Individual Voice Education 3

Display Schedule

Code	Completion	Credits	Range	Language Instruction	Semester
202EIL3	credit	1	1 hours (45 min) of instruction per week, 16 to 21 hours of self-study	English	winter

Subject guarantor

Tereza JANDA ROGLOVÁ

Name of lecturer(s)

Pavla FENDRICHOVÁ

Department

Předmět zajišťuje Department of Authorial Creativity and Pedagogy

Voice training is understood as one component of artistic training - very good self-realization - meaning aimed towards getting to know oneself and one's potential also for training the voice. All Alternative Theatre and Puppetry Dept. body-mind course are aimed in this direction.

Learning outcomes

Create impetus for general recognition of the importance of the psychological basis of individual functional voice exercises.
Developing vocal basics and the phsyical-mental conditions, the need to induce voice exercises in a corresponding physical-mental system. For each harmonically tuned function (in the sense of the harmonic interplay of healthy, vitalizing, mental, physical and vocal production).
The mediator is primarily the conscientious management of breating which renews the harmonic balance among the body, thoughts and emotions.
To understand the mechanism of natural (miscellaneous) breathing and its relationship to thought, muscles and emotion, that is, to induce prmiciples of self-awareness and attempt to integrate rational, sensible and emotional thought.
Justify the reality that voice is a communication of human physical-mental quality and co-creates a comprehensive expression of individuality.
Quality of voice reflects the tuning of the conscious and subconscious of the individual.

Prerequisites and other requirements

Basic music theory knowledge, middle-school knowledge of wind instruments, vocal and articulation apparatuses. Musicality. Interest in the study. Presumed education.

Literature

Seikel, John A.: Anatomy and Physiology for Speech, Language, and Hearing. Clifton Park Delmar cengage learning 2010.

Zinder, David G.: Body voice imagination image. London, New York: Routledge 2009.

Garfield Davies, D.: Care of the professional voice, a guide to voice management for singers, actors and professional voice users. New York: Routledge 2005.

Marafioti, P. Mario: Caruso´s Method of Voice Production the Scientific Culture od the Voice. New York: Appleton-Century 1937.

Linklater, Kristin: Freeing the natural voice. New York: Drama Book Publishers 1976.

Houseman, Barbara: Finding your voice, a step-by-step guide for actors. London: Nick Hern Books 2012.

Titze, Ingo R.: Principles of voice production. Iowa City: National Center for Voice and Speech 2000.

Miller, Donald: Resonance in singing voice building through acoustic feedback. Princeton: Inside view press 2008

Stebbins, Genevieve: Society gymnastics and voice-culture adapted from the Delsarte system. New York: Edgar S. Werner Publishing & Supply Co. 1888

Rodenburg, Patsy: Speaking Shakespeare. London: Methuen 2002.

Rodenburg, Patsy: The actor speaks voice and the performer. London: Methuen Drama 2005.

Rodenburg, Patsy: The Need for Words Voice and the Text. London: Methuen 2005.

Salzman, Eric: Thenew music theater seeing the voice, hearing the body. New York: Oxford University Press 2008.

Newham, Paul: Therapeutic voicework principles and practice for the use of singing as a therapy. London, Philadelphia: Jessica Kingsley 1998.

Rodenburg, Patsy: The Right to Speak working with the voice. London: Methuen 1992

Lewis, Dennis: The Tao of Natural Breathing for Health, Well-Being and Inner Growth: San Francisco: Mountain Wind Publishing 1997

Edgerton, Michael Edward: The 21st-century voice contemporary and traditional extra-normal voice. Lanham: Scarecrow Press 2004.

Alschitz, Jurij: Training forever!. Malmö: Lund University, Malmö Theatre Academy 2003.

Titze, Ingo R.: Vocology the science and practice of voice habilitation. Iowa City: Utah National Center for Voice and Speech 2012.

Shewell, Christina: Voice work art and science in changing voices. Chichester: Wiley-Blackwell 2009.

Martin, Jacqueline: Voice in modern theatre. London: Routledge 1991.

Gutekunst, Christina: Voice into acting Integrating voice and the Stanislavski approach. London, New York: Bloomsbury Methuen Drama 2014.

Berry, Cicely: Voice and the Actor. New York: Wiley Publishing 1973.

Berry, Cicely: Your voice and how to use it. London: Virgin Books 2000.

Campo, Giuliano: Zygmunt Molik’s voice and body work the legacy of Jerzy Grotowski. London, New York: Routledge 2010.

Chapman, Janice L.: Singing and teaching singing. 2012.

Fields, Victor Alexander: Training the Singing Voice. 1947.

Evaluation methods and criteria

Credit is awarded based on:

Working activity in exercises and classes;
completion of two reviews at the summary of both semesters;
theory interview on voice technique theory and its importance for personal development.

	06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
Tue	room R407a Učebna (Karlova 26, Praha 1) FENDRICHOVÁ P. 12:45–15:00 (parallel1)
Wed
Thu
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Tue	12:45–15:00	Pavla FENDRICHOVÁ	Učebna Karlova 26, Praha 1		parallel1

Schedule for summer semester 2024/2025:

The schedule has not yet been prepared

The subject is a part of the following study plans

Authorial Acting in English (B.A.) (Required subjects)
Authorial Acting in English (B.A.) (Required subjects)