There is, to my mind, but one way to account for this condition of
depression among singers. That is, the way they think, or are taught to
think, in regard to the use of their bodies in singing. The way in which
they breathe and control the breath, the way in which they drive and
control the tone. It is the result of rigid muscular effort or relaxation,
and both depress not only the voice but the singer as well. The tonal
result is indisputable evidence of this.
Knowledge comes through experience; and my experience in studying both
sides of this question has convinced me that there is but one way to
develop physical, mental and emotional vitality in the singer, and that is
through some system of flexible, vitalized bodily movements. There must be
flexible firmness, firmness without rigidity. The movements as given in my
book, "Position and Action in Singing," and as here given, develop these
conditions. They give the singer physical vitality, freedom of voice,
spontaneity, absolute automatic breath control, and make self-expression,
emotional expression, and tone-color, not only possible but comparatively
easy. Singing is self-expression, an expression of thought and feeling.
There must be a medium, however, for the expression of feeling aroused
through thought; that medium is the body and the body alone. Therefore it
is easy to see the importance of so training the body that it will respond
automatically to the thought and will of the singer.
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