Voice Training 2

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Name of lecturer(s)

Department

The subject provides Department of Alternative and Puppet Theatre

Contents

The course aims to acquire proper habits concerning voice emission in singing and speech needed to work as an actor-puppeteer.

Content of subject

Group voice training classes open up the space for the development of the ability to hear oneself in a group and at the same time to hear others and be in a good contact with them, to be able vocally adapt and co-organize.

The course offers opportunity to get to know and practice polyvagal exercises to improve vocal fitness and prevent vocal disorders and take an introduction to the basics of vocal hygiene.

These classes are exercises aimed at educating the student in the skill of using the voice. The course includes: breathing and singing exercises, exercises developing the range and timbre of voice, evening out vowel registers, achieving a steady and clear intonation. The aim of the course is to create an expressive, dynamic, vivid stage voice, which creates the opportunity to express one’s thoughts, moods, emotions, intentions and feelings. The tasks are based on performing exercises aimed at developing proper breathing, loosening up and releasing a natural voice emission. Apart from the technical aspect of sound, an important component is voice awareness, as well as the imagination and emotions associated with it. Cooperation with the body is also extremely important here (the body as the source of voice – breathing; releasing the voice; resonators, etc.)

Learning outcomes

In the field of knowledge (K), the student:

• is able to justify the fact that the voice communicates the quality of human psychosomatics and co-creates the holistic expression of individuality

*is able to realize that the quality of the voice reflects the harmony of the conscious and subconscious life of the individual.

In the field of skills (S), the student:

• is able to understand the mechanism of natural (mixed) breathing and its relationship to thought, muscles and emotions, i.e. to induce the principle of self-awareness and thus attempt to integrate rational, sensory and emotional awareness
• is able to consciously control the breath, which restores a harmonious balance between body, mind and emotions

Prerequisites and other requirements

Accomplished subjects Voice training 1,2 in previous semesters are recommended.

Literature

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.

Additional reading:

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

Zinder, David G.. Body voice imagination image, Routledge 2009.

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

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

Titze, Ingo R.. Principles of voice production, 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, Edgar S. Werner Publisher, 1888.

Rodenburg, Patsy. Speaking Shakespeare, Bloomsbury Methuen Drama, 2002.

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

Rodenburg, Patsy. The Need for Words Voice and the Text, Bloomsbury Methuen Drama, 2005.

Salzman, Eric. The new music theater seeing the voice, hearing the body., Oxford University Press, 2008.

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

Rodenburg, Patsy. The Right to Speak working with the voice, Bloomsbury Methuen Drama, 1992.

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

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

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

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

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

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

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

Berry, Cicely. Voice and the Actor, Wiley Publishing, 1973.

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

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

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

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

Evaluation methods and criteria

Assessment method Credits are awarded on the basis of work activity in exercises and seminars; preparation of a reflection on the practical application of the acquired skills; a theoretical interview on the basics of voice technique and its importance for the development of personality. Completion of the course will require attendance with a maximum of three excused absences per semester.

Further information

No schedule has been prepared for this course

The subject is a part of the following study plans