The impact of the audience on the actresses
(2023)
author(s): Dalida Shaheen
published in: Stockholm University of the Arts (SKH)
Welcome to Dalida Shaheen's exposition Master's candidate in acting program and actress. Firstly, in 2019, I played a role of a woman who got married to a married man, after the series aired to the public the role fired back on me. I observed audience's reaction exceeded everyone’s expectations. The audience is divided into two parts the first part is about the women who expressed their anger in a very aggressive and strong way, and the second part who was exciting to the character. The first part of the audience used several offensive, strong, and insulting words. The audience’s reaction was very emotional, and they used all the tools to express their feelings for example, they used social media platforms and verbal violence when they see me in the street. Hayat is the character I have created to explore my questions in my short fil.
The film is the method I used to explore my questions of what would happen when the audience can’t distinguish between the role and the actor’s real character, What is the impact of the audience on the actresses?
Body Language
(2016)
author(s): Charlotte Houberg
published in: KC Research Portal
Name: Charlotte Houberg
Main Subject: Classical Singing Research Supervisor: Gerda van Zelm
Title of Research:
Body language of a singer on stage
Research Question:
How can a singer on stage use his body language to support his expression?
Summary of Results:
By the use of different research methods, there have been created ideas and strategies to become aware of your body language and how to use it in a confident way on stage. Body language is, next to singing, an equally important communication tool for singers on stage. It shows knowledge of the movements of the body and understanding of the role or character. The libretto can be translated into body language, so the audience can understand it without knowing exactly what text is sung. It can be concluded that all body parts can be chosen to show a certain mood which fits within the role or character. Gestures do not have to be over- exaggerated, because the audience is able to see and interpret small signs, even from a distance. Consciously chosen body language is easier to decode than spontaneous body language and can be more convincing, even though the singer is not in that certain
mood. Body language is part of the luggage of a singer and a tool for showing his expression and intentions.
I chose for the form of a research paper, because I would like to share new or expanded knowledge with my colleagues by doing an in-depth research.
Biography:
Charlotte (1991) takes part in Studio 32, an opera studio of her teacher Henny Diemer. She sang the roles Amor (Cadmus et Hermione), Zerlina (Don Giovanni) and Bess (Porgy and Bess). She had a tour with Sinfonia Rotterdam and sang solo with several Dutch orchestras. In Jordan she performed Miroir de Peine of Andriessen with the Amman Orchestra. She has been invited for chamber concerts and has given song recitals on several stages of the Netherlands. From the oratorio repertoire she sings regularly the Matthew Passion (Bach) and the requiem (Fauré and Mozart). She will sing the role First Witch in the new opera of Andriessen (The Theatre of the World) in LA and Amsterdam.