Towards freer performance: An investigation into physical, interpretative and expressive acting techniques for enhancing solo piano performance

Abstract

Solo instrumentalists are largely isolated from the influence of other performance genres. The author’s prior experiences demonstrated that musicians can learn from other types of performers, particularly from actors, in order to foster freer performance, though further research was required to investigate this in more detail. This research thus follows the author’s process of investigating and integrating a selection of physical, interpretative and expressive acting techniques into her musical practice and performance. Sources in the areas of acting and music examine various techniques for interpretation and expression. These include relaxation, emotion and affective memory, substitution, imagination and creative images, psychological gesture, and concentration. Research into acting confirms that these techniques aid the actor to come alive physically and emotionally in performance. However, there are very few sources that examine the potential for integration of these acting techniques into musical practice and performance. In this research the author examines and integrates these techniques into her practice, providing first-hand experience of their applicability to piano performance. This project follows an artistic research approach. The author undertook acting lessons and applied the knowledge learned in her practice and performance. Data was generated through personal and unguided reflective journal entries. Thematic coding uncovered two primary themes that may assist with the integration of acting techniques: breathing and authenticity. Breathing is the process of respiration: inspiration of oxygen to spread throughout the body and expiration of carbon dioxide and other waste gases. Diaphragmatic breathing, characterised by contracting and expanding the diaphragm in respiration, is of primary importance in this research. The author’s study of diaphragmatic breathing assisted in producing freer performance through a reduction of performance anxiety, improved posture, a greater understanding of tension and relaxation, and freedom of movement. It is therefore possible that other instrumentalists, particularly pianists, may find diaphragmatic breathing helpful to enhance physicality within musical interpretation and expression. The practice of authenticity is that which reproduces essential features of a work or that which is true to one’s personality or character. The author’s study of authenticity focused on sincerity for the artist, artwork authenticity and authenticity within performance. The application of authenticity within the author’s practice and performance broadened her approach to interpretation and expression. Instrumentalists may find that a cultivation of authenticity is beneficial as an encouragement towards open and sincere performance. Instrumental performers may find this research valuable for the expansion of their interpretative and expressive palette. They may also benefit from being informed about the impact that acting may have on their artistry. Additionally, instrumental teachers and pedagogues may find value in exploring the techniques and themes within this dissertation because they offer a new approach to musical practice and performance.