A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-actor: a Model for Today’s University Opera Workshop Instructor Page: III

                                
TABLE OF CONTENTS

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LIST OF TABLES......................................................................................................................... iv
LIST  OF  M  USICAL    EXAM   PLES............................................................................................. v
CHA  PTER    1  IN TRODUCTION      ............................................................................................... 1
CHAPTER 2 TRAINING THE YOUNG AMERICAN OPERA SINGER-ACTOR............ 4
CHAPTER 3 BORIS GOLDOVSKY'S MODEL OF TRAINING: CHARACTER
ANALYSIS................................................................................................................................... 19
CHAPTER 4 BORIS GOLDOVSKY'S MODEL OF TRAINING: MUSICAL ANALYSIS .... 30
CHAPTER 5 BORIS GOLDOVSKY'S MODEL OF TRAINING: STAGE ANALYSIS.......... 49
CHAPTER 6 BORIS GOLDOVSKY'S MODEL FOR TRAINGING: EXPRESSIVE
ANALYSIS................................................................................................................................... 54
CHAPTER      7  CON CLUSION    .................................................................................................. 66
APPENDIX A THE THREE ENGLISH TRANSLATION LIBRETTOS AND THE
WORD-FOR-WORD USED FOR ANALYSIS.......................................................................71
APPENDIX B REASONS AND URGES: BREAKDOWN OF THE CHARACTER'S
MOTIVATIONS........................................................................................................................... 84
APPENDIX C DIALOGUE FROM THE VOICAL SCORE PUBLISHED BY SCHOTT AND
TRANSLATED BY TOM HAMMOND: REASON VS URGE MOTIVATIONS EXERCISE
AND "THOUGHT-FEELING-ACTION COMPLEXES" EXERCISE....................92
APPENDIX D INTRODUCTORY QUESTIONS ..................................................................... 103
APPENDIX E A WRITTEN DESCRIPTION OF THE STAGE ACTION CONCIEVED BY
THE AUTHOR FOR ACT II, SCENE I, OF HUMPERDINCK'S HANSEL AND GRETEL ... 122
APPENDIX F NOTATED PLAN FOR STAGING THAT WAS DEMONSTRATED IN THE
FINAL VIDEO CLIP OF THE LECTURE................................................................................ 128
BIBLIOGRAPHY....................................................................................................................... 138

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