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Roy Hart Paris    |   Choreographic Theatre   |   Cultural Studies

 

PRINCIPLES

 

Voice Performance   |   Choreographic Theatre

Voice performance training involves a dynamic blend of technical finesse and expressive risk. It also seeks the affirmation of personal genius - character and musicality - and a commitment to the relevance of what one has to voice, be it in speech, song, scream, silence, image or movement - or their synthesis in choreographic theatre.

 

Voice

"Before becoming a controlled musical instrument, or the modulated support of language, the voice is a fabulous means of expression, linked to our innermost impluses. Every sound, from the most ethereal sigh to a wrenching scream, from the highest coloratura to the lowest of growls, must claim its place in our artistic imagination. To extend the expressive fields of the voice requires a certain courage of extroversion, but it also renews the very notion, the very pleasure of "singing". Although such an approach to vocal expressivity is anchored in musical forms of discipline, it is, nevertheless, open to everyone, regardless of any previous musical or artistic experience."

"Exploring one's voice, its "extended ranges" demands not only considered and careful attention but also emotional flair and imaginative courage. It is an amazing adventure in its freedom and diversity, and one not only confined to heroic or mad excursions, exhilarating as these flights can be. The journey might be lunar, lyrical or deliciously sad. It might bring unexpected ghosts and memories ("I remember that voice!"), thrilling encounters ("I never thought I could make that sound!") or terryfying ones ("I've been so scared to go there!"). The principle being: to each person and to each place its own imagination and musicality."

For a detailed and technical description of the une description of the vocal work, see the Professional Workshop programme.

See also the integration of vocal work in

 

Voice  /  Singing a SONG

 

Voice  / in CHOREOGRAPHIC THEATRE

 

 

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