Creative outlets

What are some of the media you use to express yourself? Obviously, you're all theatre artists. But what are your other creative outlets? 

Of course, there are lots of creative skills that fall under the umbrella of theatre skills. You could say, "My main thing is singing, but I also like to dance." Or, "I'm primarily an actor, but I also really enjoy scenography." That's great—the more knowledge you have about how all elements of theatre work, the more informed theatre performer and consumer of theatre you will be. But that's not what I'm asking about here. 

What else do you do as a creative outlet? Do you draw? Are you interested in photography? Do you play an instrument? Do you keep a journal? Write poetry? Knit? 

I suspect that most of us have some hobbies that are just hobbies. We enjoy them but are quick to walk away once they stop being fun. But I would imagine most of us also have other interests we are more committed to. These are activities we make time for, learn more about, and pursue more seriously. 

For instance, I am a casual home brewer. Once or twice a year, we buy a kit of pre-selected ingredients and then brew and bottle a five-gallon batch of beer. Lots of our beer turns out pretty well. Some of it is just so-so. Other batches have been pretty bad. But even when the product isn't great, it's still OK because we just enjoy the time spent hanging out with our friends making beer (and usually drinking some of our previous product while we're making the next one). 

I have some friends, however, who are much more serious brewers. Instead of buying pre-made kits, they select their own ingredients and make their own recipes. They take notes on what goes well with each batch and what they plan to do differently the next time they brew. They enjoy the creative process and take pride in doing a good job. 

Besides singing and teaching singing (and other activities peripheral to singing), my other most serious creative outlet is writing. As many of you know, I write regularly for two different publications and I frequently submit articles to various voice-related journals. Sometimes I write formal academic research papers, sometimes I write book reviews, sometimes I interview people for feature articles, and other times I just write essays on things that fascinate me. Merging two of my interests, I even spent five years as a columnist for the Rocky Mountain Brewing News. Oh, and I keep a blog that I force all of my students to read. I enjoy the challenge of looking for just the right way to state something. I like being able to adjust my tone depending on who my target audience is. And I appreciate the opportunity to deeply explore a subject and to share that with others. 

Regardless of what your non-theatre-related creative outlet is (or will become if you aren't sure you have one yet), I believe these outlets have theatre-related value. First of all, even though we all love theatre, success in this art form requires discipline, which can sometimes make our practice of theatre (and theatre-related skills) more tedious than enjoyable. When it does become tedious, you have nowhere else to turn for creative expression if theatre is the only creative outlet you have. 

Second, I believe that discipline begets discipline. I'm convinced that if you can be disciplined enough to, for example, learn to play the guitar, or experiment with different styles of cooking, or stick with a knitting project long enough to finish a sweater, you can use that experience of discipline to reignite the discipline you need for your theatre skills. 

Third, creative people need to practice creativity, and the more ways we can do this, the better. By engaging in multiple creative practices, you learn how to be creative in new and different ways. This exercising of the "creativity muscles" can boost all of your creative applications. 

So what do you do to practice creativity in non-theatre areas? What would you like to do that is creative that you haven't been able to pursue yet? 

How has your singing been this week?

Now go practice. 

The Four Areas of Focus

Earlier this semester, we looked at the phrases "paying attention" and "spending time." Giving consideration to how we invest our time and attention can hopefully inspire us to use those resources wisely, especially when we have big goals and ambitions. 

Let's zero in on attention here. What do you think about when you're singing? Whether you're warming up, practicing, or performing, what you give your attention to can impact how you sing. It seems to me there are four primary areas of focus from which to choose. 

The first area is the nuts and bolts of the music: the notes, rhythms, text, dynamics, tempo markings, etc. If you don't know the basics of the music, it can be difficult to focus on any other performance element. In fact, I know of some pedagogues who say you should never attempt to sing a note unless it is absolutely clear in your head what that note is. That's because if you start to produce a pitch, and then your ear hears a different pitch from the piano, the quick adjustment you have to make can wreak havoc on your larynx. 

Memorization factors into this first area of focus, as well. As you have probably experienced, until you are comfortably memorized, you won't be able to truly dedicate your full focus to other elements of a performance. 

The second area of focus is technique. Once you know the nuts and bolts of the music, you may be able to allow your technical focus to go on autopilot if a song sits comfortably within your skill level. But when songs are more challenging, you may have to keep a significant portion of your attention on technique to make sure you are creating even resonance, transitioning registers smoothly, and avoiding any unnecessary tension. 

In the motor learning world, there is an ongoing debate about "locus of attention" as it relates to vocal technique. The discussion centers around whether singers are better off focusing on internal, biomechanical cues (Is my soft palate raised? How much am I opening my mouth?) or focusing on external cues that come about as the result of how they are making sound (Where in my body do I notice vibrations? What does my voice sound like in this room?). I'll save a more in-depth exploration of that topic for another blog. Regardless, it's unlikely you'll be able to focus on either the internal or external aspects of your technique if you keep messing up the notes and rhythms of your song. 

The third area of focus is expression and emotion. This is ideally where we want to be by performance time. Once you are on stage or in front of an audience, you want to give as much of your focus as possible to the story you are telling. This can only be done, however, once the first two areas of focus have reached the automatic stage of learning. If you still have to think about notes and rhythms, or if you haven't worked out the song in your technique, that may be a good indication that the song is not yet performance ready. 

Of course, there is one more area of focus: distraction. Sometimes this happens with songs we know really well, especially if we have already performed them multiple times. Instead of engaging with the character, our minds start to wander. Where should I grab dinner after the performance? Did I leave my bedroom light on? How did Luke not even suspect that Darth Vader was his father when "Vater" is literally the German word for "father"? Did Luke never have to learn German growing up on Tatooine? German had to be one of the six million forms of communication C3PO knew, right? Shouldn't he have at least mentioned that to Luke before the lightsaber fight on Cloud City? Obi-wan Kenobi was really banking on the fact that Luke wouldn't know any German when he lied to him and said that Darth Vader killed his father. But, I guess, with all the time Obi-wan spent on Tatooine, he must have known that German wasn't part of the curriculum Luke would have received at Mos Eisley Middle School or at Two Suns High School. 

Anyway, as you can see, we can easily fall prey to distraction. The advice for working through it is similar to what is recommended in meditation or yoga practices. Notice and acknowledge that your attention has wandered, allow the distraction to pass away, then refocus on the task at hand. 

Now, if I'm being completely honest, there may be times when the music is so difficult that you have to divide your attention. If you are singing a Sondheim patter song, you may be able to keep your focus on expression for most of the song, but there may be times when you have to shift your attention more consciously to the rhythm to make sure you don't miss an entrance. Or if you are singing something by Adam Guettel that is really tonally challenging (so...everything Guettel ever wrote), you may have to shift your focus to pitch accuracy in certain places to make sure you sing all the right notes. There may be similar spots in songs where you need to give enough attention to your technique to make sure you get through a challenging section smoothly. Then you can get your focus back to expression as quickly as possible. 

The benefit of identifying the four areas of focus is that it can help you systematically structure your practice. You can't truly give yourself over to full expression of a piece until it is technically "in your voice." And you can't really get the technique down until you are confident on all the notes and rhythms of the song. 

So start at the very beginning (a very good place to start) and don't skip these necessary steps. 

What goals do you have for the second half of this semester? Has your initial practice schedule worked out for you thus far? If not, what adjustments can you make to ensure you are practicing regularly and effectively? 

Now go practice.