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Full Description
Combining work on physical and vocal embodiment with exercises in imagination and interpretation, this book facilitates a fuller, freer and more complete use of the self when it comes to creating a role.
Building on established methodologies and existing research, such as the Alexander Technique, Estill Voice Craft, polyvagal theory and works by major practitioners - including Michael Langham, Niamh Dowling, Glen Park, Carolyn Serota, Sally Grace, Patsy Rodenburg, Cicely Berry, Kristin Linklater and Josephine Estill - this book offers a holistic approach to voice work and acting.
Contents
Foreword
How to Use this Book
Introduction
Chapter 1 - Some Science
Chapter 2 - A Discussion About Truth
Chapter 3 - Imagination, Imagination, Imagination
Chapter 4 - Breath 1
Chapter 5 - Habitual Use - Old Habits, New Habits
Chapter 6 - Alignment and the Larynx
Chapter 7 - Working in Semi-Supine - Floor Work 1
Chapter 8 - The Concept of Centre - A Physical Centre
Chapter 9 - Pitch
Chapter 10 - Language and Text 1
Chapter 11 - Working in Semi-Supine - Floor Work
Chapter 12 - More About Breath - Breath Capacity
Chapter 13 - Language and Text 2 - Phrasing and Meaning
Chapter 14 - Semi-Supine - Floor Work 3 - Whispered 'Ah'
Chapter 15 - Free the Body to Free the Voice
Chapter 16 - Support
Chapter 17 - Resonance
Chapter 18 - Range, Pitch, Stress
Chapter 19 - The Channel for Sound
Chapter 20 - Language and Text 3
Chapter 21 - Language and Text 4 - Shakespeare
Chapter 22 - Other Aspects of Iambic Pentameter
Chapter 23 - Language and Text 5 - Shakespeare Sonnets
Chapter 24 - Punctuation
Chapter 25 - Integration: Imagination, Body, Breath, Voice
Chapter 26 - Working with Energy - Character Exercise
Conclusion
Bibliography
Index
