Scenic appearance as an important component of the embodiment of an opera image

This subject plays an important in work of vocalists though it is often the privilege of a director. However reliability and completeness of an image depends on the singer, he or she has to "exist in this image" during the opera performance therefore both psychological events, and external manifestations of these events have to be logical for the singer. The scenic image is subdivided into only two components: 1) the static component - is appearance which includes clothes and a make-up 2) the dynamic component is the movements, gesticulation, a mimicry and a manner of communication of the character. Departing from internal experiences and from the temper of the character, the singer-actor passes to creation of scenic appearance which has to correlate to its inner world, the world of the character. All this has to be under construction first of all on understanding and judgment of the role. Only having experienced a role, having understood these actions of our hero, we can pass to appearance, put the movements, work on drawing a make-up, asking questions -what is necessary for this hero, what make-up will be put? What paints? and so on, but any way on the contrary as, without knowing character and experiences of the character, we as strangers take root into unfamiliar, other world of the character. Everything has to be comprehended and lived through by you because an external is only a reflection of the internal.

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