John teaches a wide variety of workshops and masterclasses during the year, often with a particular focus for the group of singers being taught.

audition preparation

This one-day or half-day masterclass is offered on a regular basis in Berlin. Working individually with John in a hands-on mock audition setting before the entire group of participants, singers learn how to prepare for auditions physically, mentally and emotionally, and to draw on that confidence from the first moment they enter the audition.

Masterclass, Tel Aviv
Masterclass, Tel Aviv
Masterclass, Tel Aviv
Masterclass, Tel Aviv

Discovering authentic dramatic interpretations that bring the music to life in cooperation with their own technical vocal demands and the vocal and emotional demands of their audition repertoire, singers learn to conquer nerves and perform with freedom and confidence.

performance practices

A 10-day intensive program for promising young professional singers, which was piloted in Berlin in the summer of 2010.

The workshop featured daily body work and vocal warm ups with John Norris and Alexander Technique Master Ann Rodiger, vocal technique with soprano Abbie Furmansky and tenor Thomas Michael Allen, acting with soprano Catherine Cangiano, and musical coaching with Chris Crans, Trung Sam and Boris Anifantakis.

Workshop, Berlin
Workshop, Berlin
 Workshop, Berlin

acting for singers

An intensive 2- to 4-day training session for singers of all disciplines. Through a variety of acting exercises, improvisations and journaling over one or two weekends, singers learn to reveal the true singing actor within, and discover ways to maintain vocal integrity within the context of honest dramatic portrayal.

Quote about Intensive Acting for Singers:

Blog - The Living voice institute, Antwerp (March 2010) about his workshop

Institute for living Voice, Antwerp
Institute for living Voice, Antwerp

... „In a sharp contrast to Michael Lentz’ intellectual discourse, John Norris encouraged his participants to STOP thinking in order to free their faces, emotions, gestures, and ultimately their voices from the constraints of thinking. 

Participants were directed through a series of fun and physical exercises.  Running around the room backwards while hissing gleefully and sharing eye contact, the singers began to relax and let go.  John then instructed them to take turns creating or imitating gestures composed of movement, emotion, and sound.  This game removed the participants from the act of singing; but curiously, their expressive physical habits associated with singing remained.  Now the exercise was repeated without sound.  The result was that only the physical cliches of each individual remained…. and a new sense of self-awareness.  The next exercise involved groups of two.  Each group selected two opposing emotions, i.e. sadness and joy.  They then took turns creating movement/sound gestures with these opposing emotions.  Things got real loud real fast!  John quieted the group down and added one last constraint:  Create a sequence of four gestures from your chosen opposing emotions…. And memorize it. 

That is when things got interesting.  An experienced director, John separated each pair and gave each singer a story to act out using the sequence of gestures.  An instant performance was created, with both actors expressing themselves with the same four gestures and only two emotions.  The performances were absolutely crazy! The performers themselves could not believe how they were acting.  Here’s the twist: John had given each performer a different and sometimes conflicting story.  Amidst the chaos and constraints, a little more self-awareness and freedom had blossomed….

The second and final workshop of John Norris began with a series of überrelaxing exercises. Slow breathing, slower stretches, deep facial massages,  and - uh… that’s all I remember, so I guess I fell asleep.  Just kidding, although I must say I felt somewhat in a dream.  Once everyone was floating on cloud nine, John continued with the progression of the exercises from the previous workshop. Of particular note was a beautiful exercise whereby each pair of students faced each other with palms touching and closed eyes.  One person was leader and one was follower.  The leader would move her hands as she wished while the follower would try to follow the movement providing the least amount of resistance.  Occasionally, and with increasing frequency, John would instruct the leader and follower to switch roles.  Suddenly, he said: “now you are both followers”.  Gentle hmmmmms, ohs, and ahs bounced around the room.  “Now bring it to an end”, he instructed and then “Now open your eyes” and there was not one face without a grin, a smile, or at minimum a smirk.

Taking the participants back to movement/emotion/sound gestures, John once again had everyone come up with a sequence of four gestures.  First, everyone performed them unaltered. Second, we performed them without sound, separating the physical expressions associated with sing from the act of singing. Finally, the gestures were performed without guesture!  Just sound.  HOW DIFFICULT.  Did I say difficult? Let me correct myself: IMPOSSIBLE.  No one could produce a sound without at least a twitch of physical expression.  But before we could THINK about that, John had one more fun activity for his participants….

TRIOS.  I would gladly write about them but my vocabulary falls short of describing the twisted and hilarious performances that followed.“ ...

http://blog.instituteforlivingvoice.be/?p=304
http://blog.instituteforlivingvoice.be/?p=309