the audience. You may be amused by how these apparatus work magically but when you check the concepts behind it, they actually consist of the simpler concepts. This article can give some samples of these concepts and you can simply tweak some of the ideas and make it look more complicated. But if you have fully learned the basic ideas, then tweaking them into something that is more complicated would still be easy.

One of the commonly used concepts behind the magic tricks is camouflage. You can make a small object appear look bigger by controlling the way that the audience perceives the materials. You can also make use of other material such as secret pockets so that you can hide an object or make it appear. Additionally, you will have to use secret movements during your performance of the tricks so that you can move things and control them. You should be careful not to expose to your audience how the tricks are done so that they will keep the interest in your tricks. You can also make use of an apparatus that can make an object appear or disappear like when you are performing card tricks. You have to control the materials that you use so that the audience will only see the magic and not the manipulation behind it.

If you are able to learn the simpler tricks, you will also know how to manipulate the apparatus and you can still use it in other magic tricks that may use the same idea only it is more complex.

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Baby Boomers' Love For Theatre - Unleash That Actor In You

agque2006@gmail.com (Dodong) — Sat, 08 Nov 2008 07:37:00 +0000

Theatre is loved by baby boomers. Not without good reason. The theatre from of art which teaches values and love of culture that definitely were prime to our baby boomers, when they were venturing out in the 50s to 60s. one can not go without noticing the influence of theatre in today as was the influence of hippies back then during their peak.

Love for culture and stage that had become common during amidst the culture of the baby boomers also lets us now that this was nothing less than a well educated det of people. These baby boomers definitely had some influential exposure from the college that they attended or their own parents which undoubtedly has gone a long way in preserving this very important part of our society right through the time this very generation had been in charge.

Almost all the baby boomers have been very fascinated by the theater and its givings to the cultural world. For these it is more than just watching plays and being a good patron of art and culture. Its something more. Many of them feel that there is a desperate performer inside them who wants to just get out there and walk onto the stage and act out a play and show to everyone that here is a potential actor, breaking all the hesitance inside each of them. But the unwillingness and shyness to take that chance has been keeping us all and even giving it a try. However this kind of risk and step taking maybe an easy and possible task for all of us when we are young, the case is not the same when we grow into adults. As adults there is always a need to preserve one's image and pride when one should try to never look stupid especially like on a stage and we forget a line.

As all the baby boomers progress towards the age of retirement, they get more in touch with the creative side of themselves. This point in their life is priceless when they have all the opportunities to explore that thing inside them who wants to take the plunge into the acting world. They can find out for themselves if they really can unleash the actor inside them and also succeed in captivating the audience with their talents and keep them glued to their seats.

It should be noted that if at all there was a voice inside us that cried out to make it big as well as keep in touch with the creative side of themselves, then theatre is indelibly the answer to sprout new wings even if old age is the condition prevailing. Why not? Why not take a chance in life to perform that task which you have always wanted to try all your life. Retirement shouldn't put you down. Actually that should be the time when you actually let go and tell yourself " this is it and I have it in me to give it a try. Why not give it a try? I am definitely trying this out.

Your entire life unsure timidness has kept you from trying out the actor in you in a real role played in a real play. When finally you give it a try and it clicks and when you hear that rousing applause from the audience side at the end of the play, you know that you have everything in you, you will know what you have kept yourself from all your life.

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Magic - Art, Craft, Or Just a Bunch of Tricks?

agque2006@gmail.com (Dodong) — Tue, 19 Aug 2008 10:36:00 +0000

A question I've often heard thrown about has to do with "magic" (I'm talking about presenting magic tricks and illusions) being art. Is Magic art? Well, the answer to that question depends greatly on who you are asking.

In my experience, if you ask that question to many in the "theatre community" they will most likely say "no". If you ask someone on the street the question, they will probably say "no" also. They are right and they are wrong.

I don't care if we are talking about sculpture, acting, music, drawing, magic, painting or "fill in the blank", none of these are art "by definition." They are first a craft. That craft can approach and become art in the right hands. The same holds true when we are talking about magic or illusion. In the right hands the presentation of magic can become fantastic performance art, in the wrong hands it can become unbearable. I imagine we have all heard lousy musicians or bands. Maybe you have seen a painting that is simply a horrible mess, I know I have. And, I have seen some terrible magicians.

If one magician is terrible, does that mean all magic is? Of course not. That is silly. Just like one bad painter, sculptor, musician doesn't make all painting, sculpture, or music bad. Unfortunately, many people have the opinion of "magic" being bad simply because they had a bad experience with a lousy performer or, maybe, they just don't get it.

Many times I've heard people claim they don't like magic because it is all a trick or it is not real or some other nonsense. I point out, politely, that your favorite TV show is not real. nor are the movies you like to watch or the latest fiction book on the bestsellers list. It is all make believe. Just like magic is make believe. In the right hands, magic elevates you, entertains you, intrigues you and, yes, fools you too in the most wonderful way because what you have just witnessed defies explanation. If the magical performer is really good, you won't care "how it's done" anyway because you'll be too busy enjoying yourself.

So, is Magic which has often been called the "second oldest profession" art? Yes, in the right hands Magic can become Art.

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When Learning Magic, Does Practice Really Make Perfect?

agque2006@gmail.com (Dodong) — Wed, 18 Jun 2008 05:45:00 +0000

By Bryan Dean Toder

Besides doing magic, I also know how to dance. Lindy Hop, Swing (East and West Coast), etc. I took lessons, workshops... everything to learn this stuff. And, practice is needed to get good enough to dance socially.

One thing that I learned early on is that you can practice all you want and still not get good! When you practice, the key is to practice the right moves. Common sense, right? The thing most people miss is that most will practice the wrong moves.

In the dancing example, for instance, I see many people trying to learn to do, let's say, the West Coast Swing. This is very difficult; it took me about six months to get the basics down. I see people all the time doing steps that are not in this dance. And they do it all the time. Why? Because they practiced it wrong.

So What Does This Have To Do With Magic?

A lot, my friend. You see, if you practice, let's say, the Hindu Shuffle, and you do it sloppy and practice it sloppy, the move becomes sloppy. And it's hard to undo after that.

I was once at a one-day magic seminar and one of the acts in the evening show, a graduate of the Chavez School of Magic, was performing an act using billiard balls. (This is a classic piece in magic.) But, every time she put the ball into her left hand to make it vanish, I and everyone else in the room saw where it went. She was so sloppy in her moves that she ruined (and exposed) her act! And the reason is that she practiced it this way -- all of the time.

Here Are The Steps To Practice Your Magic Correctly:

The first thing is to find out exactly what the correct moves are. This seems so obvious -- and it is -- that I bet most people overlook it. So, find out the right moves to do. This will be the original model by which to gauge your progress. Write them down step-by-step, if you have to.

Second, work on each step and it's next step. Practice the steps broken-down rather than the entire move.

Third, when you practice, keep checking on how close you are to the original model -- the correct model. Adjust what you are doing if you are "off".

Fourth, practice without thinking about the "move". The best way of doing this is to do the move while watching television. This is because you are thinking about and looking at something else. And, if you can do the move while you are preoccupied, you will learn the move well!

Fifth, check again how close you are to the original model. Adjust your practicing to get the move back to the correct model.

Now, of course, the above is for something small, like a card move or a coin vanish. For bigger things like a manipulation act or even an illusion, you can follow the above -- without the television, of course. This is where a video camera to capture your movements would be handy.

So, remember to practice right because practice doesn't make perfect... perfect practice makes perfect!

Bryan Dean (his "stage name") has written and created some amazing magic tricks where you can learn easy magic with cards, coins, everyday objects and mind reading magic! Visit his web site at http://www.LearnEasyMagic.com for more information.

His magic eBooks are really all you'll need to impress your friends, kids, your date... anyone!

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The Secret of Performing With Vocal Power For Singers, Public Speakers and Actors

agque2006@gmail.com (Dodong) — Sat, 14 Jun 2008 07:27:00 +0000

By Jonathan Morgan Jenkins

May I introduce the Vocal Power Team!

Understanding the functions of the Vocal Power Team is the key to becoming a powerful and understood singer, public speaker or actor.

1) The Abdominal Muscles

2) The larynx

3) The Amplifier

"When you do the common things in life in an uncommon way, you will command the attention of the world." George Washington Carver (1864-1943)

I am someone who has always believed in teamwork. When I directed my 75 member choral group, the Capistrano Chorale we were all dependent on one another to practice and perform to our individual potential. When we all did, the performances were exceptional and when we all didn't the performances suffered.

We have the same scenario in our body. We have three separate body systems that must operate at their individual potential and coordinate as a team in order for our singing or speaking to be powerful. The following material consists of excerpts from my popular book Singing and Speaking on the Edge of a Grunt. This material is simply an explanation of their basic functions. The answers to how to coordinate them to produce powerful vocal sounds are explained in the book. I hope you learn something special from this material. The body is truly an incredible machine!

1) The Abdominal Muscles

The Abdominal Muscles are located between the ribs and the pelvis on the front portion of the body. There are five muscle groups that combine to completely cover the internal organs. Further, they support the trunk, allow movement, and hold organs in place by regulating internal abdominal pressure.

The five main abdominal muscles groups are:

Transversus Abdominus - The deepest muscle layer, its main role are to stabilize the trunk and maintain internal abdominal pressure.

Rectus Abdominus - It exists between the ribs and the pubic bone at the front of the pelvis. This muscle group is commonly called "The Six Pack". The main function of the rectus abdominus is to move the body between the ribcage and the pelvis.

External Oblique Muscles - They exist on each side of the rectus abdominus. The external oblique muscles allow the trunk to twist to the left or right.

Internal Oblique Muscles - These flank the rectus abdominus, and are located just inside the hipbones. They operate in the opposite way to the external oblique muscles. For example, twisting the trunk to the left requires the left hand side internal oblique and the right hand side external oblique to contract together.

The abdominals are an extremely important part of the breathing process, especially during exhale. They assist in forcing air out of the lungs by depressing the thorax. Then, our fifth muscle group begins its very important job. The fifth and arguably most important muscle for our discussion is the Diaphragm.

Diaphragm - In the anatomy of Mammals, (Yes, we are one of those!) the diaphragm is a shelf of muscle extending across the bottom of the ribcage. The diaphragm separates the thoracic cavity (with lung and heart) from the abdominal cavity (with liver, stomach, intestines, etc.). In its relaxed state, the diaphragm is shaped like a dome or parachute.

2) The larynx

I must first say that I consider the Larynx to be one of the greatest miracles and gifts that mankind has ever been given.

Take a moment and consider life without a larynx. If you could not sing, speak or laugh I think you would agree that your life would change in a major way. We have actually been born with a free instrument. It is better than any instrument created by man because it can not only create pitch, but it can communicate words. No other instrument can do that. With many people, though, they shy away from singing because many students, in my experience, think they sound poor. This is often because, as in my case, somebody close to them laughed at them when they sang and maybe inferred that they had no talent. Unfortunately, with the voice, many people fail to understand that, like any instrument, it must also be trained to reach its potential.

Of course, there exist many people who sound wonderful without any training. The mistake many of these people make is that they will achieve exceptional voices if they submit themselves to effective training. This is because their basic voice is so far advanced without training. Often times I have seen these gifted vocalists conclude they have a natural talent and have a perfect voice that does not require training. Another problem these people with natural voices have, common to everyone, is the lack of knowledge of how to achieve effective breath control. The truth that I have found is that humans do not breathe correctly under normal conditions. All of us must learn this basic and vital ability.

In a comparable example with the steps required to learn another common musical instrument, if you were learning the guitar, you would not expect to immediately be able to play it once you purchased your instrument. That would be ridiculous! Anyone would expect that they must take some kind of lessons. One reason that our approach to training the voice may be different is

that our instrument already works. Since we have used it to communicate, starting with our first scream, we have already developed some level of vocalization and pitch. The important thing to understand is that your basic level of development will be different from everybody else. You must accept your current ability and move forward with confidence and dedication to create a voice that represents your individual potential.

3) The Amplifier

The what? Do I need my electric guitar? No. Actually, an acoustic guitar would be a better analogy. All kidding aside, without the resonating cavities of the neck and head, our little voice box would probably sound like a munchkin from the Wizard of Oz.

Have you ever heard an electric guitar played without an amplifier? No much to hear, is there? But, plug it into a couple of high-end Marshall Amplifier stacks and run it through some crazy effects and you will hear it for a long distance. Here is how this same principle works within our body.

As we have discussed, the vocal cords are two bands of mucous membrane tissue located in the larynx. The larynx is located in the neck at the top of the trachea or windpipe. Vocal cords produce sound by vibrating together as the air passes through them from the lungs, supported by the abdominal muscles. After leaving the larynx, the vibrations travel through the resonating cavities (amplifiers) of the neck and head. When they reach there, the sound is further amplified by resonating (bouncing) against the hard boney surfaces that enclose those cavities, especially the teeth.

This amplified vibration is eventually projected, as a complex sound, beyond the body via the open mouth. Before exiting, the sound is often enhanced by the addition of words. This is accomplished mainly with the tongue, teeth and lips. The result is called diction. We will discuss diction in depth in chapter five. At the end of the process, the resulting outside of body sound is the sound of the individual's voice. The individual's voice quality is also partially dependent on the thickness and length of the vocal chords. Further, the shape, thickness, and density of the bones and cartilages, and the size and shape of the empty spaces in the resonating cavities are of prime importance when determining our voice.

I hope this information was helpful. See you next time.

Jonathan Morgan Jenkins

Check out my web site!

http://www.vocaltrainingwarrior.com/ebooks

http://www.vocaltrainingwarrior.com/about_me

Article Source: http://EzineArticles.com/?expert=Jonathan_Morgan_Jenkins

Privacy Policy

agque2006@gmail.com (Dodong) — Sat, 31 May 2008 03:32:00 +0000

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Actors Are Psychic Channels - Why Emotional Instability And Drug Addictions Are So Common

agque2006@gmail.com (Dodong) — Sun, 18 May 2008 06:32:00 +0000

By Sunny Yin Wang

Why do so many great actors and actresses have such difficulty dealing with their emotional well-being? Almost daily we hear about entertainers who have a history of drug abuse or who take heavy doses of anti-depressants. Many of these conditions are diagnosed by medical professionals as nervous disorders or low self-esteem, however the standard medical treatments have not yet resolved this widespread social phenomenon. There are many metaphysical details about acting that remain unknown to most of the acting population. As long as these details are ignored, many actors and actresses will continue to fall in the trap of drug abuse and heavy prescription medicine.

Acting in itself is a form of channeling. This form of channeling is not the same, for example, as psychics who communicate with spirits or other non-physical beings. This form of channeling is focused on emotional responses associated with certain events. Actors either retrieve their emotional response from their personal past experience, or they retrieve these emotions from the greater Universe's Akashic records. When the director says "Action", some actors almost go into a trance and actually become the characters they portray.

Think of the Akashic records as the Universe's Hall of Records, where every thought, word, feeling, and event of the past, present, and future is recorded. It is all there. With the right level of consciousness, this information can be accessed. In the Akashic records, events and emotions are generally recorded together. It is very similar to data stored on a computer hard drive. When an actor channels the emotions they need for their role, in many instances, they also have to download/channel from the Akashic records some of the story line/events that are attached to the emotions. When someone practices accessing multiple levels of emotions, their energy body reaches out into the Universal source of emotions and if these actors and actresses are not aware of energy practices, it becomes harder to disconnect from the Universe's source and restructure their own energy body.

For instance, if an actress is acting a rape scene, she channels the fear and anger from a rape victim's memory in the Akashic records. This memory and emotion becomes the actresses own, to a degree. In her real life, she may begin to have recurrent feelings of being raped, although it has never happened to her before. In the same scene, as a male actor portrays the rapist's attitudes of violence against women, that actor may go home and later wonder why he has begun to feel remnants of that desire for violence. In his confusion, the actor may become filled with shame and decide that even discussing these feelings is not an acceptable social behavior. Consequently, the actor may decide to keep it to himself and suppresses his feelings. As more and more of these unreleased emotions/events actors have channeled during performances accumulates, the chosen remedy often becomes numbing themselves with medication or drugs. Lasting peace will only come from first becoming aware of these energies, and then neutralizing/discharging the emotional residues.

Part 2 of this article provides examples from the lives of actors like Robin Willians, Lindsay Lohan, and Jim Carrey. Please go to http://sunnywang.com/id52.html to read more.

About the Author:

Sunny Wang, BA, MATT, RTSM is trained in kinesiology and is a life long energy sensitive and intuitive. She has talked to "dead people" since she was very young. She also makes personalized energy jewelry. Her specialty, similar to Feng Shui, is the energetic restructuring of homes, offices, and land. Her websites are http://www.EstateOfHarmony.com and http://www.InsightfulSpirit.com

Article Source: http://EzineArticles.com/?expert=Sunny_Yin_Wang

Ballerina Teresa Reichlen - Gives Performance Lessons To Students, Athletes and Artists

agque2006@gmail.com (Dodong) — Mon, 05 May 2008 02:24:00 +0000

By Michael Cerreto

Teresa Reichlen of the New York City Ballet is a premier dancer in the competitive and demanding world of ballet but, as a person, she remains centered and inspired by her art. Her poised, serene face, long legs and elegant jumps have made her a soloist at age 23 in one of the world's greatest ballet companies.

Her journey from the Russell School of Ballet in Chantilly, Va to the School of American Ballet at age 15 and onto the City Ballet has taught her lessons about expressing herself as an artist and person. The following are three important lessons Reichlen has learned to help her grow as a ballerina and person. These same lessons can help performers in school, sports and the arts advance their talents and more fully express themselves in their field.

Performance Lesson 1: Don't over try on stage

As the NY Times explains, "Since being named a soloist in 2005, Reichlen has preserved her poise and attained a new rigor in her technique. 'It took me a long time to realize that you can try too hard onstage,' she said after a company class one day last month at the New York State Theater. 'Sometimes you just have to settle down. I would always have good shows when I was really tired, and I think it's because I just did what I had to do.'"

Focusing her thoughts and actions only on what is most essential during performances has helped Reichlen stay focused and relaxed in executing the precision needed in ballet.

This same technique can be used by other performers in school, sports and the arts. Before any project, practice, game, performance, or test, you need to ask yourself "What are the most basic things I need to do very well to be successful? What things will I see myself doing if I try too hard and over-react? How can I assure that I stay focused only on the things in my performance that are the most essential for success and not over try?"

Performance Lesson 2: Have a point of view when you perform

Beginning last summer Reichlen performed with Christopher Wheeldon's company, Morphoses. "I got a lot from that experience," she said. "He is very passionate about his ballets and getting the best out of his dancers, so he was pushing me a lot."

Wheeldon explained that she needed to have a point of view when she danced. "Honestly, that was a very hard correction for me to take," she said to the NY Times. "It's not something you can just fix. Some dancers appear to have a whole story behind a ballet - it's just the way they dance - and I'm not like that." But she realized that having a point of view when she dances can move her beyond executing flawless movements to embodying her character and the story.

Every performer in school, sports and the arts needs to have a point of view about their performance. A point of view is an opinion and understanding about why you are performing, studying, and training, and how you want to express yourself to others as an artist, athlete or student.

To get started, you need to first select an upcoming performance, project, test, or game for which you must prepare. Then, answer a series of questions to get outside yourself and imagine the type of idealized, fictional character you must portray during that performance: "What type of character do I need to play during the performance? What is most important to that character and motivates him or her to be successful? What is important to people around the character? How do I act to portray the character and give a masterful performance?"

These questions will help you journey into a fictionalize, ideal world to give yourself a different perspective about the role you must play to be successful during a key performance in school, sports or the arts.

Performance Lesson 3: Be calm on the outside to stay calm on the inside

While on stage Reichlen appears calm and serene. On the inside, however, she has a different experience. "It's funny because people tell me I look calm," she said. "But I don't always feel calm. When I'm the most stressed or angry I become really quiet. Maybe it's my way of dealing. I don't know if I hold it all in, but it's just the way I am - in life and on the stage."

Reichlen is explaining one aspect of the creative tension many performers experience. It is the tension between remaining calm on the outside while working hard on the inside. Some performers feel uncomfortable doing this and want to express their inner intensity openly. However, remaining physically calm on the outside can help your body relax and send messages to your mind that everything is going OK. Your outward calm can keep your inner drive and intensity in check and focused.

Performers in school, sports and the arts should practice this technique while studying, during practices and training. By doing so, you will find that your inner intensity remains more centered and relaxed, and your actions more precise and expressive.

While Reichlen is only 23 years old, she has lived a lifetime in ballet starting at age 3 in a ballet school behind a grocery store in Clifton, Va. Because of her love and dedication to dance, she has naturally developed mental techniques that helped her rise to the top of the ballet world and grow as a person. With her techniques in hand, you can also grow as a student, athlete and artist.

Receive a special bonus when you subscribe to a free biweekly newsletter that provides tips for parents to nurture children's talents: http://www.atalentedmind.com/files/Subscriptions.html

Read a special blog about parenting children talents and share your own opinions and ideas: http://atalentedmind.typepad.com

Learn how Michael Cerreto, Applied Performance Counselor, and A Talented Mind, Inc. can help you or someone you know: http://www.atalentedmind.com

Article Source: http://EzineArticles.com/?expert=Michael_Cerreto

Beijing Opera Masks and Face-Painting

agque2006@gmail.com (Dodong) — Mon, 05 May 2008 02:23:00 +0000

By Timothy Jordan

One of the more striking aspects of the Beijing Opera is the Masks and Facial Make-up used to portray the various characters in a production. The use of symbolic colors, stylized lines, and fantastical facial exaggeration all serve the performance magic and grandeur. There is really nothing that compares to a skillful and artistic rendition of one of China's favorite stories from historical events and classical literature.

The current Beijing Opera originated from a combination of several sources. In 1790, the four great theatre groups from Anhui came to perform for the Royal Family. They used the traditional melodies and aria called Xi Pi. Around 1828, performers from Hubei joined them to form a combined troupe adding their own music called Er Huang. Thousands of pieces were performed regaling great tales of historic events and popular literature as well as their own versions of Western stories.

There have been scholarly discussions concerning the origins of Chinese theatrical mask wearing and face painting. A widely held theory is that face painting developed from the dances called " Lanlingwang (Prince Lanling)" from the Tang Dynasty (A.D. 618-907).

Another possible origin of this practice is rooted in the ancient use of Masks and Make-up in religious ceremonies, particularly exorcisms. There are examples of artwork that show shamans and other actors with stylized painted faces. Upon closer examination, these look very much like the early used of face painting and mask wearing in the Chinese opera theatre.

There is an old saying from the Song (960-1279) and Yuan (1271-1368) dynasties that was, "Shentou guimian", or "masks for Gods, make-up for ghosts." It meant that to play a god you must wear a mask, but to play a ghost all you needed was to slap some paint on your face. This followed the idea that gods were sacred and it would be sacrilegious, perhaps even dangerous, to portray them, whereas ghosts, the embodiment of disease, poverty and evil were not subject to such respect. Craftsmen who carved Deity masks believed that as soon as the eyes were carved out of a piece of art, it then became animated with the spirit of the gods.

Over time, actors began to think that it was less a sin to portray gods and spirits on the stage instead of in temples and palaces. They started to favor make-up over the stoic solid masks in performance. This allowed for more expression over the "dead face" of a mask to the "live face" of paints and dyes.

For the longest time, performers took great liberty in their choice of paint methods and colors. Later, during the Qing Dynasty (1644-1911) did there become some conventions and standards. An agency called Shengpingshu (Shengping Agency) was in charge of the affairs of opera performance. They established painting of more than 200 of the current operas with detailed instructions on the character make-up patterns. This became the official standard for face painting.

There are four basic categories of characters in the standard Beijing Opera.

Ø SHENG - Male roles

Ø DAN - Female Roles

Ø CHOU - Comedy roles

Ø JING - Painted face males

Jing, usually males, are the roles with facial painting representing warriors, heroes, statesmen, adventurers, and demons. Jing are found in three basic categories: Zhengjing, Fujing, and Wujing.

The JING roles are more known for courage and resourcefulness than for intelligence. Sometimes a High-ranking General or Warrior/General they usually have a swagger and great self-assurance. There are many common color schemes associated with Jing roles but some have more convention and are easily recognizable.

The compositions of face painting are classified into several patterns based on the belief that a person's face can reveal much about their personality. The overall designs of the face painting are given names like, "three-tiles face", "six-tenths face", "cross face", "slant face", "butterfly face" as well as many, many others.

The colors used on a Jing actors face have symbolic meaning.

Ø RED - Good character, heroic

Ø WHITE - Sneaky and treacherous

Ø GREEN - Rash, lacking self-control

Ø BLACK - Brusque character

Ø BLUE - Wild nature, a robber or thief

Ø GOLD/SILVER - Used only for Gods and Spirits

There are two main types of facial decorations in Chinese Opera: Masks and Facial Painting. Sometimes there are many changes of masks and make-up (even some without the audience's knowledge), this is called Changing Faces. It is a difficult technique that is only mastered after many years of serious and extensive training. This is sometimes used to display the feelings of a character or change the energy of the particular scene. Facial changes for sudden emotional changes are usually done in four ways:

Ø BLOWING DUST - The actor blows black dust concealed in his palm so that it blows back into his face.

Ø MANIPULATING BEARD - Beard colors can be changed while the beard is being moved from black to gray to white showing anger or excitement.

Ø PULLING DOWN MASKS - The actor can pull down a mask that has been sitting on top of his head to communicate a special emotional change.

Ø MOP - The actor mops out the greasepaint hidden in his sideburns or eyebrows to change his facial appearance.

The colorful and flamboyant Jing characters of Beijing Opera theatre with the Beijing Opera Mask as well as facial make-up are enduring part of this very exquisite and beautiful art form. Audiences around the world marvel at the technical virtuosity as well as the austerity of the productions in this symbolic Chinese cultural event.

Timothy Jordan was born in Detroit, Michigan where he began a career in music at a very early age. Having studied with the regions top teachers and performers he set off on his own "MUSO SHUGYO" or musical wanderings and ended up in Boston, Mass. While there he has performed in some of the top music groups, touring, and recording for live, television, theatre and movies. His percussion skills took him to Japan where he had an intensive study with the drummers of KODO. Mr. Jordan also has studied several martial arts styles including Iaido, the Japanese Sword. He continues today to further his cultural studies and is currently the owner of an Asian art and cultural goods Internet retail business, LIVE COMPLETE and ZENSHO PRODUCTS.com

Article Source: http://EzineArticles.com/?expert=Timothy_Jordan

Magic Tricks - Are You Ready To Learn Them?

agque2006@gmail.com (Dodong) — Thu, 01 May 2008 12:27:00 +0000

By John Plut

Is it easy to do what magicians are doing in front of many spectators? How does it feel if you are the one who is performing these kind of magic sleights? Have you ever wondered how the magician on stage managed to get the rabbit out of the hat? Or how he managed to get the girl out of the coffin when she was sitting right next to you? Well, magic tricks are not easy to learn or perform. But there is a huge art lying behind the madness and the magic. It may not be easy for you to start making people vanish into thin air, but you surely can try your hands at some sort of magic tricks. But most people keep wondering where to start and they end up never starting at all.

If you know how to use your computer, you can instantly learn magic tricks or even card tricks because the Internet is the answer.

By searching the internet, you can find almost all kinds of magic tricks that you want to learn. Be it magic tricks according to your age, or your skill level, you will find them all on the internet. The main factor that you need to consider and realize is that you are not going to become David Copperfield after you learn these magic tricks. But you surely you can become the center of attention at the next party. You can even impress friends and family members.

The best option is to start of with introductory level magic tricks that are meant for kids from the age of 3 or more. Now you may think that you are not that dumb, but there is nothing like starting from the basics. Though most of these magic tricks may seem corny to you, it will give you a taste of the basic magic tricks that you may use in advanced ones in the future. The hand movements, use of props, grabbing attention, diverting it, they are all covered in these basic Magic Tricks. So start off with the basics.

Mirror, Mirror on the wall.

Your mirror can be your best friend when it comes to learning and practicing magic tricks. Practicing in front of the mirror will not only show you your flaws, but it will also show you how you are going to perform in front of an audience. It will also give you the confidence to face an audience. Remember, practice makes perfect. So you have to make sure that you practice even the simplest of magic tricks to perfection.

If you execute and perform a magic trick properly and you get applause, there is nothing like it. Consider it to be a huge pat on the back. But then the reverse can also occur. What if you end up performing a trick and it becomes a dud? There is nothing more embarrassing. So practice till you feel that you can perform this trick even with your eyes closed. That's when you are ready to face the world.

So what are doing right now? Open another browser and start searching for your favorite trick and show it to your friends. Just don't forget to practice first.

Visit for more magic card tricks by Con Cardician.

Article Source: http://EzineArticles.com/?expert=John_Plut

Actors As Musicians - Is The Face of Musical Theater Changing?

agque2006@gmail.com (Dodong) — Sun, 27 Apr 2008 23:53:00 +0000

By Beverly Stone

Is the face of musical theater changing? Do professional musical theater actors need to be singers, dancers, actors,..and musicians? Is a theater revolution at hand? Judging by what has occurred within the last few years on Broadway and in London, the answer appears to be more and more, a yes.

Attention began to be paid to this concept of actor- musicians here in America, in 2006, with the Broadway revival of Steven Sondheim's "Sweeney Todd" at the Eugene O'Neill Theater. For Broadway, the staging of this well-known musical in such a way, was a new one. John Doyle, the acclaimed British director, came to New York to illustrate his conception of "Sweeney Todd", with the orchestral score performed by the actors.

Doyle will be the first to admit that actors playing the musical score has been done before and that his employment of this technique is not an original thought. "It's not a gimmick or a concept - it's an alternative approach.", he declared, in a recent interview. He explains that not every piece of work can be adapted this way and, it was during the 1980's and 1990's, when theaters were desperate for cash that actor as musicians became a necessity of invention. Doyle had been a regional theater director for years and realized that if he wanted to do a big musical, he needed to do a show without the expense of a large orchestra. This was the impetus for using actors that could sing, dance, act, and play instruments, too. The Watermill Theatre in Newbury, England was where Doyle perfected his interpretation of this concept. The Watermill is spatially challenged and faced economic challenges, at the time. Doyle's "approach" to "Sweeney Todd" at that theater, was highly acclaimed and following its run there, moved first to London's West End at Trafalgar Studios and then the New Ambassadors Theatre. From London it went to Broadway.

Thus, began what many consider to be the salvation of Broadway...a cost effective means to produce musicals. Additionally, it may have been the beginning of the need for more actors who are trained as "quadruple" threats, those who can sing, dance, act, and play a musical instrument. Certainly, those who have acquired all four skills will be at an advantage in gaining employment, should this style of theater continue to grow.

How many Broadway and West End shows have been produced since the inception of "Sweeney Todd" with the actor-musician at the Watermill? You may be surprised to find out. Following Doyle winning a Broadway Tony Award for Best Director of a Revival for "Sweeney Todd", he went on to direct a Broadway revival of "Company". It received the Tony Award for Best Musical Revival before closing in July, 2007. Doyle just recently returned to the Watermill Theatre, in Newbury, to direct another Sondheim classic, "Merrily We Roll Along". The Watermill, has also recently presented an actor-musician version of "Honk". "Mack and Mabel" a Jerry Herman Musical, was revived in England in 2005 and toured before playing at the West End's Criterion Theatre from April to July 2006.

Regional Theater and National Tour productions have also been effected by this new trend. Currently, in the United States there is a national tour of "Sweeney Todd" which is based on John Doyle's Broadway revival conception. Watch, also, for those lesser known shows that were originally conceived with actor-musicians in mind. These include "Buddy" - The Buddy Holly Story and "Pump Boys and Dinettes".

Both of these shows are experiencing a surge in production across the United States.

So what's an actor or actress to do in light of these new theatrical developments, which will most likely continue in these unsure economic times for theater? My advice is to take that old guitar out of the closet and give yourself a brush up, or just start with your favorite instrument and go from there. It may be the difference between your landing a job or not.

Beverly Stone has volunteered with a performing arts kids group for the past ten years. During this time she has worked in various capacities on the production of many shows but her main job has been to facilitate the training of the group's members. Many of these kids have gone on to become professionals, several of them are currently on Broadway. She recently decided to bring her knowledge online and created a Website and Blog which serves as a guide for kids and teens interested in singing, dancing and acting. She is dedicated to young people who are interested in training to work in professional theater. You can find additional information at http://www.musical-theater-kids.com

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Dancing Centered - A Pilot's Perspective

agque2006@gmail.com (Dodong) — Sun, 27 Apr 2008 23:52:00 +0000

By Skip Culver

In the aviation world, an ILS is a ground based Instrument Landing System that simultaneously transmits horizontal and vertical navigation signals to arriving aircraft. If the pilot interprets his cockpit instruments properly, and he flies his airplane so that he keeps the two needles in his ILS display centered during his descent down through the clouds to the airport, then these needles accurately guide him to the runway for a safe landing. Returning back to terra firma, let's consider how this flight scenario applies to our dancing.

Just as a pilot needs to keep his horizontal and vertical navigational needles centered to land his airplane successfully, the male dancer needs to keep his horizontal and vertical "centers" aligned in order to lead his partner properly. The male dancer's horizontal center is located in the middle of his chest; if it were a flashlight, then it would shine in the middle of his partner's chest as he holds her in the frame of his body. The stronger his frame, the stronger his lead! His "body frame" should be aligned with his partner's center just as the fuselage of the airplane should be aligned with the runway; i.e., with no left or right deviation. The male dancer's vertical center runs from above his head to his feet through his center of gravity; i.e., it is his balance axis. He should stand with his hips back enough to allow him to lift his knee up so that his foot follows the contour of his leg. The movement is a digging action, coming off the floor with his toe last, and then back on the floor with his toe first. If a dancer does not pay attention to his stance and he leans his body so that his weight is no longer centered over the foot that he is using, then the straight line through his vertical center is broken and he is just as out of balance as the inattentive pilot flying an instrument approach who lets the vertical needle of his ILS display drift up or down.

Copyright © 2008 by Skip Culver. Certified Flight and Swing Dance Instructor. Member of West County Swing Dance Club and author of the manual: Imperial Swing Dancing (visit: http://www.ImperialSwingDancing.com).

Henry H. "Skip" Culver, Jr. is a member of the West County Swing Dance Club in St. Louis Missouri. He is a Gold Seal Instrument Flight Instructor and the author of the bestselling book on navigation titled: IFR 'Pocket Simulator' Procedures. In 2000 Skip turned his attention from aviation towards the dance floor. He became a Certified Swing Dance Instructor in 2004, and then with over seven years of detailed notes from various classes and workshops in hand, he began assembling the Imperial Swing Dancing manual which he published in June of 2007. Skip is a frequent contributor of articles on swing dancing to different club newsletters throughout the United States.

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Using Your Surroundings (Funny Monologues)

agque2006@gmail.com (Dodong) — Tue, 22 Apr 2008 04:19:00 +0000

By Adam Tassone

When you are performing in front of a casting director or an auditor, always take note of your character surroundings. Ask yourself a few important questions about the surroundings of the piece that you have selected. What time of the day is it? Where am I? Am I outdoors, inside, in a house? How big is the house? Am I in the kitchen, are there people sleeping? These will help your actor's memory create an image of your surroundings on stage. If you are doing funny monologues or serious monologues you will have a better understanding of how to play that particular piece.

The reasons behind this are as follows. For one example no matter where you are required to perform your monologue you will be able to recall your particular "where". So if you are on stage without the necessary components to paint the picture of your scene, you will still be able to see it in your head. If the actor sees it, the audience sees it. This will insure that you deliver a performance that obeys the rules of the scene. Let's say that your character is in a house with his/her significant other and it is late at night. You do not want to be shouting at the top of your lungs in anger for fear of making their parent's angry. Adding this element to your performance will make it layered and realistic. All because you knew the whereabouts of your character.

For funny monologues it is ok to use the stage as your personal running gag. What I mean is, if you need to take a few spills here and there, trip, fall down, that is perfectly acceptable. Just remember that in the world of acting less is more. You will often achieve laughs from your monologues when you least expect it. One last thing to think about is this. Try not moving around on the stage a whole lot. It is distracting to the audience and pulls attention away from your performance. I have often seen actors that think by being jittery or running around energetically they are creating a memorable character. This is most definitely not the case.

For funny monologues check out the books at The Monologue Store

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The Fine Art of Breathing - Make Your Voice a Masterpiece!

agque2006@gmail.com (Dodong) — Sun, 20 Apr 2008 14:24:00 +0000

By Jim Chapman

The one thing that we all do daily is breathe. It's a necessary part of our existence and we all do it the same way. Or do we? Those of us in the performance arts have learned that proper breathing is essential to giving a great performance. Read on to learn how proper breathing technique can improve your performance.

When it comes down to it, breathing control directly affects vocal control. To have full range of all the nuances your voice, you must have full use of your lungs. Like a painter uses different brushes and strokes for effect in creating his art, you need to develop that same type of control with your breathing. In order for you to create your masterpiece of vocal sound, you need to develop your breathing technique.

One of the ways you can improve your performance breathing is to learn to do it properly. This involves actively using your diaphragm muscles in your abdomen. Some people call this "middle breathing" as your stomach will move in and out as opposed to using your chest or shoulders (considered chest breathing or shallow breathing). Here's how it works.

Sit up straight in your chair and place your hands in your lap with your palms resting against your lower abdomen. Sit in a natural "attentive" position with your head up as if you are gazing across the room. While holding this position breath in slowly and deeply through your nose and inhale as fully as possible. While you are inhaling, imagine you are filling a balloon with water. The water goes straight to the bottom of the balloon and expands out while it fills up. You should be able to see your hands moving out as your lower lungs fill with air. Pay attention that your chest and shoulders stay in their normal position during your inhale.

When you have inhaled as fully as possible hold your breath for a second or two and then slowly exhale through your mouth. Part your lips just enough to allow the air to escape. Use your diaphragm muscles to push the air out by slowly contracting them and pulling your stomach in. Imagine you are now squeezing the water back out of the balloon from the bottom up. You will see your hands slowly pulling in toward your pelvis. Continue your slow squeeze until you have completely exhaled every bit of air you can from your lungs.

Congratulations! You have now completed your first controlled breath! You should practice your controlled breathing several minutes daily. This exercise is very effective for several reasons: As your lung capacity improves so does your abdominal strength. This also has a positive effect on your vocal cords. There will be less vocal strain simply because you have more air and greater breathing control.

You can hear how effective your breathing control is by making simple sounds (like, la, so, fa, do, etc.) during the exhale part of the exercise. You can control and vary your sound by how slowly or forcefully you exhale. Any variations you do will improve your control as long as you remember to breathe from the diaphragm! So take a deep breath, practice your controlled breathing and wow your producer at your next VO performance!

Such A Voice
Such A Voice is a full service voice-over training and production company, and a link between voice-over talent, and the producers who hire Voice-Over Talent. We specialize in high quality training and the production of network quality voice-over demos.

http://www.suchavoice.com

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How to Take Care of Your Voice and Improve its Quality

agque2006@gmail.com (Dodong) — Sun, 20 Apr 2008 14:24:00 +0000

By Lisa Lopez

If you are a singer, you may have heard about things that can cause your vocal quality to deteriorate. Voice fatigue is a major problem for many professional singers. You might find your voice feeling dry or tired often. You may get sore throats on a regular basis. Vocal fatigue can be caused by several things, so it is important, if you plan to sing often, that you are very careful to take care of your voice properly.

If you suffer from heartburn or acid reflux, you are at even more risk for reduced vocal quality. As a singer, you may be aware that your larynx is, after all, vital, and gastro-laryngeal and gastro-esophageal acid reflux can damage your esophagus, larynx and vocal chords over time. Not to mention the other health problems that constant reflux can create.

Chronic acid reflux disease can cause you to have halitosis (incurable bad breath), a bitter taste in your mouth, a sore throat or a dry mouth. You might also feel like you have a lump in your throat, excessive amounts of phlegm and feeling like you need to clear your throat on a constant basis. As if that weren't enough, it can even cause you to lose sleep because of discomfort in your throat and coughing when you are sleeping. So, if you want to protect your vocal quality and take good care of your voice, you should see a doctor at the first signs of a serious reflux problem. Your vocal chords will thank you for it in the long run.

Also, sopranos who speak in a low voice may be at risk for singers' dysphonia (difficulty producing vocal sounds). Research indicates that speaking in a low voice and singing in a high voice can cause vocal problems. Major changes in pitch like that can affect sub-glottal air pressure, which is the air pressure that builds up below the vocal chords. In turn, that can affect the ability to produce a desired pitch.

Sopranos whose natural speaking voices are quite low compared to their singing voices are sometimes concerned that this disparity may be harmful to their singing careers. Some of these singers are right to be concerned, for singing/speaking pitch disparity may contribute to voice problems. Such major changes can put serious strain on the voice because more effort is needed to control the muscles around the larynx and vocal chords.

Sometimes, the speaking pitch of a soprano is affected by age. Most mezzo-sopranos speak in a range between 230 and 262 Hz. However, those who speak in low pitches tend to speak at around 224 Hz when they are young, 218 Hz when they reach middle age and 214 Hz when they get older.

Another thing that can affect vocal quality, believe it or not, is a woman's premenstrual period.

If you have any trouble with any of those things, you may want to talk to a voice coach or voice pathologist. They can tell you how to protect your vocal chords and take care of your voice. That way you can keep your voice quality intact for years to come.

Learn the best ways to voice care at http://www.singinglikepro.com

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National Center for the Performance Arts

agque2006@gmail.com (Dodong) — Sun, 20 Apr 2008 14:23:00 +0000

By Mandy Lee

The newly opened National Center for the Performance Arts, formerly named the Chinese National Grand Theatre, is the largest performing art center in the world. It is shaped like a massive, silvery dome in the heart of China's capital that offers Chinese and international art performances of the highest standards. It hosts opera, ballet, musicals, dance, dramas and traditional Chinese performances.

Situated west of Tiananmen Square in Beijing, the National Center for Performance Art occupies an area of over 149,500 square meters. There are three gigantic halls located inside: a 2,416-seat opera house, a 2,017-seat concert hall and a 1,040-seat theater. Its goal is to become the center of Chinese performance art culture. The National Center for the Performing Arts took nearly five years to build at a cost of over 2.69million RMB.

Designed by the famous French architect Paul Andreu, this imposing building is a fine example of modern architecture. It has been thought of as resembling an eggshell, a baozi (Chinese steamed bread), or even a giant bubble. The National Center for Performance Arts has been listed among the top ten architectural miracles by the USA, for its energy-saving and environmentally-sound design. The center has three firsts: it is the largest sky dome in the world, the deepest building in Beijing, and is home to the largest pine organ in Asia. As its prompters have said, the National Center for Performance Arts has a lush dazzling interior, sophisticated acoustics and a design that that is superior to most of Europe's or America's performing arts centers. This building is so unique that it stands out amongst the nearby government buildings in central Beijing and the imperial grandeur of the centuries-old Forbidden City.

The interior design of National Center for Performance Arts, it is quite spectacular. The dome's interior is paneled with long Brazilian mahogany spans, giving the expanse an amazingly warm feeling. While the walls of the theater, the smallest of the performance spaces, are covered in thick padded silk which is divided into red, purple and tangerine strips. The ceiling of the grey-white color-schemed concert hall consists of undulating waves of acoustical panels that resemble abstract art. On the exterior shell of the center, there are over 500 lights that shine like the stars in the sky, making the National Center for Performance Arts looks like a visitor from the outer space.

Even though the exterior appearance of National Centre for Performance Arts is futuristic in design, it does not clash with nearby buildings. Surrounded on one side by a large pool of water, the reflections in the water form an impressive sight day or night. For this reason, National Centre for Performance Arts is said to appear like a "bright pearl resting in a lake.

Most visitors to the National Center for Performance Arts, come for the performances, but there is much more to this beautiful building than just the three gigantic halls. There are also many smaller places located inside the National Center for Performance Arts such as: an underwater hallway, an exhibition hall, olive hall, library center, Press-release hall, souvenir shop, and a coffee house. In these locations, visitors or audience members can enjoy other aspects of this amazing building other than just performances.

The Center's management has hired the best performers from throughout China to perform. Musicians such as pianist Yundi Li, and Lang Lang are regulars to the National Center for Performance Arts'stage. Many foreign troupes are vying for a chance to perform during the center's opening season. The first foreign troupe to perform on the stage of the National Center for Performance Art was the Mariinsky Ballet Troup of St. Petersburg(still marketed in the U.S. under its Soviet-era name, the Kirov Opera and Ballet). Although the center's musical groups,ballets, symphony orchestras, and Chinese opera have received far less attention, they are also performed by some of the best artists in China.

To allow each audience to fully and comfortably appreciate each performance, the National Center for Performance Arts has makes great effort in its design of the opera house, concert hall and theater. The materials used in the construction of the opera house were chosen for their ability to control sound. The ceiling of the concert hall is designed so that each audience member will enjoy an unforgettable experience. The theatre, the place with the most distinctive Chinese characteristic, has the most advanced stage facilities and the largest auditorium. Each seat in the National Center for Performance Arts is placed over an air vent which will allow each audience member to enjoy perfectly controlled temperatures, and each seat is designed with a muffling devise so that no sound will be made when audience members stand up,or sit down. These many different features of the center has been put in place to insure each audience member will receive the most from each performance they see.

Even if visitors to Beijing have no interest in watching a performance at the National Centre for Performance Arts, a visit to the center will leave a deep impression on them. It is one of the most brilliant architectural designs in the world, and worth a visit.

China Odyssey Tours specialize in providing package China tours, discount Yangtze River cruises and best rate hotels.

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Piano Styling - It's What Separates The Men From The Boys

agque2006@gmail.com (Dodong) — Thu, 10 Apr 2008 16:19:00 +0000

By David Lngo

Piano styling is an art of its own. In a way, it's what "separates the men from the boys" when it comes to piano playing. It's certainly one thing to acquire basic piano skills, such as developing technical versatility, reading ability, and even a decent aptitude for interpretation... it's quite another to be able to improvise at will. In my nearly 30 years of teaching experience, I have made contact with so many people of various backgrounds - those with no piano experience to those with lots of it. Interestingly, even the majority of those with years of playing behind them, who had already achieved a certain mastery of the basic skills mentioned above, viewed improvising on piano (piano styling) as somewhat of a mystery.

The reason? It's pretty simple. They were not exposed to the art. Playing piano and interpreting and performing the music of the "classical" masters is an accomplishment of its own (and a worthy one at that) - but it's what most piano students are taught. Why? It's the "status quo," one might say. It's the most understood. It's what degrees that are earned have been based on for ages. When the art of jazz came along, which is still a new art form, that which wasn't understood by the already so-called "master players" was frowned upon...yet, many of them secretly envied the guy or gal who was capable of playing a pop tune in three or more different ways (would Beethoven have appreciated such an endeavor on his Fur Elise?).

If an art from is not understood by the majority, then it stands to reason that the majority of instructors won't be teaching it, due to their lack or limitation of understanding. Makes sense, right? Yet, if you asked 100 people today who either have no experience or have had a few years of piano lessons what they really would like to learn on the piano, it would be interesting to hear the responses and what most of them point to. People want to create - it's an innate desire. They want to have the know-how to sit down at the piano and play, without having to endure tedious years of "university style" lessons before they have fun. Is this fair on their part? Sure it is! The truth is, you don't need years of lessons before you can play - furthermore, you don't need years of training before you can learn how to play creatively. As a matter of fact, you can (within a very short period of time) learn how the professionals do a lot of what they do if only - yes, if only - you could get them to share it with you.

Thankfully, there are a few out there who recognize this public desire and who share bits and pieces of what they know. If you mix your desire to learn with your passion to play and improve your playing, you can make the kind of progress that will amaze even yourself. I created a program that is aimed at people opening up their minds (and musical ears) to creative piano playing called Pro Piano Chord Secrets. It consists of a weekly program that you receive via email which unveils many of the secrets the piano pros have used for years. It no longer has to be a mystery. The program is free of charge as well. If you have a tiny bit of piano knowledge, this will certainly enhance your understanding. In short, you'll be having more fun at the piano. If you want to learn something, commit yourself to learning it. Investigate the resources that can help you. Don't accept the "status quo" just because others do. Take your understanding to the next level. It applies to learning piano as it applies to any other facet of your life. Just because people you know have been doing the same things in the same ways for years doesn't mean that you aren't meant to go beyond that. If you're a classical musician, for example, and you feel an inner need to be more of a creator than a follower, then by all means be willing to admit that, even with you current abilities (which may be excellent), you still have a limited understanding. After all, the only real way we can ever make any significant progress in any area of our lives is to be open to the idea (or fact) that there is more to learn than what we already know. Face the facts. Take the leap. Learn.

David Longo has been performing and teaching piano for well over 25 years. He is particularly recognized for his online programs, which are effective, fun, and motivating. His Jazz Piano 101 online program is especially popular and is devoted to more than just jazz studies. Practice techniques, staying motivated, and making practice fun are among the topics that are discussed in great detail in this program which is totally customized to the individual. Be sure to tune into Piano Amore for more practice tips, advice, and strategies. New piano information is added every week!

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Enter the Dragon - The Life of Bruce Lee

agque2006@gmail.com (Dodong) — Thu, 10 Apr 2008 16:15:00 +0000

By Andrew Regan

Though Seattle is most famous for its influence on the grunge scene, its sports teams and being the home of corporations like Microsoft and Starbucks, one of Seattle's most famous residents was martial arts legend Bruce Lee.

Born to a Chinese father and a mother of Chinese and German ancestry in San Francisco in 1940, Lee moved with his parents to Hong Kong when he was only three months old. Lee's father was a famous Cantonese Opera star, and was encouraged to follow in his footsteps. However, after getting into trouble with the police following a streetfight when he was 18, Lee's parents decided to send him to the US to live with a friend of his father's.

After living in San Francisco, Lee moved to Seattle, where he completed his high school education and received a diploma from Edison Technical School. He would go on to enrol at the University of Washington as a drama major and also took philosophy classes. During his studies he would go on to meet Linda Emery, his future wife, with whom he had two children, Brandon and Shannon.

Upon his arrival in the United States, he decided to abandon thoughts of a film career and pursue one in martial arts instead. However, after an impressive show at the 1964 Long Beach Karate Tournament, he gained the attention of important figures in the entertainment industry, which would land him the role of Kato alongside Van Williams in the TV series The Green Hornet. Though the show only lasted one season, it was massively popular in Hong Kong, where it was billed as the Kato Show. He would reprise his role of Kato on the Batman TV show starring Adam West, and gained further media attention thanks to a role in the 1969 neo-noir film Marlowe.

Fed up with his sidekick roles, Lee returned to Hong Kong and was given his first leading role in 1972's The Big Boss. It was a phenomenal success in Asia and propelled him to superstardom. These were followed by Fist of Fury and Way of the Dragon, both showcasing Lee's exceptional physique, mastery of all forms of martial arts and relentless work ethic.

In 1973 Bruce starred in Enter the Dragon, giving him his big break in the US and Europe. The film was made on a budget of US$850,000 and has to date grossed over $200m worldwide. Sadly, just three weeks before its release, Lee mysteriously died in his sleep after complaining about a headache, aged just 32.

Lee was buried in Seattle, and today the hotels in Seattle receive fans from all over the world looking to make the pilgrimage to their hero's grave at Lake View Cemetery.

Though he lived a short life, his influence on the popularity of martial arts as a sport and its incorporation into motion pictures is undeniable - three decades after his death, he is still the yardstick against which all other martial arts practitioners and films must be measured.

Andrew Regan is an online, freelance author from Scotland. He is a keen rugby player and enjoys travelling.

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