| I work in musical theater coaching "Triple Threat" | | | | more innate, deeper than the others. So I will |
| performers - the actor/singer/dancer. The triple | | | | switch my coaching language to fit that mode. |
| threat performer is able to sing, dance and act to | | | | Say your first language is dance - I might choose |
| a high level - and musical theatre shows are | | | | to describe my technical instructions in terms of |
| packed with roles that require all three. But even | | | | movement, physical energy or the use of |
| the triple threat performers usually have one | | | | muscles. If your main language is acting, I might |
| aspect of their talent that is their most "natural". | | | | choose a route to vocal improvement via |
| And that's what I look for. | | | | characterisation, emotion, keyword description or |
| I like to find out what my clients do that is so | | | | even use a plot device as a jumping off point. |
| easy they don't even think about it, and help | | | | And if singing is your first, most fundamental |
| them transfer those innate skills into their other | | | | language, I might choose to describe technical |
| work areas. In the case of the triple threat, there | | | | singing or acting instructions as phrase shapes, |
| is usually one mode of communication that is | | | | color or rhythm. |