Voice into Acting: Integrating Voice and the Stanislavski Approach

Description

How can actors bridge the gap between themselves and the text and action of a script, integrating fully their learned vocal skills? How do we make an imaginary world real, create the life of a role, and fully embody it vocally and physically so that voice and acting become one? Christina Gutekunst and John Gillett unite their depth of experience in voice training and acting to create an integrated and comprehensive approach informed by Stanislavski and his successors – the acting approach widely taught to actors in drama schools throughout the world. This updated edition contains: a new section on vocal embodiment of actions, new findings from neuroscience as evidence of the science behind the approach, more exercises and warm-up routines for training, pre-rehearsal and pre-performance. The authors create a step-by-step guide to explore how voice can: Featuring 55 illustrations by German artist, Dany Heck, Voice into Acting is an essential manual for the actor seeking full vocal identity in characterization, and for the voice teacher open to new techniques or an alternative approach to harmonize with the actor’s process. Cover page Halftitle page Praise for the First Edition of Voice
Into Acting Title page Copyright page Contents Illustrations Foreword Acknowledgements Introduction The challenge for the actor The challenge for the voice teacher What’s in this book Part One Laying the Foundations INTRODUCTION 1 The Organic Acting Approach and the Voice Making circumstances and character your own Integrating the voice Representational or organic – how is voice affected? What other problems can arise? What are the solutions? 2 The Organic Acting Approach and the Brain Impulses and psycho-physical connection The brain The nervous system An actor’s work with the brain Stanislavski and neuroscience To sum up Part Two The Essential Vocal Six –and Integrating Acting into Voice 3 Alignment – Backbone of the Action WHAT IS IT? What is it for the actor? How it works Integration into acting To sum up 4 Breath – The Great Creative Connector WHAT IS IT? What is it for the actor? How it works Breath support and control Blocked breath To sum up 5 Centred Onset of Sound –The Vocal Identity of the Actor WHAT IS IT? What is it for the actor? How it works Integration into acting To sum up 6 Pitch Range – The Music of Meaning WHAT IS IT? What is it for the actor? How it works Integration into acting To sum up 7 Resonance – Vibrating the Experience WHAT IS IT? What is it for the actor? How it works Integration into acting To sum up 8 Articulation – Shaping Thought and Action WHAT IS IT? What is it for the actor? Integration into acting To sum up The Vocal Givens in symbols INTRODUCTION Part Three Integrating Voice into the Organic Acting Process INTRODUCTION 9 Interval – Receiving and Responding Two travellers Receiving and responding 10 Awareness, Ease and Focus Awareness and experience The vocal connection Ease and focus The vocal connection To sum up 11 The Action – Given Circumstances, Interaction and Objectives The given circumstances The magic if The vocal connection Interacting and responding with others The vocal connection Objectives The vocal connection Objectives on text To sum up 12 Seeing, Sensing and Feeling Images Sensing Feeling To sum up 13 Embodied Vocal Action Physical actions Preparation exercises Actions on text Directorial challenges Textual challenges To sum up 14 Character Voice Background and given circumstances Drives Psycho-physical expression Embodying the character voice through the spine Create a character voice Exploring through improvisation Do’s and don’t’s for character voice To sum up 15 The Actor in the Space The space – centre and periphery Acting spaces Preparing for the space Sustaining thought through the breath Focusing the voice – focus points Stage movement To sum up Overview of the Acting Givens Part Four Integrating Voice inRehearsal and Performance– Putting It All Together NTRODUCTION 16 Meeting the Play and the Character First meeting with the play Meeting the character Meeting the scene 17 From Impulse to Action Active Analysis Character voice The space 18 From Action to Form Rhythm – the flow of meaning Accent and intonation – making the point Words and sounds Warm-ups and Integration of Process Training warm-up Conclusion Glossary Bibliography Permissions About the Authors Index