Dr. Marc Reynolds Performing Arts Studio

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Acting for Singers 101

Assignment: Who Am I Paper 2.0

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Purpose (why we’re doing this):
This assignment builds a single, living document that connects who you are (1.0 foundations) with what you do onstage and why (2.0 motives → actions → music). You’ll complete it twice: once for YOU and once for YOUR CHARACTER. The goal is honest, repeatable choices the audience can see—rooted in clear motives, body signals, and the score.

What you will learn (outcomes)

  • Explain why you/your character act a certain way (drives, fears, relationship behaviors).
  • Turn motives into clear action verbs and body choices that align with (or purposefully counter) the music.
  • Practice smarter (retrieval, spacing, fit-the-task) so your work holds up under lights, stress, and movement.
  • Update choices across rehearsals—this is a living document.

What to submit (two versions)

You will submit two complete packets using the provided PDFs (or the copy/paste template):

  1. YOU — your personal 1.0 + 2.0
  2. YOUR CHARACTER — the role you’re preparing

Recommended length: 2–5 pages per person (tight prose, bullet points welcome).

Structure (follow this order in one file per person)

PART I — Who Am I 1.0 (Foundations)

  1. Quick Identity (bullet points): name, basics (height, hometown), current location, roles (student/coach/etc.).
  2. Laundry List → Categories: rapid-fire list (superficial → core), then group into categories (e.g., License info / Relationships / Likes / Dislikes / Social traits / Hopes / Fears / Work-Play).
  3. MBTI-style notes (quotes allowed): copy 1–3 phrases that feel true and list 1–3 behaviors these suggest onstage (not labels).
  4. Core Drives & Core Fears (initial): list what seems strongest right now.
  5. Three Defining Moments: for each—what happened → what changed → how it colors actions now.

PART II — Who Am I 2.0 (Motives, Body, Actions, Music)

  1. One-sentence now-summary: “Right now, I’m someone who ___ because ___.”
  2. Body-map (Energy/Tension/Warmth/Drop): three zones you commonly feel; for each add one real-life example and a matching stage verb.
  3. Top drives (1–2) & behaviors: how each drive shows up physically/behaviorally.
  4. Top fears (1–2) & behaviors: the micro-actions that follow when triggered (fight/flight/freeze/fawn).
  5. Love-language snapshot (seek/offer + scene beat): use as a behavior menu, not a diagnosis.
  6. Personality triangulation (notes, not labels): pull 2–3 behaviors from MBTI-style, Enneagram, and Big Five/HEXACO you will test on camera.
  7. Three defining moments — updated lens: add one verb or body cue each moment gives you now.
  8. Action library (10 verbs): e.g., shield, charm, expose, bargain, claim, soothe, corner, release, assess, rally.
  9. Music alignment notes: one aria/song—where you align or counterpoint the score (cite bars) and your breath shape.

You already have ready-to-fill PDFs:

  • Template (1.0 + 2.0 combined)
  • Example A (Jordan, Mezzo) — combined
  • Example B (Despina) — combined

How to work (suggested flow)

  1. Draft Part I for YOU quickly (don’t overthink).
  2. Duplicate for YOUR CHARACTER and fill from the character’s POV.
  3. Build Part II from rehearsal realities: pick verbs, map body cues, connect to music.
  4. Film 30–60 seconds—keep what reads; update the document.
  5. After each rehearsal, add one line anywhere (this is a living document).

Formatting & naming

  • Filename format: WhoAmI_[YourName]_Self.pdf and WhoAmI_[YourName]_CharacterName.pdf
  • Acceptable formats: PDF preferred (use the provided forms), or Google Doc link if you must.
  • Citations: If you quote personality sites or research summaries, paste the link in a small “Sources” box at the end.

Grading (or self-assessment) rubric

Criterion1 – Needs Work3 – Solid5 – Stage-ready
Clarity of motivesVague/contradictoryMostly clear; some driftGoal & drive per beat are crystal clear
Verb specificityAbstract (e.g., “be sad”)Mostly concreteConcrete, varied, and playable
Body–music alignmentAccidental clashesMostly alignedAligns/counterpoints on purpose
Behavioral evidenceNotes onlySome behaviors testedBehaviors tested on camera; kept/discarded with reasons
Use of 1.0 + 2.0Parts missingBoth parts present1.0 informs 2.0; updates shown
ProfessionalismDisorganizedClear, readableClean, concise, easy to reference in rehearsal

Common pitfalls (and fixes)

  • Pitfall: Lists with no stage impact.
    Fix: Add a verb or body cue to each list item you keep.
  • Pitfall: Over-reliance on labels (“I’m a Type 3”).
    Fix: Convert labels into three behaviors to test.
  • Pitfall: Ignoring the score.
    Fix: Add bar numbers and a breath verb before key phrases.

Submission checklist (quick)

  • Two files: YOU and YOUR CHARACTER (1.0 + 2.0 combined)
  • One-sentence now-summary in each
  • Body-map with examples + verbs
  • Drives/Fears ranked with behaviors
  • Love-language snapshot with a specific beat
  • Personality triangulation → three behaviors to test
  • Three defining moments updated with verb/body cue
  • Action library (10 verbs)
  • Music alignment notes (bars + breath shape)
  • Short video clip used for self-check (optional but encouraged)

Topic 8 — Becoming the Character (End-to-End System for Acting Singers)

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Plain idea: Build from head → body → stage until your choices are clear, musical, and repeatable under lights. You’re aiming for actions the audience can see and feel, not just ideas you can explain.

The Six-Stage Workflow (with drills)

1) Character Research (Intellectual)

Goal: Know what can’t change, what can bend, and what can inspire.

  • Primary sources (non-negotiables): libretto/lyrics, score markings, stage directions that affect plot, historical facts central to the story.
    • Drill (10 min): Make a two-column sheet: Given Facts vs. My Inferences. Highlight anything that touches plot logic.
  • Secondary sources (flexible context): composer’s letters, period customs, geography, real individuals the role was based on.
    • Drill (8 min): “Three Tiles”: write three short context notes you can play (e.g., “formal distance at court,” “duels common,” “night travel unsafe”).
  • Tertiary sources (inspiration): paintings, films, poetry, interviews, fashion/architecture of the era.
    • Drill (5 min): Mood board with three images; caption each with one verb it suggests (confront, yield, entice).

Output: a one-page Character Dossier with: logline (what they want most), obstacles, tactics, and three historical/context tiles you can play.

2) Character Research (Experiential)

Goal: Put real human texture into the role.

  • Zipper Exercise (swap bodies): Imagine “zipping” into a real person who fits your character.
    • Drill (6 min): Walk the room “as them.” Change stride length, head tilt, eye focus, and breath tempo. Name one hook you’ll keep (e.g., “left brow quirks before a lie”).
  • Mirror Exercise: Silently mirror a partner’s posture, breath, and micro-gestures.
    • Drill (5 min): 60 seconds mirror → 30 seconds speak a single line. Keep one discovered behavior.
  • Hook Catalog: List 3–5 small, unique behaviors (gesture, rhythm, touch pattern, eye line) that belong only to this person.
    • Drill (3 min): Film each hook for 5 seconds. If a stranger can name a quality (“cocky,” “careful”), it’s readable.

Output: a Hook List (3–5 items) with short video clips for self-check.

3) Character Exploration (Off-Stage)

Goal: Let the character breathe in everyday life so the stage version isn’t “bolted on.”

  • Modern-world hour: Do one routine task (coffee, commute) as the character today.
    • Drill (5 min log): Note how they queue, pay, wait, apologize, thank.
  • Period-world hour (as possible): Adjust etiquette, pace, space, and tools to the era.
    • Drill (prop stand-in): Replace your phone with a period-appropriate object (letter, coin, rosary) and use it three times in different ways.
  • Black-and-white → Color: Freeze a single “still” that captures them; then animate it into full color and motion.
    • Drill (5×5): 5 seconds frozen pose → 5 seconds to animate into a purposeful action (no fluff).

Output: a B&W still photo reference, plus a one-paragraph “day-in-the-life” in character voice.

4) Character Exploration (On-Stage)

Goal: Translate inner work into readable stage behavior.

  • Given vs. Imagined: List what the set, props, lights, and score give you; list what you must invent.
    • Drill (3 min): For each imagined item, pick one tactile action (e.g., “wipe condensation off window”).
  • Prop Truthing: Ask, “How would my character really use this?”
    • Drill (4 min): Three different prop sequences (slow, task-focused, status-focused). Keep the one that tells new information.
  • Unique vs. Original: “Unique” = specific to this person; “original” = never done before. Prioritize unique.
    • Drill (3 min): Remove any move that doesn’t communicate new info about your character.

Output: a Prop Map (when, how, why each prop is touched), and a “Given/Imagined” checklist taped inside your score.

5) Motivate Your Blocking

Goal: Every cross and turn is needed, not “because the director said.”

  • Reverse Magic-If: “What need would force me to move now?”
    • Drill (5 min): Write one sentence for each assigned move: “I cross because ______ (e.g., to intercept the letter before she reads it).”
  • Connect the Dots: Fill the space between marks with micro-actions that carry your verb.
    • Drill (2 min): Between two spikes, choose one of: scan, weigh, stalk, hover, invite.
  • Director Dialogue (collaboration script):
    • “I’m trying to motivate the cross at bar 42 with intercept. If you’d like me US instead of DS, I can switch the tactic to cut off. Does that serve your picture?”

Output: a Blocking Motivation Sheet (bars → move → verb/tactic → partner effect).

6) Musical Alignment

Goal: Body, breath, and verb either support or purposefully counterpoint the score.

  • Bar Scan: Circle ritards, fermatas, pedal points, sudden dynamics, and key shifts.
    • Drill (5 min): For each, write one of two choices: Align (expand ribs on crescendo, widen gaze) or Counterpoint (smile over a minor sting to mask fear).
  • Breath-as-Gesture: Treat the breath before a phrase as your first visible action.
    • Drill (3 min): Mark “B:” before three phrases with a verb + breath shape (e.g., B: invite = long, open inhale).
  • Tempo Truth: Fast music often wants smaller, precise moves; slow music tolerates long arc gestures.
    • Drill (2×2): Run one phrase with micro-precision hands, then with large arcs. Keep what the camera reads.

Output: a Music-to-Action Map (bars → musical event → align/counterpoint → breath shape → verb).

Camera-Ready Protocol (10 minutes)

  1. Slate (30s): Character name, scene goal, dominant drive.
  2. Single pass (90s): Play the beat with your chosen verbs.
  3. Silent pass (60s): Same blocking, no text—should still tell the story.
  4. Music-only pass (90s): Hum the line; keep breath/verb choices.
  5. Watch once, no pausing: Ask “Can a stranger name my goal, tactic, turn?”

Partner & Ensemble Integration

  • Eye-line Rule: Choose one primary eye-line per phrase unless the text requires a flip.
  • Offer/Accept: Every beat, choose one offer (give information, space, or object) and check if the partner accepts/blocks.
  • Status Dial: Decide status (0–10). If the partner dials up, do you yield, match, or defy?

Duo Drill (4 min): Partner A plays Acquire (bargain), Partner B plays Defend (block). Switch drives and repeat. Keep the clearer read.

Safety & Consent (non-negotiable)

  • Touch Plan: Pre-agree touch points and exit routes. Re-confirm after any staging change.
  • Prop Safety: Practice with safe stand-ins before using metal, glass, or flame props.
  • Emotional Edges: If a scene skirts panic/trauma, set a reset ritual (breath + neutral stance) for after each run.

If-Then Troubleshooting

  • IF choices feel “indicated,” THEN swap abstract verbs for concrete ones (be sad → protect, beg, withdraw).
  • IF you forget actions during music, THEN add a breath verb before phrases (breath anchors intention).
  • IF the scene drifts or feels muddy, THEN assign one dominant drive per beat and cut gestures that don’t serve it.
  • IF a prop looks fake, THEN give it a task (wipe, fold, weigh) and a why now.
  • IF working with extreme dynamics, THEN shrink gestures at fff (camera sees tension) and expand at pp (audience needs shape).

30-Day Integration Plan (lightweight)

  • Week 1: Dossier + Hooks + B&W still; choose 10-verb Action Library.
  • Week 2: Off-stage hour (modern & period), Prop Map, Blocking Motivation Sheet.
  • Week 3: Music-to-Action Map; film camera protocol twice; keep strongest verbs.
  • Week 4: Run-throughs under show conditions (costume bits/shoes); finalize status dial and eye-line rules.

Mini-Rubric (self or coach)

Category1 – Needs Work3 – Solid5 – Stage-ready
Clarity of Goal & DriveGoal unclear; drive shifts randomlyGoal stated; drive mostly consistentGoal obvious; drive per beat crystal-clear
Verb SpecificityAbstract/indicatedConcrete but inconsistentConcrete, consistent, and varied
Music AlignmentBody conflicts with score by accidentMostly aligned; few counterpointsAligns or counters on purpose
Prop TruthProps decorativeProps sometimes purposefulEvery prop action tells new info
Blocking Motivation“Traffic” without needSome motivated movesEvery move is necessary & timed
Partner ConnectionEye-line stale; offers missedBasic offer/acceptOffers land; status and turns readable
RepeatabilityFalls apart under stressHolds under rehearsalHolds under lights/costume/orchestra

Science Check

  • What science says: Repeating actions wires procedural memory (skills you can do without thinking). Music activates brain systems for feeling and expectation, so your breath + timing matter.
  • So what for actors? Do smart, repeated reps that tie verb → breath → body → music. The more you repeat cleanly, the more natural it becomes.
  • Try it: Choose one bar with a tricky move. Do 10 slow, perfect reps (no singing), then a full-speed run with the line. Film before/after.

MBTI, Enneagram, and Personality Tests.

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Day 8 Section 7

What it is (quick):
Personality tools are maps that describe patterns in people.

  • MBTI-style (e.g., 16Personalities) groups preferences (e.g., introvert/extravert).
  • Enneagram describes nine motivation patterns (e.g., “the Helper,” “the Reformer”).
  • Big Five/HEXACO are research-heavy models that rate traits like Extraversion, Agreeableness, Conscientiousness, Emotionality/Neuroticism, Openness, and in HEXACO, Honesty-Humility.

Why it matters for acting singers:
These systems give you fast hypotheses about how a character makes choices, handles stress, and pursues goals. They’re less about “type labels” and more about playable behaviors you can test in rehearsal and on camera.

How to use it onstage:

  1. Take one quick test from each family (MBTI-style, Enneagram, Big Five/HEXACO) for yourself and then as your character (answer as they would).
  2. From each result, pull one behavior, not a label. Examples:
    • MBTI-style: “recharges alone” → withdraw to plan, then re-enter with a decision.
    • Enneagram: “seeks security” → double-checks doors, bargains for guarantees.
    • Big Five/HEXACO: “high Conscientiousness” → organizes props, sets rules.
  3. Pick three behaviors to test in a run. Keep what the audience reads.

MBTI-style (free overview & test):

Enneagram (type descriptions + official test info):

Use these for brainstorming playable behaviors, not fixed labels. Pull 2–3 behaviors from each source and test what reads on camera.

Common mistakes:

  • Treating tests like “truth.” They are idea generators, not handcuffs.
  • Playing the label instead of the behavior (e.g., “I’m a 3” vs. charm, compete, polish).

Mini-exercise (6–8 min):
List three behaviors: one that invites (Bond), one that controls (Defend), one that wins (Acquire). Film a short beat using each, then pick the strongest for your staging.

Science Check

  • What science says: MBTI/Enneagram are widely used but debated; Big Five/HEXACO have stronger research support. Short inventories can give quick, rough profiles that are good enough for acting choices.
  • So what for actors? Use tests to generate playable options and select by what reads.

Learning Styles

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Day 8 Topic 6

What it is:
You’ve heard “I’m a visual/auditory/kinesthetic learner.” Studies show that teaching to a preferred style doesn’t reliably boost learning. What does work: retrieval practice (recall without looking), spaced practice (short, repeated sessions), and multiple modalities that fit the task.

Why it matters for acting singers:
Instead of boxing yourself into one style, build a smart practice loop that fits music + text + action. That’s how you remember under lights, stress, and movement.

How to use it onstage:

  • Retrieve: Close the score; recite your action verbs for the scene.
  • Space: Three short reps across the day beat one long grind.
  • Fit the task: When rhythm is physical, add a simple gesture; when diction is tricky, add spoken drills; when breath is the challenge, practice silent choreography + breath.
  • Feedback: Film 30 seconds. Keep what the camera sees, not what you felt.

Common mistakes:

  • “I’m visual, so I won’t move.” Movement often improves memory for staged music.
  • Cramming. You’ll remember it tonight and lose it tomorrow. Space it out.

Mini-exercise (7 min):

  1. Speak the passage using only the verbs you picked (retrieve).
  2. Sing it once, seated.
  3. Sing it once, with blocking only (no hands).
  4. Sing it once, adding one small gesture on the longest note. Film and compare.

Science Check

  • What science says: Weak support for “learning styles”; strong evidence for retrieval, spacing, and modality-fit.
  • So what for actors? Use a mixed toolbox that matches the musical/acting problem in front of you.
  • Try it: Convert one page of notes into three quiz-style prompts you answer without looking.

Making It Personal: From Practice Preferences to Motivations & Actions

Quick bridge:
Even though “learning styles” don’t predict better learning, people still develop practice preferences (sketch first, speak first, move first, listen first, annotate first). Those preferences can hint at motivations, body cues, and action choices—for you and for your character. Treat them as clues, not cages.

A. Preference → Likely Motivation → Body Cue → Playable Action

Practice Preference (what you reach for)Possible Motivation (Drive/Fear)Common Body CuesAction Verbs that Often Fit
Sketch / visual plan firstControl & clarity (Defend/Learn)Narrowed eyes, still torsomap, mark, sort, fix, arrange, present
Talk it out / speak firstConnect & persuade (Bond/Acquire)Forward lean, open handsreassure, charm, pitch, tease, rally
Move first / block itEmbodiment & momentum (Feel/Learn)Restless feet, wider stanceclaim space, test, probe, advance
Listen first / loop audioAttune & avoid error (Learn/Defend)Soft focus, held breathcalibrate, align, defer, tune
Detail the score / annotatePerfection & safety (Defend)Brow tension, small nodstighten, correct, restrict, enforce

Use it: Notice your default, then try the opposite for range. For your character, choose the preference that fits their drive and fear, then pick matching verbs.

B. Same Situation, Different Choices (fast examples)

Scene want: Seek forgiveness after messing up.

  • Visual planner: straighten letter (service), point to marked spot → present, justify, offer.
  • Talk-first: step closer, compliment, confess → appeal, confess, soften.
  • Move-first: kneel, place prop slowly → yield, submit, return.
  • Listen-first: wait for partner’s breath to settle, mirror posture → attune, match, petition.
  • Annotator: produce repaired item and explain → repair, prove, secure.

C. Character Flip: Show Change

Play the first half of a beat with the character’s natural preference (e.g., talk-first). On the turning word, switch to the opposite (e.g., move-first: step back, set the letter down). The visible flip signals inner change without extra dialogue.

D. 8-Minute Drill — “Preference to Playbook”

  1. Self-scan (1 min): What did you actually do first today—draw, talk, move, listen, annotate?
  2. Map it (2 min): Write the likely drive and fear it hints at.
  3. Three verbs (2 min): That fit this map.
  4. Opposite pass (3 min): Run the beat with the opposite preference and three new verbs. Keep what reads best on camera.

Science Check (kid-friendly)

  • What science says: Styles don’t boost learning; habits and comfort zones exist.
  • So what for actors? Use preferences as clues to motivation and behavior, then prove it with what the audience can see.
  • Try it: Turn one rehearsal page into three retrieval questions. Play each answer once with your default preference and once with its opposite.

Core Human Fears

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Day 8 Topic 5

What it is:
Many fears fit into five buckets: Extinction (I could die/lose everything), Mutilation (my body could be harmed), Loss of Autonomy (I’m trapped/controlled), Separation (I’ll be abandoned), Ego-Death (I’ll be shamed/humiliated). Fears often trigger fight, flight, freeze, or fawn.

Why it matters for acting singers:
Fear explains sudden flips in behavior—the “why” behind a gasp, retreat, burst of anger, or polite smile that hides panic. In opera and musical theatre, fear changes breath and timing, which the audience feels.

How to use it onstage:

  • Choose the one fear that best fits the moment.
  • Pick the micro-action that follows:
    • Fight: lean forward, narrow eyes, grip.
    • Flight: step back, glance toward exit.
    • Freeze: still torso, small eyes, held breath.
    • Fawn: quick smile, placate with gifts/words.
  • Let the orchestra’s tension support your choice (e.g., pedal tones = trapped → loss of autonomy).

Common mistakes:

  • Playing “general fear.” Name the type so the body knows what to do.
  • Over-doing freeze for long stretches; it reads as “checked out.” Use it as a beat, then move.

Mini-exercise (3 min):
Mark one word where fear spikes. Add a ½-step back two syllables before it. Film it. The line will often land harder with less volume.

Science Check

  • What science says: Grouping fears into common themes is a useful way to predict reactions; fear patterns map to recognizable behaviors.
  • So what for actors? Naming the right fear selects the right micro-action.
  • Try it: For your next aria, label one fear per section and choose matching micro-actions.