Hi, Elsa.  I appreciate your question, but be warned, it could turn out to be a toxic subject!  I can picture voice teachers objecting that any use of the facial muscles not directly related to vocal production is dangerous to the voice and should NOT be considered part of their singing technique.  I can picture those with theatrical backgrounds (inlcuding, perhaps, Tom Carter) objecting that emotions should not be "pasted on" but should derive naturally from REAL feelings and emotions.

 

And personally I would have to come down somewhere in the middle.  And in part that's from directing show ensembles for several years (and being involved in community musical theater productions for a good many years as well).  Yes, we try to get our singers to have bright, happy expressions on their faces when the music calls for it, because an audience responds to that.  One of the best compliments you can get is that your ensemble "looks like they're really enjoying themselves"!  And yes, playing a character requires reflecting inner feelings and emotions the way that character would.  And in neither case does singing "dead-pan" project what needs to be projected.

 

But having spent 20 years in show business before getting involved in teaching, much of which involved doing 2 or 3 or 4 shows a night before audiences that could be difficult at times and occasionally--shall we say--chemically impaired, I also know that sometimes a performer doesn't necessarily feel "up" all the time and DOES need to manufacture the necessary emotions.

 

And here's the thing that I've discovered.  Yes, feeling the emotions internally and authentically will usually produce the matching facial expressions and body language.  BUT, putting on the facial expressions and body language can also work in reverse, and help produce the inner emotions.  It's a two-way street, and it really does work in both directions.

 

Which does not, I'm afraid, actually answer your question helpfully.  But at least it does put it in a slightly larger context.  And opens up a perfectly valid counter-question:  What do we accomplish when we encourage singers NOT to show emotion?!!!

 

I strongly recommend Tom Carter's book, "Choral Charisma," parts of which I understand may be available on line.  It's an excellent view of this whole question.

All the best,

John

In my experience videotaping and watching themselves perform is a very useful tool.  Additionally, if you can find videos on YouTube or elsewhere of choirs that perform with excellent facial expression that has been a good tool for me as well.  I have my students bring pocket mirrors to class which also helps self-monitor vowel shape.

 

Facial expression can be an awkward thing for a lot of kids, so engaging in something silly at the beginning of class to sort of get their walls down can be a big help.  I find my middle schoolers love to be silly - even my 8th grade girls' chorus - if I can get them started they usually take it and run.

 

Best of luck!

Claudia Corriere

Agree with both answers so far. Also useful to have members of the choir come out front and give feedback on how people look, and how it affects the experience for an audience member. That way they'll be smiling not because you tell them to, but because they know it makes the people they sing to feel better. 

 

I play a lot of games using a 'toggle switch' with my (adult, unauditioned) choir. The idea is to toggle between two different states whenever someone operates a 'switch' - which for us involves going out front and touching a folder on the floor in front of the choir with your foot. Anyone can operate the switch whenever they choose. It's a good way of both developing control over the dimension you are playing with, and putting control of the course of the exercise in the hands of the singers. You can use it for vocal exercises (e.g. switch between 'bubbling' and singing the words), for musical skills (e.g. switch between singing out loud, and singing in your head), and we have recently added switching between singing expressively and woodenly.

 

The big discovery for the singers doing this has been how much effect facial expressions have on the sound. They described the sound when singing without expression as like putting a mute in a brass instrument.

 

liz

The easiest way that I have found to elicite appropriate expression on the faces of my singers is for me to have the desired expression on my face and to make direct eye contact with the singers.  I have found choruses to be sort of like mirrors when I do this.  To make this work, the expression on my face needs to be genuine.  And of course one cannot be mouthing the words or looking at the music!