This module is designed to appreciate and explore the vocal and physical demands placed on the performer in any given space. It is founded upon a commitment to the integration of the physical and vocal techniques necessary for work in the theatre and for recorded media.  In Voice, designated texts (sonnets, poetry, political speeches and accent monologue other than own) will be explored and performed. The classes are practical and are heavily biased towards learning and training through ‘doing, reflecting, understanding and adapting’.  Relevant vocal anatomy and physiology, as well as phonetics, communication psychology and the use of the whole body, underscore the work.  

·         To increase awareness of somatic elements of expression

·         To maximise the capability for physical expression

·         to examine the factors indicative of and conducive to effective vocal practice

·         To develop students’ awareness of the demands placed on the voice and body by a variety of texts.

·         To enhance the students’ understanding of the creative, physiological and emotional contribution of the voice to performance

•       A centred physicality with core stability and ease of alignment
•      An ability to occupy space with a fully energised presence and body confidence
•      An ability to adapt and take on other forms and qualities of movement, styles and rhythms
•      A secure and systematic personal technique in voice
•       The ability to project the voice safely and effectively in a range of performance spaces
•      To enable the student to produce and perform a variety of accents including Received Pronunciation.
•    The ability to integrate creative and effective voice and speech techniques as elements of the acting process in a  range of rehearsal and performance contexts

Movement for Actors begins from the premise that nothing happens in the body that has not first arisen in the mind.  At the start of the year each part of the anatomy is visited by an exercise entailing extension and release, each instruction having its rationale explained and discussed.  As understanding and practice develop, elements from the Scottish Country Dance repertoire are introduced, to promote progressive acknowledgement of dance as a language of relationship rather than the exclusive province of display.  These principles are continued in classes such as historical and social dance. 

Voice work is delivered via three separate classes; Primitive Voice, Voice and Text, and Speech and Accent. 

From the outset students are required to begin the process of understanding their own habitual voice use, and to challenge and develop their vocal capability.  The target is Optimum Vocal Function (OVF). This requires that the speaker allows his/her voice to function naturally and effectively in a wide range of everyday and professional situations. Additionally students must also learn how to alter the balance of OVF to satisfy a range of professional challenges in varied performance environments.

OVF implies:

-          correct physical alignment

-          appreciation of relaxation and tension

-          correct breathing

-          breath support

-          correct vocal onset (beginning to voice)

-          correct phonation (turning breath into voiced sound)

-          use of pitch

-          balance of vocal tract resonance

-          use of body resonance

-          dynamic articulation

-          safe & effective projection

-          balance of breathing & phonatory mechanisms in order to avoid habitually pitching the voice too high or too low

-          emotional connection to voice and the psychological freedom to use it

-          vocal variety and dynamics according to play/character, socio-historical context and performance criteria.

Primitive Voice explores, develops and brings together all elements of the voice.  Initially work tends to focus on posture and breathing.  Later work explores and begins to train the mind, body, imagination and emotion in the practice of making sound, establishing resonance and focussing the voice.  Further work explores range and expression while integrating muscular clear articulation.  Breathing underpins all work in the module so that the voice is full connected. 

Speech and Accent sets out to explore, awareness of speech, speech sound and speech physicality.  It is delivered via practical exercises, recordings, written materials and analysis of one’s own and other people’s voices.  Students learn about phonetics and are required to understand the relationships between phonetic notation, speech sounds and speech physicality.

Voice and Text classes enable the actor to communicate from a characters’ perspective, responding to the way in which an author manipulates character and story through text form and structure.  Students will be required to select, learn, experience and speak texts such as satirical prose from letters or essay, or sonnets, for training and assessment purposes.  Developing the ability to respond flexibility and expressively to varying text forms is a key requirement of the course.

Individual voice and speech tutorials are provided for each student (2 per term) In these sessions work is particularly tailored to individual needs and can cover any of the work outlined above.  Records are kept to help build a profile of each student, their application and work

Group workshops and seminars

Individual tutorials

Lectures & Masterclasses

Required:

Berry, Cicely, The Actor and the Text, (London: Harrap, 1987)

Grotowski, J. Towards a Poor Theatre (New York: Simon and Schuster, 1968)

Lecoq, Jaques, The Moving Body, trans David Bradby (New York:  Routledge, 2001)

Rodenburg, Patsy, The Right to Speak, (London: Methuen Drama, 1992)

Recommended:

Berry, Cicely, Voice and the Actor, (London : Virgin, 2000)

Berry, C. The Actor and the Text (London: Virgin 2001)

Berry, C From Word to Play (London:Oberon, 2008)

Dennis, A. The Articulate Body (London: Nick Hern, 2002)

Honey, John. Does Accent Matter? The Pygmalion Factor. 2^nd ed. London: Faber and Faber

Newlove, J, Laban for Actors and Dancers (London: Nick Hern, 1993)

Houseman, Barbara. Finding Your Voice: A Complete Voice Training Manual for Actors  (London: Nick Hern, 2002)

Kiernan, Pauline. Filthy Shakespeare (London: Quercus, 2006)

Linklater, Kristin, Freeing the Natural Voice, (London: Nick Hern, 2002.)

Linklater, K. Freeing Shakespeare’s Voice (New York: Theatre Communications Group 1991)

Marshall, Lorna The Body Speaks (London: Methuen 2002)

McCallion, The Voice Book (London: Faber and Faber, 1989)

Ochten and Hill. Shakespeare's Insults. Main Sail

Oida, Yoshi, and Lorna Marshall. The Invisible Actor. London: Methuen, 1997

Pisk, L The Actor and His Body (London: Methuen, 1975)

Pitches, J.  Vsevolod Meyerhold (London: Routledge, 2003)

Richards, T. At work with Grotowski on Physical Action (London: Routledge, 1995)

Rodenburg, Patsy, The Need for Words (London: Methuen Drama, 1993)

Rodenburg, Patsy, The Actor Speaks (London : Methuen , 1997)

Rodenburg, P. How to Do Accents ( London: Oberon 2007)