JAVS Spring 2022

In the Studio

Poetic License Utilizing Poetry as Performance for the Injured Musician by Ann Marie Brink

Unlike prose, poetry is a form of literature that selects and arranges specific words for their rhythm and sound to evoke meaningful, emotional responses in the listener or reader. Reciting poetry is a form of performance, one which does not require the physical challenges of playing the viola but does require the skilled delivery of spoken word. Reciting poetry also does not require that students have formal vocal training such as a singer nor does it require the physical use of staging needed by an actor. As such, reciting poetry can be a valuable pedagogical substitute for performing the viola. Similar challenges shared by viola performance and poetry recitation include: • Dynamics/Loud vs Soft • Tempo/Speed of Speech • Meter/Inflection • P hrasing Grouping of notes or words to indicate meaning • P erformance Anxiety: Heart Rate, shaking, other physical symptoms experienced when delivering a performance Through reciting poetry, Michelle was able to participate and learn from the drills in class and had no risk of further injury. We both feel that sharing Michelle’s experiences in reciting poetry could potentially be beneficial to other students who may be unable to play the viola but who need to participate in performance activities. Injured students may benefit from reciting poetry in performance when unable to play the viola not only by honing valuable performance skills that reciting poetry offers but also by continuing to forge their camaraderie, value and belonging in performance • Memorization • Articulation/Diction • Intonation 2

Introduction Performance anxiety labs as part of the DePaul viola pedagogy class require students to perform 1-2 minutes of a difficult work or orchestral excerpt in class. The goal of this lab is to have students experience an increase in their heart rate by doing jumping jacks, running in place or up a flight of stairs, or some other form of exercise, and then using the “centering down” steps suggested by Don Greene in his book Audition Success in the moments before performing for their classmates. “Centering down” is borrowed from martial arts strategy—specifically from Aikido—in which a student utilizes one of several techniques to reset their mind, bring awareness to their breathing, and refocusing their energy. 1 Greene lays out a series of 7 steps in his book before practicing or performing:

1. Form a clear intention 2. Pick a focal point 3. Breathe mindfully 4. Release tension 5. Find your Center 6. Use a process cue 7. Direct your energy

It came to my attention that one of the students— Michelle Manson—was injured and unable to play her instrument in class. When I learned of Michelle’s injury, I was concerned that she would not gain the useful experience and skills from the performance lab, as it requires a truly “hands-on” approach. As we discussed our options, Michelle suggested reciting poetry as a performance substitute for playing the viola. By reciting she would be able to participate in the class without aggravating her injury. We agreed that the experiment was worth trying.

Journal of the American Viola Society / Vol. 38, No. 1, Spring 2022

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