...there are several aspects of the Group Theatre members' work on technique expressed here. In particular, Barbra Streisand's comment about the "accident" in this recording. View (below) Herbie Hancock's reminisce about when he was employed by Miles Davis: "There Are No Wrong Notes." As Uta Hagen said, she doesn't teach improvisation because the performance of the scene is an improvisation. Yes, yes, I'm aware that improvisation is still being taught by students of Adler Meisner and Strasberg. But it must be pointed out that the original work on improvisation had a very specific purpose: To learn how to play an action/objective.
I agree with Michael Bublé that Streisand's talent transcends her musical gifts. I think this is because she recognizes that the lyric dominates the melody; that the melody supports the lyric. I think this is true regardless of the genre; from opera to rap. Therefore, a singer has the same challenge as an actor: To find the image, the history of the sentence, what drives the idea of the sentence, before that sentence can come alive for oneself and then resonate for one's audience.
I agree with Michael Bublé that Streisand's talent transcends her musical gifts. I think this is because she recognizes that the lyric dominates the melody; that the melody supports the lyric. I think this is true regardless of the genre; from opera to rap. Therefore, a singer has the same challenge as an actor: To find the image, the history of the sentence, what drives the idea of the sentence, before that sentence can come alive for oneself and then resonate for one's audience.
