Association avec un Coach Vocal / Vocal and Repertoire Coaching
J’ai le grand plaisir de collaborer avec le chanteur lyrique soliste, enseignant, metteur en scène, directeur artistique et fondateur de festival lyrique international Henry Runey :
https://www.patreon.com/henryruney
Association avec un Coach Vocal / Vocal and Repertoire Coaching
J’ai le grand plaisir de collaborer avec le chanteur lyrique soliste, enseignant, metteur en scène, directeur artistique et fondateur de festival lyrique international Henry Runey :
Comment être efficient avec moins de violons
How to be Efficient with Fewer Violins
(author unknown)
All the twelve violins were playing identical notes; this seems unnecessary duplication. The staff of this section should be drastically cut. If a large volume of sound is required, it could be obtained by means of electronic apparatus.
Much effort was absorbed in the playing of demi-semi-quavers; this seems to be an unnecessary refinement. It is recommended that all notes should be rounded up to the nearest semi-quaver. If this were done it would be possible to use trainees and lower grade operatives more extensively.
There seems to be too much repetition of some musical passages; scores should be drastically pruned. No useful purpose is served by repeating on the horns a passage which has already been handled by the strings. It is estimated that if all redundant passages were eliminated, the whole concert time of 2 hours could be reduced to 20 minutes, and there would be no need for an interval.
The conductor agrees generally with these recommendations, but expresses the opinion that there might be some falling off in box office receipts. In that unlikely event, it should be possible to close sections of the auditorium entirely, with a consequential saving of overhead expenses, lighting, attendants, etc. If the worst came to the worst, the whole thing could be abandoned and the public could go to the Albert Hall instead.
Following the principle that « there is always a better method » it is felt that further reviewing might still yield additional benefits. For example, it is considered that there is still wide scope for application of the « Questioning Attitude » to many methods of operation, as they are, in many cases, traditional and have not changed in several centuries.
In the circumstances it is remarkable that Methods Engineering principles have been adhered to as well as they have. For example, it was noted that the pianist was not only carrying out most of his work by two-handed operation, but was also using both feet for pedal operations. Nevertheless, there were excessive reaches for some notes on the piano and it is probable that re-design of the keyboard to bring all the notes within the normal working area would be of advantage to this operator.
In most cases, however, the operators were using one hand for holding the instrument, whereas the use of a fixture would have rendered th idle hand available for other work. It was noted that excessive effort was being used occasionally by players of the wind instruments, whereas one air compressor could supply adequate air for all instruments under more accurately controlled conditions.
Obsolescence of equipment is another matter in which it is suggested further investigation could be made, as it was reputed in the programme that the leading violinist’s instrument was already several hundred years old. If normal depreciation schedules had been applied, the value of this instrument should have been reduced to zero, and it is probable that purchase of more modern equipment could have been considered.
Regardless of what re-tooling is undertaken or improved methods introduced, it must be pointed out in conclusion that in all productive enterprises, incentive pay is probably the single factor most likely to increase individual efficiency and output per man hours. There is no reason to believe that this would not apply with regard to the production of sound to the same extent as to the production of automobiles or washing machines. Sound meters could be used to measure the output of the various sections of the orchestra – or better still of individual players – and wages based on the sound produced over unit periods (suggested unit – decibel/bar). Apart from the inevitable increase in individual output, this would lead to a competitive spirit between sections and individuals. Competitive spirit has been found in practice to be most desirable and would also do much to encourage initiative on the part of all players.
http://trillian.mit.edu/~jc/humor/Music_OrchestralEfficiency.html
RapGenius.com
Rap Genius regroupe les parloes des musiques Rap, R&B et offre un outil permettant de commenter ces paroles. Les commentaires sont ensuite hiérarchisés, par vote.
Le principe d’une analyse des textes s’est étendu à Rock Genius ou Poetry genius.
Colloque Aria Paris 8, 18 et 19 avril 2013
Jeu de Paume
Pixar’s 22 Rules of Storytelling
These rules were originally tweeted by Emma Coats, Pixar’s Story Artist. Number 9 on the list – When you’re stuck, make a list of what wouldn’t happen next – is a great one and can apply to writers in all genres.
- You admire a character for trying more than for their successes.
- You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be very different.
- Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.
- Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
- Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.
- What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?
- Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
- Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.
- When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.
- Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.
- Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.
- Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
- Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.
- Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
- If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
- What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.
- No work is ever wasted. If it’s not working, let go and move on – it’ll come back around to be useful later.
- You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.
- Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
- Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?
- You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?
- What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.
Joss Whedon’s Top 10 Writing Tips
Joss Whedon is most famous for creating Buffy the Vampire Slayer, its spin-off Angel and the short-lived but much-loved Firefly series. But the writer and director has also worked unseen as a script doctor on movies ranging from Speed to Toy Story. Here, he shares his tips on the art of screenwriting.
1. FINISH IT
Actually finishing it is what I’m gonna put in as step one. You may laugh at this, but it’s true. I have so many friends who have written two-thirds of a screenplay, and then re-written it for about three years. Finishing a screenplay is first of all truly difficult, and secondly really liberating. Even if it’s not perfect, even if you know you’re gonna have to go back into it, type to the end. You have to have a little closure.
2. STRUCTURE
Structure means knowing where you’re going; making sure you don’t meander about. Some great films have been made by meandering people, like Terrence Malick and Robert Altman, but it’s not as well done today and I don’t recommend it. I’m a structure nut. I actually make charts. Where are the jokes? The thrills? The romance? Who knows what, and when? You need these things to happen at the right times, and that’s what you build your structure around: the way you want your audience to feel. Charts, graphs, coloured pens, anything that means you don’t go in blind is useful.
3. HAVE SOMETHING TO SAY
This really should be number one. Even if you’re writing a Die Hard rip-off, have something to say about Die Hard rip-offs. The number of movies that are not about what they purport to be about is staggering. It’s rare, especially in genres, to find a movie with an idea and not just, ‘This’ll lead to many fine set-pieces’. The Island evolves into a car-chase movie, and the moments of joy are when they have clone moments and you say, ‘What does it feel like to be those guys?’
4. EVERYBODY HAS A REASON TO LIVE
Everybody has a perspective. Everybody in your scene, including the thug flanking your bad guy, has a reason. They have their own voice, their own identity, their own history. If anyone speaks in such a way that they’re just setting up the next person’s lines, then you don’t get dialogue: you get soundbites. Not everybody has to be funny; not everybody has to be cute; not everybody has to be delightful, and not everybody has to speak, but if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.
5. CUT WHAT YOU LOVE
Here’s one trick that I learned early on. If something isn’t working, if you have a story that you’ve built and it’s blocked and you can’t figure it out, take your favourite scene, or your very best idea or set-piece, and cut it. It’s brutal, but sometimes inevitable. That thing may find its way back in, but cutting it is usually an enormously freeing exercise.
6. LISTEN
When I’ve been hired as a script doctor, it’s usually because someone else can’t get it through to the next level. It’s true that writers are replaced when executives don’t know what else to do, and that’s terrible, but the fact of the matter is that for most of the screenplays I’ve worked on, I’ve been needed, whether or not I’ve been allowed to do anything good. Often someone’s just got locked, they’ve ossified, they’re so stuck in their heads that they can’t see the people around them. It’s very important to know when to stick to your guns, but it’s also very important to listen to absolutely everybody. The stupidest person in the room might have the best idea.
7. TRACK THE AUDIENCE MOOD
You have one goal: to connect with your audience. Therefore, you must track what your audience is feeling at all times. One of the biggest problems I face when watching other people’s movies is I’ll say, ‘This part confuses me’, or whatever, and they’ll say, ‘What I’m intending to say is this’, and they’ll go on about their intentions. None of this has anything to do with my experience as an audience member. Think in terms of what audiences think. They go to the theatre, and they either notice that their butts are numb, or they don’t. If you’re doing your job right, they don’t. People think of studio test screenings as terrible, and that’s because a lot of studios are pretty stupid about it. They panic and re-shoot, or they go, ‘Gee, Brazil can’t have an unhappy ending,’ and that’s the horror story. But it can make a lot of sense.
8. WRITE LIKE A MOVIE
Write the movie as much as you can. If something is lush and extensive, you can describe it glowingly; if something isn’t that important, just get past it tersely. Let the read feel like the movie; it does a lot of the work for you, for the director, and for the executives who go, ‘What will this be like when we put it on its feet?’
9. DON’T LISTEN
Having given the advice about listening, I have to give the opposite advice, because ultimately the best work comes when somebody’s fucked the system; done the unexpected and let their own personal voice into the machine that is moviemaking. Choose your battles. You wouldn’t get Paul Thomas Anderson, or Wes Anderson, or any of these guys if all moviemaking was completely cookie-cutter. But the process drives you in that direction; it’s a homogenising process, and you have to fight that a bit. There was a point while we were making Firefly when I asked the network not to pick it up: they’d started talking about a different show.
10. DON’T SELL OUT
The first penny I ever earned, I saved. Then I made sure that I never had to take a job just because I needed to. I still needed jobs of course, but I was able to take ones that I loved. When I say that includes Waterworld, people scratch their heads, but it’s a wonderful idea for a movie. Anything can be good. Even Last Action Hero could’ve been good. There’s an idea somewhere in almost any movie: if you can find something that you love, then you can do it. If you can’t, it doesn’t matter how skilful you are: that’s called whoring.
charlesarden 