The Singer-getic workshops are designed for each programme as time and space allows. They are primarily designed for exercises that emphasize the integration and coordination of Singing, Acting, and Movement-as described in Clark’s workshop publication “Singing, Acting, And Movement in Opera (Indiana University Press).

The group will congregate in a circle, and before beginning will hear about the purpose of Singer-getics. There is breathing, stretching, and the beginnings of movement and dramatic intent with voice. As the workshop unfolds, Clark explains as the exercises “flow” from one to another.

There is a “fun” and “release” component that is important, as inhibitions release and students let go. There are also creative elements that give students permission to use their imaginations as they find their statue poses and work with each other without giving them the time to rehearse in their minds (and edit/self judge) before creating. Meanwhile, there are important Alexander Technique principles introduced and practiced within the exercises.

If time permits, there is improvisation (and discussion about the value of improv to singer/actors). And there is a preparation/flow into the next part of the workshop.When a workshop is scheduled to be more than 90 minutes (to extend to 120 or 180 minutes), then individual students sing an aria or a song (15 or 20 minutes per student). In that case, we prepare the scene, Clark asking the students questions, with the entire class participating in this exercise.

Clark has taught the history of opera and musical theatre literature (for singers, conductors, and directors). The experience is not a “master class.” It involves all of the students playing a part, and Clark encourages all students to follow this practice on their own with student colleagues.

Other possible components of this workshop can be incorporated, including audition preparation, mock auditions, and professional advising for the class that includes picture, resume and repertoire material.