D.R.A.G. 101- Perfect Song (but how?) cont.

If you have chosen a song, play with style, take the Dramatization tips and incorporate your own spin on this material. Your personal style is the link that will bridge your song into a number and create a signature that keeps your audience growing. The last thing you want is one bored audience member, this is a business and one person will tell a friend if they liked something but five if they hated it or were offended, we are selling a product which can easily be replaced, that being said most audiences are willing to give you time to improve before they pass judgement.
Personal style is unfortunately the one aspect we are unable to teach, this is up to you, however it should come organically and you will soon find yourself moving toward a specific genre that best compliments your new found style.

Indulgent Revue

Indulge me if you will...

Most of the information posted on this blog,Wickedmirror, is taken directly from my condensed D.R.A.G. 101 manual "How to Succeed in My Shoes Without Even Trying". The following (D.R.A.G 101-Who Are You?) has only recently been added to further educate and elaborate upon the points made in the Stage Performance sections.

and I will indulge you...

For those (too lazy) who haven't taken the time to review the information provided on D.R.A.G 101 I will quickly revue the four principles which make up the hyde n'outt D.R.A.G. experience:

DRAMATIZATION:The ART of Stage Performance and Verbal Illusion

REPUTATION: The ART of Character and Integrity

Appearance: The ART of Makeup Design

GUISE: The ART of Costume and Hair Design

please feel free to email any questions to hyde.n.outt@gmail.com

D.R.A.G. 101- Who Are You?

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Let us take a trip off the beaten track, this section is not included in the mini manual but I thought it may be helpful in relation to the Stage Performance post.
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It can take years to master the art and in this industry you will find there are a few basic types of performers, meeting and understanding these types may help you find your personal style:

The Pop Princess:
Looks perfect singing the popular top forty charts and emulating the movements of the professionals. This works and does make a lot of money, however in this case dance knowledge and choreography is extremely important and one of the hardest aspects to teach, you either have it or you learn it from professionals. I recommend that if you really want to look good you spend the money and pay a choreographer to teach you the basic moves and use these to built a repertoire of pop-like moves.

The Impersonator:
Spends hours watching old footage of the greats, mimicking movements and channeling characters. These are some of the greatest drag performers taking years of keen observation and dedication to master this art. If you wish to peruse this avenue keep in mind when researching its in the tiny human flaws, a smile, a squint, the way a mouth moves on a specific word, the little nuances and not overplaying the character that make a great impersonator. (i.e. Canadian performer Craig Russell)

The Comedian:
Generally found hosting, she is naturally witty and sharp tongued; she spends hours even weeks before a show writing material. Comedy is a majority of the entertainment drag queens provide however the comedian is and able to play off the audience quickly which is what keeps her in demand. If our not a size two you’re probably funny, most of the times this isn't enough. Start by writing personal experiences, build from feedback and don't be afraid to get it wrong.

The Realistic:
Naturally beautiful, she is perfectly real looking in most cases able to pass as female with little effort. Many believe they are but little can be said about the true enigma, these can be the highest paid performers. You either have it or you don’t, you cannot fake the realistic without surgery, and even then most people can tell.

The above, an observation of degrees and talents, are by no means a cut and dry segregation, you may not fit into any of these molds, most performers are some combination of the above but there are some that are just naturally great performers and do not fit into any category. The comedian however does touch on a very important aspect of Hosting. (this will be covered in detail by clicking the "Hosting" post label if available)

D.R.A.G. 101- Perfect Song (but how?)

Telling you to find the perfect number is the easy part, explaining why is a little more involved but showing you how to really find these numbers is the real question we must tackle.

It's all about leg work... We need to get out into the scene, see what's been done and start knock on doors.
It can be very frustrating to find once in a lifetime original recordings and you may break the bank trying to get them, this is why i recommend that mature seasoned professionals become your first resource. Seeking out the older more experinced queens, professionals who may not be performing any longer, is a great resource; these individuals are more likely to help then performing Queens as you are not competition to them. Most retired Queens still have a vault of tremendous recordings they are willing to share, these recording may still be on vinyl but with todays technology a few simple programs can rip records to MP3 format. Never underestimate the power, we all want to help you but you have to ask.
Keep in mind some of these Queens have been sitting on numbers for ten or twenty years, vowing to take them to their grave, so unless you are serious about respecting their treasures don’t ask. You have to show potential before anyone is going to trust you with their numbers.

A DRAG Mother is another great way to find material, find a current performer and ask if you can study under them, like a apprentice, this does take a much longer process but as with all great things you are guaranteed to receive valuable knowledge and if chosen correctly comes with built in securities. (If anyone is interest I can cover the benefits of a DRAG MOTHER in more detail)

Many queens I have nurtured find it easiest just to sit in front of their computer and research obscure theatrical musicals or artists. The sixties, seventies and eighties are a great place to start for obscure artists most songs are no longer in play and you can find completely outrageous lyrics. The internet can be your friend, just start searching:
Another great place to research is the library, allot of libraries still house musical recordings in a defined section, treasure this resource and please DO NOT DAMAGE these recording in anyway. Many times these are the last of the recordings and they can not be found anywhere else. if you find a recording you like enough, write down not only the artist name but the lyricist and CD title, go home and search by all of the above, you will be amazed by your findings. Web blogs (like this one) and chat rooms are increasing the popularity of previously unknown material, there is a growing interest, inquire everywhere you go on the internet you may just again be surprised by the response you get.

A lot of the material you will receive or listen too will be useless, either outdated or just not your genre, keep a positive attitude and persist, before you can succeed you have to find a least one solid number you can really drive home, once you get this bridge you will find the process allot easier.

D.R.A.G. 101- Perfect Song

Being a Drag Queen is more than female impersonation it is a delicate and fine art form, and finding the right song will be one of your biggest hurdles. It is not enough to be trained, as an artist it is your duty to find your niche, you must have the ability to make the right song choice for your abilities.

“A drag queen is just an average without the perfect number”

A performers song, set or performance is their signature. You will hear these signatures referred to here forth as the performers 'number'. A number is any song or performance an artist is known to perform (in our case it IS the show). One show can be made up of between seven and twenty numbers generally preformed back-to-back with alternating performers. You should always have three numbers and an encore prepared. This set-up will change depending on the market and demand for performers.

Example: In Alberta I was required to open and close a show only if hosting and perform one number if supporting, where as most shows in British Columbia I would be expected to have the three solos minimum and encore for all shows.

In the beginning you may find it difficult to find any numbers that work for you, in the long run we all find the numbers that speak to us, these are the numbers which will make up your niche to set you apart from every-other performer.

To find songs that work best for you, go ahead and start with a genre you are comfortable with, if you listen to allot of popular music start there, I don’t recommend unless you have the determination and ability (as will be covered in detail) to hold these songs you choose this as permanent signature, however feel free get a feel for the music then move into songs you can truly make your own. The key to your niche is to find songs an audience has never heard before something you can claim as your own, you want to have an audience requesting your numbers as your own. Live singers have a giant foot up in this context as they are in constant demand to write new material. By choosing popular songs you are guaranteeing that an audience has heard and knows the song you are presenting, by going out of your way to find obscure recordings for this same work will reinforce a willingness to buy into the work you have created.

D.R.A.G. 101- Stage Presence (cont)

6) KNOW YOUR LIGHTING

A fine line must be made between drag performance and camp. It is fun to be campy when time calls for this but a true understanding of the stage and how movement appears is critical. Par Can (parabolic reflector lamp in a canister), or nightclub stage lighting, is some of the harshest lights you will encounter in performance, these lights are the reason behind numerous movement and make-up do's and don’ts we will cover in posts. It is your job, take time to understand the lighting conditions of your venue and spend some time watching how it reacts to movement and find a balance. Determine where the Par Cans are in relation to your performance most of the time you will not get complete coverage. Your performance is directly effected by how these lights read. Some larger movements of the arms or head or specific poses, tilting the head back, can be greatly amplified, appearing garish if not done in the correct lighting. Smaller demure motions, specific to “Celebrity Impersonation” may be lost completely.

In closing many drag queens lose sight of the larger picture when it comes to performance, personality. The six basic rules we covered here may just save your career. Starting out with a basic understanding of how you are perceived is pivotal in developing stage presence but we can never forget who we are. Stage presence is the art of winning over a crowd with out a word. We should be able to use the resources provided to develop a sense of perception while remaining who we are as individuals.

D.R.A.G. 101- Stage Presence (cont)

5) SHAKE IT UNTIL YOU MAKE IT!

Confidence in you product is probably the hardest roadblock to overcome when first starting out in the entertainment industry not just stage acting but all aspects of entertainment. Some times we do have to assume the best to proceed. If you think you are nobody it is assumed that the audience will agree, in turn if you think your performance sucked so does the audience. We are always looking to outside sources to judge our own opinions, it is human nature which is why we depend so much on journalistic editorial, and “professional” opinions. How you feel about the new spring line or blockbuster video picks is directly reflected by how other felt about he same subjects. We are no saying this is condoned but it is how you are judged as well a larger portion of an audiences opinion is how you react to them. If you get one audience member clapping and encourage the same from those around him/her soon everyone is clapping and you exit everyone assumes they enjoyed what the saw because the are clapping. Confidence is difficult but it will come in the beginning to make it in this business you must assume everyone is here, and wants to watch you.

D.R.A.G. 101- Stage Presence (cont)

4) REMEMBER YOUR WORDS

The art of Verbal illusion is an extremely difficult and lengthy process, we expect you to do the work and learn any NEW material however after a while it does get overwhelming. I would never expect anyone to truly learn and memorize every lyric to all of their catalogued previous numbers forever. If you did the work in the beginning and worked on the exercises (included in "How to Succeed in my Shoes Without Even Trying), you should have the ability and resources to reorder this information. Before a show take a moment to reflect on the song, listen and re-absorb the lyrics and movement. It is important you know the words. Nobody thinks you are actually singing but it is our job to come as close to this illusion as possible, you must at least attempt to learn your words and if all else fails, leave it until next time and try a different number.

D.R.A.G. 101- Stage Presence (cont)

2) WAIT UNTIL YOU HAVE A FAN BASE.
A lot of new performers see seasoned professionals doing outrageous stunts and think its OK. You are still a stranger to an audience, respect there space.

Performance is always a difficult judgment call, if you know that there is an audience sitting along the sidelines close to the stage use them to your advantage. People are coming to be entertained incorporate the audience get them involved in the show, but until you have a reputation and a fan base don’t indulge in their drinks or feel them up; you are still a stranger to this audience respect that for right now, it pays in the long run.
A lot of new performers see seasoned professionals who have a fan base doing outrageous stunts and think its OK. Once you have that fan base feel free to use whatever you want to keep them coming back if this means drinking their jug of beer during a musical interlude go ahead, just remember you should probably have it replaced by the time the show is over.

D.R.A.G. 101- Stage Presence

There are two types of shows if you succeed you will have opportunity to participate in, amateur and professional productions. We aren’t stressing perfection, but professionalism and thought. An “amateur show” is not a bad thing, and will be a right of passage for most performers, however this term implies we are not being paid, as drag queens we all do free shows for experience. Simply put we believe that if we are being paid we have a duty to professionalism and if you follow the D.R.A.G. 101 guidelines you will have a step up and will exit as professionals. If you are to succeed there are a few things we must cover first, the next few posts will be dedicated to these rules. try to follow and you will find an industry filled with potential..

1) AUDIENCES COME TO SEE PROFESSIONAL SHOWS.

The first key to achieving stage presence is understanding your purpose as a performer. We talk a lot about professionalism and duty of character. Your audience is your customer, they pay the bills. In most cases you will be performing at bars and night clubs in these cases the more they drink the more you get paid, directly by percentage or by draw and demand. Upset the audience, make them leave and you may not be asked back. The worst thing you can do as a performer is appear out of control, even though we are encouraging others to drink you MUST know your personal limit. Do not drink before the show if at all possible and only accept drinks or shooters on stage if it is understood as part of a “tip”, NEVER refuse these offers take a sip thank the customer and place the offer beside the stage to drink sociably after the show. I make it a point not to drink at all before a big show because these “tips” are very common place and it is easy to go overboard quickly.

D.R.A.G. 101 - Verbal Illusion

The term ‘Lip sync’ is by now more than synonymous with the art of drag performance. However, as with all art, an artist must evolve beyond the standard to demonstrate true talent, humor and emotion to be taken seriously. Our job as drag queens of the world will be to take a look at your aptitude and apply your talents to the success of your performance we should be able to locate and demonstrate expression without the use of spoken word. There is no science to being on a stage; yet by using our best judgment to differentiate between what works and what doesn’t, we are better able to understand how the stage works to reflect our best assets. People ask why I call Drag "lip sync" Verbal Illusion? Think about it this way:

il·lu·sion (ĭ-lū'zhən) noun: a distortion of a sensory perception.

Verbal Illusion is the art of matching and conveying emotion and indignation, in your face and body, which will match the vocal lyrics and expression of the “original artist”. Each of the human senses can be deceived by illusions, but visual illusions are the visual and auditory illusions are most common. In Verbal Illusion I have combined both Auditory and Visual illusion. We do not perform lip sync, due to the stigma attached to its referral being loose and sloppy mime of actual events. A true Drag Queen is able to convey that an audio or sound clip is functioning fluidly through them and hence a visual and verbal illusion. No matter how long you rehearse or how many songs you can memorize, it’s the emotion you are able to convey behind the words which makes up the art of Verbal Illusion.

What the Heck is D.R.A.G. 101?

The hyde n’OUTT productions basics of drag are broken down into Four Main Principles: Dramatization, Reputation, Appearance and Guise. These Principles are further broken down into subcategories covering the scope of required information. By following these simple guidelines you too can become a well respected and talent driven preformer (in all aspects of entertainment).

DRAMATIZATION we learn about Verbal Illusion, Stage Presence, picking the Perfect Number, Practice Tecniques, and Preformance guidelines.

REPUTATION is souly focused on Attitude and Integrity of Character (in general a bitch does not get booked)

APPEARANCE is the longest section and focuses on the Art of Drag. Shopping, Grooming, the purpose Make-ups, Getting a Canvas and only then Make-up Application.

GUISE is dedicated to findiong and using a costume from Foundation Garments and Full Wardrobe, to Heels, Wigs and Final Touches.

I'm not just a pretty face you know.. these aspects all combine to create D.R.A.G. 101
(you can use the post labels to find future posts about any of the Principles)