Committing to a full series of Master Classes can be challenging, especially in the summer months. Many artists have asked for specific master classes presented in single sessions, and many have asked for sessions presented on weekends. Always trying to be flexible so we can all continue to work and grow, I am offering these Single Session Master Classes on Saturday afternoons.
Session 1: The Psycho-Physical Warm-up June 5th or 19th 1:00-2:30 PM
Session 2: Creating Action June 5th 3:00-5:00 PM
Session 3: Developing Dramatic Presence June 12th 1:00-2:30 PM
Session 4: Spoken Monologues for Singers June 12th 3:00-5:00
Session 5: Creating the Dramatic Arc of Character in an Audition Aria June 19th 3:00-5:00 PM
I continue to be sensitive to the financial challenges we are all facing with Covid-19 restrictions on our industry and so I am offering these 90-minute and 120-Minute Sessions very affordably.
Read more information about each session’s content, duration, and cost below and then click the SIGN UP Button to join in.
Single Session Details
The Psycho-Physical Warm-up: (90 Min Movement Session)
June 5: 1:00-2:30 PM
June 19: 1:00-2:30 PM
Like training the voice, the singer’s body must also be trained as an instrument of expression—both are parts of the Performer’s Instrument. Corporeal and vocal behavior, how and why a person moves and speaks the way they do, is psycho-physical in nature: both mental and physical. This behavioral life is employed onstage, under the pressure and scrutiny of performance, to make the invisible visible without “acting it out”.
This is the work I present on the first day of my In-Person Series ACTING AND MOVEMENT TECHNIQUES FOR SINGERS
Creating Action: (120 Min)
June 5: 3:00-5:00 PM
Directors often speak in results—describing what they want to see and feel as you perform. Singers are not always trained to translate these results into ACTIONS they can accomplish in the moment. This Master Class takes the mystery out of Acting and makes it “easy as pie” to generate a logical sequence of actions you can play moment to moment, rather than trying to play an emotion that can interrupt your ability to sing well.
This session comes from my ROLE PREPARATION MASTER CLASS SERIES
Developing Dramatic Presence: (90 Min Movement Session)
June 12: 1:00-2:30 PM
Presence is the goal of the surplus energy and tension in the performer’s body while onstage. This surplus of energy is linked with display, or offering up to the public’s attention, and would be considered a waste of energy in daily life. This enlargement of energy “feeds” Presence and is psycho-physical in nature: both mental and physical.
This session is part of my 5-Day Series ACTING AND MOVEMENT SKILLS FOR SINGERS
Spoken Monologues for Singers: (120 Minutes)
June 12: 3:00-5:00 PM
Many opera and music theatre companies are adding spoken monologues to their audition process. Perhaps you worked on monologues in school or perhaps you have never learned to approach one--either way many singers find themselves struggling with their voices and acting skills because they believe monologues are intimidating. In this 2-Hour Master Class, Chuck Hudson offers you the keys to enjoying monologues. Like singing an aria, you must divide the speech into playable beats of action and not be tempted to play it as a single wash of emotion. Working with 4 different monologues, both classical and contemporary, you will learn to discover your argument and intention, to arrange the beats of action in a dramatically compelling way, and to select Operative Words and Active Verbs to color your vocal choices with clarity and meaning as you speak. Similar 2-hour Master Classes designed for actors range between $75.00-$110.00 per person, and can be confusing for singers who are not familiar with the vocabulary they use.
Creating the Arc of Character in an Audition Aria: (120 Minutes)
June 19: 3:00-5:00 PM
Auditioning with arias demands that a singer generate a multi-dimensional performance when they will not have the production elements and context being on stage. In addition to the musical, vocal, and language demands, we need to be able to sense the emotional and dramatic range of a singer during an audition. Your character must not be the same at the end of the aria as they are at the beginning. The Story Arc clarifies the external actions and conflicts the character confronts during the aria, and The Arc of Character maps the inner growth and changes the character undergoes during those external actions. This master class helps you construct this Dynamic Arc of Transformation in performance, and during an audition.
This session is adapted from my 5-Session Series CREATING THE DRAMATIC ARC OF CHARACTER IN OPERA