Best Article I've read yet about stage presence. A Must Read.
"Speaking of energy: If you want to think of the audience as giving off energy, think of that collective energy as floating up away from the people into the air. A dancer's energetic field floats around her and above her. The magic of stage presence is how to get the dancer's energy out into the audience, and how to engage the energy of the audience. By looking out OVER the audience, rather than directly at the audience, your energetic field will float over and out above the audience to mingle with the energy of the audience. That is how to get a dynamic exciting experience going between the audience and the performer.
As an example, I will dance for a minute or two with the finest technique but no lift, then will do nothing but walk around the room, but with the magic lift. Invariably the consensus is that, for entertainment, they would rather watch a technically "inferior" dancer if that dancer has stage presence. It is a more engaging, dynamic, and fun performance for the audience, than a performance by a dancer who might be technically skilled, but who slouches, doesn't lift, doesn't look over and out, etc. (Of course let me issue the disclaimer here that it is ALWAYS good to be a technically skilled dancer!) "
-Stage Presence - Part 1, by Amira Jamal
"Lift, look up and beyond, smile (but don't paste it on - music is so complex your facial expressions must reflect the various strands of the melody), and TAKE YOUR TIME. One other element in your stage presence package: Pacing yourself and not being too busy. If you think of yourself as an artist, and that your dance is a picture (in motion, of course), think of what you would rather look at: a serene painting (not a still life, but something that has organized color, texture, and a recognizable theme) or scribbling done by a young child...
A dancer who is experiencing the dance as it happens - as the music is converted to movement, is in for a wonderful treat, as is her audience."
-Stage Presence - Part 2, by Amira Jamal