You speak of being “axial” and “noble.” How can a singer remain axial and noble while responding to all the stage business that opera and music-theater directors demand of us?
Regardless of the performance medium, it is neither possible nor desirable to hold to a rigid, static body posture. In fact, there are no physical movements or body positions that a stage director may request that cannot be accommodated (unless bizarre contortion is required at high vocal climaxes). However, because the relationship between breath management and phonation is fundamental to solid technique, physical alignment must become standardized procedure. Maintaining a noble position does not mean that it is never varied to meet dramatic obligations. Head, neck, and torso alignment can pertain in standing, walking, dancing, fencing, bowing, kneeling, sitting, or lying down. In fact, all can be ideal for singing. Stage movement benefits vocal freedom (not to be mistaken for rhythmic weaving and bobbing). Because of the body alignment it induces, a number of singers find lying down on stage can actually be beneficial to vocalism. In any postural stance, the head can be turned to either side without disturbing the basic axial