Adjusting Your Performance from Studio to Stage
Making Small Changes to Better Reach the Back Row of the Audience
Feb 9, 2009
For months and months, you have been rehearsing your dance performance in your studio or rehearsal space. Before you can put that piece on stage, you must remember that performing to a large audience is a very different experience from performing to your instructor (and to your reflection in the mirror) in the studio. Try to keep the following three points in mind when you begin translating your performance to the stage.
Throw It to the Back Row
When you are performing to an audience of any size, you must think about your performance as a gift that you are giving to the audience. You want each person in the audience to receive the gift, even the people sitting at the back of the theater.
Imagine that you are standing in your studio or rehearsal space while performing your piece. Now imagine throwing a ball from where you are standing to your "audience", whether it is the mirror or a wall at the front of the room. Think about the effort needed to get that ball to the front.
Now, picture yourself standing on the stage where you will perform your piece for a large audience. Try to imaging throwing the same ball in front of you, with the same force that you needed in the studio. Where would the ball land? In the first few rows of seats? In order to get the ball to reach the last row of seats in the theater, you will need to throw it with much more force and strength.
Bigger Equals Better, to an Extent
Based on the ball example, it is clear that, in order for the back row of the audience to receive the gift of your performance, you must make your movements bigger than you would in the studio. If you stand on stage and try to wave to someone in the back of the audience, a small wave with your elbow tucked in to your side simply will not work. You would need to lift your arm and wave in a wide, sweeping manner so that they would notice it. Because of this, the movements in your piece must be bigger.
You will need to find the point where you can make your movements large, strong, and energetic, without getting out of control. Your instructor can help you find a good balance before you bring your piece to the stage. While you must dance with high energy and strength on stage, you must also make sure that your movements are under control, not flailing or weak. Strong, pointed movements will be best picked up by the audience from any location.
Show Your Emotions
When you are in the studio, standing five to ten feet away from the mirror, you can probably see your facial expressions clearly. However, when you are performing on stage, you will need to show the emotions and expressions on your face to the back row of the theater. As with your movements, bigger is better, to an extent.
Some dancers will put on the "dancer's smile" and blankly smile throughout a performance. In some cases, this may be appropriate, but you may want to alter your expressions depending on the piece you are performing.
Think about the piece, about the emotions that are being portrayed in the music, costumes, and choreography. Your instructor may ask for specific facial expressions or emotions at specific points in the piece. In the rest of the performance, however, you will need to fill in the blanks. By thinking about what needs to be portrayed, you can find a balance between expressions. By not freezing a plastic smile on your face through the entire piece, you can bring the audience in with your emotions and let them feel what you are feeling through the performance.
All of these techniques will help you to reach the audience from the stage, no matter how far away from you they are sitting. You are not only giving the gift of your performance to the audience, you want them to feel that they are a part of your performance, and to go home feeling that they were brought into your world during the performance. The best thing that a dancer can do onstage, rather than displaying your passion and emotions to the audience, is making the audience feel those emotions with you as you perform the piece.
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