Contemporary performance is now made up of a wide range of dramatic and post-dramatic forms. What is the consequence of this for the actor and their voice? My research looks to develop an integrated web of ethics and exercises which approach the words, sounds and melodies of a performance score as physical actions. This is a bi-directional deepening and extension of the method of physical actions, as begun by Stanislavski and continued by Grotowski, and is informed by the research of Zarrilli, Lindh and others. Examined within the context of current trends of voice training, such as the work of Cicely Berry, Kristin Linklater and Roy Hart, this study aims to help the actor work ‘transformationally’ (across forms), translating their embodied knowledge from one training/performance aesthetic to another.
Electa passed her PhD in the summer of 2012.
"Vocal Action: channelling impulse through form in training towards performance"