Eyes First, Face Alive (Focus, Foci, and the “Inverted Horizon”)

Day 11 Topic 7

Your eyes are the audience’s GPS. They tell us what (and who) matters, when the thought turns, and whether we should lean in or back off. Today we’ll turn your gaze, mouth, and face into clean, readable tools—naturalistic enough for close video, bold enough for the top balcony.

Why It Matters

• Audiences follow eyes. Gaze shifts rapidly cue joint attention and intention—where you look changes what listeners notice and how they listen. PubMed
• Eye behavior drives engagement. Decades of work show gaze regulates interaction and affects judgments of intimacy, dominance, and trust; hiding your eyes for long stretches costs connection. ResearchGate
• What people see changes what they hear. Visible performance cues (face/upper body) alter perceived phrasing, tension, and expressiveness in music. Your eyes/face are part of the message. PubMed+1
• Treat gaze/face as part of the utterance. The body’s visible actions co-produce the message with speech and song; they’re not decoration. Cambridge University Press & Assessment
• Practical literacy helps. Field guides like Joe Navarro’s emphasize readable, congruent eye behavior; audiences look to your eyes to judge authenticity. PubMed Central

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The Four Eye Foci (use them deliberately)

1. Internal Focus — eyes “inside” (thinking/feeling). Use briefly; overdo it and we lose you.
2. Out–Specific Focus — one exact target (partner, chair, a single bolt). Your workhorse for truthful, trackable acting.
3. Out–General Focus — panoramic soft focus (sky/field). Rare but great for awe or surveying.
4. Transition Focus — a whole phrase traveling from one focus to another (e.g., internal → specific as you realize something). Reads as discovery.

Note: your eyes can keep traveling across a phrase; you don’t have to “park” them to be clear—just make the travel purposeful. PubMed

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Core Rules (coach mode)

• Eyes lead the cycle. Default to one intentional eye shift per phrase for clarity; add more only when the text/music truly turns faster.
• Shift on the release. The direction change (choosing a new focal point) should begin on the last note or syllable of the current phrase; afterward, your eyes may keep moving across the next phrase as the idea unfolds. (That tiny pre-shift reads as thought-in-motion.) PubMed
• Decouple face from body. Let eyes and micro-face move without dragging shoulders/torso every time—linked when needed, independent by default.
• Let us see your eyes. Avoid long stretches upstage, downcast, eyes closed, or buried in the score unless you’re intentionally ceding focus. Viewers use eye access to regulate attention. ResearchGate

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How to Practice (step-by-step)

A) Foci Rotation Drill (LNOS-friendly) — 6 minutes

Assign four consecutive phrases:

1. Internal → 2) Out–Specific (name the exact point) → 3) Out–General → 4) Transition.
   On the last syllable, start the shift toward the next focus. Film a close shot; you should see the thought turn before the word does. (Viewers are quick to follow a gaze change.) PubMed

B) “Aim the Sound” Hack — 3 minutes

Run a passage twice:

• Far focus (back-balcony exit sign) → notice projection organizes with less effort.
• Near focus (music-stand logo) → notice intimacy increases.
  It’s a pairing trick, not a law—but it often fixes projection/connection instantly because visual focus reshapes perceived phrasing and intensity. PubMed

C) Invert Your Horizon — 4 minutes

Real life: you glance down to ruminate. Stage: keep eyes at or above the horizon so we can actually read them. Solution: do the same internal behavior but look up instead of down. It still reads honest—and the audience doesn’t lose you.

D) One-Shift Default / Exceptions — 4 minutes

Mark one planned eye shift per phrase in your score. If two genuine beat changes live inside one phrase, plan a Transition Focus that travels the bar. The key is clarity, not stillness.

E) Face & Mouth: Natural, Not Pasted — 3 minutes

Don’t “perform” the face. Let small, natural changes (brows settling/lifting; mouth corners easing; eyes widening/narrowing) follow the intention. If you chronically underplay, aim for “slightly past comfortable”; most singers need that nudge. (Facial-action systems codify these readable micro-movements.) esilab.berkeley.edu

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Common Mistakes (and fixes)

• Perma-down or eyes closed. You vanish. → Give 1–2 beats of Out–Specific or a Transition to reopen connection. ResearchGate
• Gaze + body welded. Every eye move drags the torso. → Decouple: eyes-only shifts; add a tiny head assist only when needed.
• Scanning with no target. Reads as nerves. → Name the bolt/seat/aisle; Out–Specific wins for clarity.
• Too many shifts. Looks jittery on camera. → Default to one; use Transition Focus when the idea genuinely evolves mid-phrase.
• Animated mouth, blank eyes. The face emotes but the gaze says nothing. → Run a silent take “eyes first,” then re-add sound. (Visuals shape perceived expressivity.) PubMed

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Assignments (Workbook)

1. Foci Map (one page): For each phrase, mark Focus type (I / S / G / T), the exact target (if S), and the planned shift point (start on last note/syllable).
2. Inverted Horizon Reel (30–45s): Do a contemplative passage twice—natural down-gaze vs. inverted horizon. Ask a viewer which kept connection while still reading as contemplation.
3. Face Audit (close-up): Silent-run a verse with only eyes + face. If it reads, you can scale it for the hall without losing truth.

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Pro Tips

• Eyes can travel. They don’t have to park; they just need a purpose. PubMed
• “Breath baton.” Your eyes may still be moving, but give a readable inhale so the team locks to your tempo, entrance, and dynamic—breaths function as turn-taking cues. Frontiers
• Use space + foci together. Distance/orientation (proxemics, F-formations) multiply what your gaze says about access and status. Cultural Studies+1
• Film tight. Phone at arm’s length; eyes/face fill the frame. Calibrate one shift, one verb, one idea per phrase—then scale for the room.

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Sources

• Frischen, A., Bayliss, A., & Tipper, S. (2007). Gaze cueing of attention (review). Psychological Bulletin. PubMed
• Kleinke, C. (1986). Gaze and eye contact: a research review. Psychological Bulletin. ResearchGate
• Vines, B. W., Krumhansl, C. L., Wanderley, M., & Levitin, D. (2006). Cross-modal interactions in the perception of musical performance. Cognition. PubMed+1
• Kendon, A. (2004). Gesture: Visible Action as Utterance. Cambridge University Press. Cambridge University Press & Assessment
• Kring, A. M. (FACES manual). Background on FACS and facial movement measurement (Ekman & Friesen). esilab.berkeley.edu
• Navarro, J., & Karlins, M. (2008/2009). What Every BODY Is Saying. HarperCollins. PubMed Central
• Hall, E. T. (1966). The Hidden Dimension (proxemics). Cultural Studies
• Setti, F., et al. (2015). F-Formation Detection (o-space/p-space/r-space). PubMed Central