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Voice for the Actor

Module description

Voice for the Actor provides an experiential foundation in practical voice, speech and body skills primarily targeted at the actor and the application of these to the oral interpretation of a range of written texts. The module begins with an exploration of vocal anatomy and physiology and proceeds through various approaches to contemporary voice (ranging from Berry and Linklater to polyphonic voicing and physio-vocal work). In terms of texts, we primarily draw from Greek tragedy, Shakespeare, and modern and contemporary playwrights (for example, Lorca, Ionesco, Kane, debbie tucker green). A key aim of our vocal exploration is to experiment with diverse and inclusive approaches to voicing for the contemporary actor.

The module establishes a creative dialogue among various vocal traditions, as well as between vocal technique and vocal creativity, celebrating flexibility, plurality and discovery as key tenets of the actor’s sound.

Module aims - intentions of the module

This module aims to:

• Develop critical and professional awareness of issues and practices in the field of vocal performance
• Provide a foundation for speaking poetic and contemporary texts
• Explore creative approaches to voicing a variety of genres and playwrights

Intended Learning Outcomes (ILOs)

ILO: Module-specific skills

On successfully completing the module you will be able to...

• 1. Take a sensitive, imaginative and creative approach to the vocal interpretation of literary texts and to evaluate effectively your own and others' performance
• 2. Reflect on your own vocal usage in order to develop your skills as a performer/actor
• 3. Apply advanced speaking and listening skills to the analysis and performance of pitch, resonance and articulation; design and implement activities and outcomes for the development of vocal skills appropriate to a given context

ILO: Discipline-specific skills

On successfully completing the module you will be able to...

• 4. Contribute research to small groups in effective presentations, to evaluate visual evidence and to develop advanced confidence in the ability to analyse, critique and manipulate complex material
• 5. Relate to others in theatrical processes and performances; to work effectively with others in small task-orientated groups and to initiate and sustain creative, analytic and interpretative work within strict time limits and to solve a number of specific technical problems and apply that understanding to performance work
• 6. Engage critically and analytically with physical discipline; the development of thoughtful creative processes, understanding of physicalisation in performance and the capacity to articulate that understanding in appropriate ways

ILO: Personal and key skills

On successfully completing the module you will be able to...

• 7. Utilise advanced personal research skills and initiative to set personal objectives that are linked to a sense of challenge and extending boundaries and to identify and evaluate personal learning strategies that are self-critical as much as self-reflective
• 8. Demonstrate advanced confidence in performance skills and public presentation, in a variety of situations and/or with a variety of audiences, both of dramatic practice and researched material
• 9. Demonstrate advanced cooperation skills, including the ability to give and receive constructive critical feedback, and to improve communication skills and advanced analytic abilities in discussions

Syllabus plan

This module is concerned with a disciplined approach to relevant exercises and the application of vocal technique in performance. In order to fully appreciate the complex relationship between the actor and the actor’s voice, this unit will also require students to investigate the interaction of vocal anatomy/physiology and the actor’s whole body in creating the quality of voice produced.

Whilst the content may vary from year to year, it is envisioned that during the module you will engage in:

• Intensive exploration of vocal technique, from breath support and onset to articulation and registers;
• Regular vocal practice, including anatomy-based exercises, voice-based devising and group sounding;
• Vocal practices appropriate for classical text (e.g. Greek theatre and Shakespeare);
• Investigation of voicing appropriate to contemporary contexts (e.g. as applied to a modern text of choice);
• Keeping a self-reflexive journal of vocal development and continuous exchange with a ‘vocal buddy’;
• Research, rehearse and present peer-led vocal workshops on specific areas of voice for actors;
• Develop your vocal imagination through games, physiovocal practices and ensemble vocality;
• Create a group voice-led and voice-sensitive performance;
• Research an individual area of interest and write an essay on your vocal development in this area

Learning activities and teaching methods (given in hours of study time)

Details of learning activities and teaching methods

Formative assessment

Summative assessment (% of credit)

Details of summative assessment

Details of re-assessment (where required by referral or deferral)

Re-assessment notes

Deferral – if you miss an assessment for certificated reasons judged acceptable by the Mitigation Committee, you will normally be either deferred in the assessment or an extension may be granted. The mark given for a re-assessment taken as a result of deferral will not be capped and will be treated as it would be if it were your first attempt at the assessment.

Referral – if you have failed the module overall (i.e. a final overall module mark of less than 40%) you will be required to submit a further assessment as necessary. If you are successful on referral, your overall module mark will be capped at 40%.

Indicative learning resources - Basic reading

• Barton, J. Playing Shakespeare (London: Methuen, 2009)
• Berry C. Voice and the Actor (London: Virgin Books, 2000)
• Beswick, K. and Murray, C., Making Hip Hop Theatre (London: Bloomsbury, 2022)
• Carey D. and Clark Carey R. The Vocal Arts Workbook and DVD: A Practical Course for Achieving Clarity and Expression with Your Voice (London: Methuen Drama, 2008)
• Estill, J., Steinhauer, K. and McDonald Klimek, M., The Estill Voice Model: Theory & Translation (Estill Voice International, 2017)
• Ginther, A. ‘Dysconscious racism in mainstream British voice pedagogy and its potential effects on students from pluralistic backgrounds in UK Drama Conservatoires‘, Voice and Speech Review, 9.1: 41-60 (2015)
• Hall, P. Shakespeare’s Advice to the Players (London: Oberon, 2009)
• Kapadocha, C. (ed.) Somatic Voices in Performance Research and Beyond (London and New York: Routledge, 2020)
• Linklater, K. Freeing the Natural Voice (London: Nick Hern Books, 2006)
• Linklater, K. Freeing Shakespeare’s Voice (London: Nick Hern Books, 2010)
• McCallion M . The Voice Book: for everyone who wants to make the most of their voice (London: Faber and Faber, 1998)
• Mills, M. and Stoneham, G., The Voice Book for Trans and Non-Binary People (London: Jessical Kingsley, 2017)
• Rodenburg P. The Actor Speaks: Voice and the Performer (Basingstoke: Palgrave Macmillan, 2002)
• Rodenburg P. The Right to Speak: Working with the Voice (London: Methuen Drama, 1993)
• Staniewski, W. and Hodge, A. Hidden Territories: The Theatre of Gardzienice (London: Routledge, 2004)
• Thomaidis, K. Theatre & Voice (Basingstoke: Palgrave Macmillan, 2017)
• Thomaidis, K. ‘What is New in Voice Training?’, Special Issue of Theatre, Dance and Performance Training, 10.3 (2019).
• Thomaidis, K. and Macpherson, B. (eds) Voice Studies: Critical Approaches to Process, Performance and Experience (London and New York: Routledge, 2015)
• Whitfield, P., Inclusivity and Equality in Performance Training: Teaching and Learning for Neuro and Physical Diversity (London: Routledge, 2022)

Indicative learning resources - Web based and electronic resources

• ELE : https://vle.exeter.ac.uk/course/view.php?id=615
• Centre of Interdisciplinary Voice Studies: https://interdisciplinaryvoicestudies.wordpress.com/
• Sounding Out! https://soundstudiesblog.com/

• The British Voice Association: www.british-voice-association.com 
• The Journal of Interdisciplinary Voice Studies

Key words search

Voice; Voice training; Speech; Acting