Karen Kohler’s training and musings in stagecraft and the art of performance, especially as regards acting and spoken word.
Words! Words! I'm so sick of words! I get words all day through; First from him, now from you! Is that all you blighters can do? Don't talk of stars burning above; If you're in love, show me! ~ from My Fair Lady (lyrics by Alan Jay Lerner) Think about the last time you played with a baby. How [...]
Performers are revealers; we lay a thing bare. To cultivate as broad a landscape of potential revelation as possible, we venture from the center of familiarity and recognition to the edge of mystery and uncertainty. Just as there are edges to the stage space, there are edges to us performers too. I consider the edge that place where there's nothing to hide [...]
I attended a screening of the new film, Nebraska, with my Canadian actor and pal Jean Brassard. What a truthful bit of film-making it is and what amazing casting! In the live chat with Bruce Dern that followed, he shared some of his wisdom: 1. Don't push. Don't perform. Don't show us anything. Let us find it. 2. Always [...]
What is it that's so powerful about the performers who can command the stage in stillness? I've felt their confidence and comfort in their bodies. I've felt the force of their imagination. In striving for this stage stillness and power in myself, I've watched them. And I've watched the video footage of my own concerts (yikes! - there is no more [...]
The other night I was on stage with my singing partner, leaning back on a chair as her next song began. Only it didn't begin. The pianist played the intro, but when it was time for her to sing, no words came out. This is the nightmare! The singer's, actor's, speaker's nightmare: Forgetting. Drawing Blanks. It happens to all [...]
To become exemplary, an artist cannot imitate, cannot be a carbon copy of someone else. She must present that which is thoroughly unique - herself - and for this she needs to know herself and to continually grow herself. A good singer builds herself a mental reference book. She excels in the art of seeing into someone else's eye [...]
Music begins inside human beings, and so must any instruction. Not at the instrument, not with the first finger, nor with the first position, not with this or that chord. The starting point is one’s own stillness, listening to oneself, the “being ready for music,” listening to one’s own heartbeat and breathing. Carl Orff Watching other artists perform is [...]
Every singer, actor and anyone who doesn't have their hands full on stage, struggles with what to do with them. Should they hang down straight? Should they point and lead? Should they give visual cues as to the words being sung or spoken? Should they be cut off? How easily they can be underused, overused, and simply misused. How [...]
A singer's face is a map. When the audience closes its eyes, her face should burn through their eyelids. I love faces. All my life I've studied them. Staring is a tool of the trade. The face relays the health of the body and the soul. A doctor always knows when we have a fever, and an audience always [...]
From her first appearance on stage, before an artist has done anything to prove her talent, her posture will inform the audience. Even the grandest of introductions from a master of ceremony will be compromised if she walks on slouching. The performance begins with the first part of her that enters - her big toe, her index finder, her [...]
