Training Actors' Voices: Towards an Intercultural/Interdisciplinary Approach

Actor training in the US and UK has become increasingly multicultural and multilinguistic, with border-crossing, cross-cultural exchange, and the rise of the intercultural actor shaping it. Tara McAllister-Viel offers an alternative approach to training actors' voices by (re)considering the materials of training: breath, sound, presence, and text, contributing to ongoing discussions about the future of voice pedagogy in theatre.

Format: Paperback / softback
Length: 218 pages
Publication date: 08 August 2018
Publisher: Taylor & Francis Ltd

The training of actors in the US and UK has undergone a significant shift towards multiculturalism and multilingualism in recent years. This transformation has been driven by border-crossing, cross-cultural exchange in contemporary theatre practices, and the emergence of the intercultural actor. As a result, actor training today is shaped by a diverse range of training modes and differing worldviews.

One area that has been particularly impacted by this multiculturalism is mainstream Anglo-American voice training for actors. While traditional voice training methods have been effective in developing vocal skills, they may not fully address the needs of students who bring multiple worldviews into the training studio.

In response to this challenge, some actors and voice teachers are exploring alternative approaches to training actors' voices. One such approach is the use of adaptations of a traditional Korean vocal art, pansori, combined with adaptations of the natural or free voice approach.

Pansori is a form of Korean vocal art that combines singing, chanting, and storytelling. It emphasizes the use of the breath, sound, presence, and text to create powerful and expressive performances. By incorporating pansori adaptations into voice training, actors can develop a deeper understanding of the materials of training, including breath, sound, presence, and text.

The natural or free voice approach, on the other hand, focuses on the development of the actor's vocal instrument without the constraints of traditional vocal techniques. It emphasizes the importance of the actor's physical and emotional connection to the text and the use of the voice as a tool for communication and expression.

By combining pansori adaptations with adaptations of the natural or free voice approach, actors can develop a more versatile and expressive vocal range. They can learn to use their voices in a variety of ways, including singing, speaking, and chanting, and can develop a deeper understanding of the emotional and psychological aspects of performance.

This approach to training actors' voices has the potential to contribute to ongoing discussions about the future of voice pedagogy in theatre. For practitioners and scholars interested in performance studies, ethnomusicology, voice studies, and intercultural theories and practices, it offers an alternative perspective on voice training that can enhance their understanding and practice of the art form.

In conclusion, the training of actors in the US and UK has become increasingly multicultural and multilingual, and mainstream Anglo-American voice training for actors has been challenged to adapt to the needs of students who bring multiple worldviews into the training studio. By incorporating adaptations of a traditional Korean vocal art, pansori, and adaptations of the natural or free voice approach, actors can develop a more versatile and expressive vocal range and can contribute to ongoing discussions about the future of voice pedagogy in theatre.

Weight: 350g
Dimension: 234 x 183 x 13 (mm)
ISBN-13: 9781138088696