Voice and Speech for Musical Theatre is the first book to combine traditional actor vocal training with musical theatre training, offering support and guidance for performers seeking to train their spoken voice specifically for singing and performing in musical theatre.
Performers in musical theatre are working harder than ever. The shifting and extreme nature of the modern musical theatre repertoire requires performers capable of mastering musicianship, singing and dancing while at the same time providing convincing and clear performances as actors. Voice and Speech for Musical Theatre will help train musical theatre performers in the longer modes of voice needed to create convincing and moving performances.
Ideal for the triple-threat performer, Voice and Speech for Musical Theatre features exercises for performers, tips for teachers and online video resources, allowing for a focused and outcome-oriented training of vocal techniques for musical theatre performers.
Recenzijas
This book belongs in my library and deserves a good visit from time to time. * Donna McKechnie, Tony Award, New York Drama Desk Award for A Chorus Line *
Papildus informācija
A workbook with online video resources which combines traditional voice training for actors and musical theatre training, allowing performers to train their spoken voice specifically for musicals.
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ix | |
| Foreword I |
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| Foreword II |
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xii | |
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| Preface for Teachers |
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xiii | |
| Preface for Students |
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xvii | |
| Acknowledgements |
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xx | |
| Introduction |
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1 | (8) |
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4 | (1) |
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5 | (2) |
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7 | (1) |
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7 | (2) |
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1 Posture, Alignment and Neutral Plus |
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9 | (34) |
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9 | (6) |
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Neutral plus (N+): The foundations, feet first and the body |
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15 | (20) |
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The postural changes: For speech, song and dance |
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35 | (7) |
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42 | (1) |
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2 Breath, Dance and Movement |
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43 | (34) |
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43 | (1) |
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Breath management and stamina |
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44 | (19) |
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Gym breath into speech and song |
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63 | (3) |
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Dance, voice and movement |
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66 | (10) |
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76 | (1) |
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77 | (28) |
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77 | (1) |
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78 | (4) |
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82 | (4) |
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Building the vocal set using animals, archetypes, myths and legends |
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86 | (3) |
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89 | (8) |
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Vowels and their modification, in and out of fashion |
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97 | (6) |
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103 | (2) |
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105 | (20) |
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105 | (3) |
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High and low: Playing with pitch |
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108 | (7) |
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115 | (4) |
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Chants and text in sense and nonsense |
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119 | (4) |
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123 | (2) |
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125 | (30) |
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125 | (1) |
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125 | (10) |
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Bone prop and how to use it |
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135 | (2) |
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137 | (10) |
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Patter speak, rap and poetry |
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147 | (6) |
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153 | (2) |
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155 | (22) |
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155 | (4) |
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Female and male resonance |
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159 | (7) |
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166 | (2) |
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Mimicry and impersonations |
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168 | (3) |
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Safe screaming, calling and shouting onstage |
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171 | (5) |
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176 | (1) |
| Appendix 1 Sample Curriculum |
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177 | (4) |
| Appendix 2 Bibliography and Resources |
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181 | (4) |
| Index |
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185 | |
Chris Palmer, BA PGDIP, SFHEA, is a pioneer in the integration of voice and singing specializing in musical theatre. For over five years, she was a vocal coach on Mamma Mia. She has trained countless performers as Head of Voice at Guildford School of Acting over the last 14 years, many of whom now have leading roles across almost every show in the West End. Chris also trains politicians both nationally and internationally at the WEF (World Economic Forum in Geneva), PhD students, lawyers, and provides voice training for staff at University of Surrey on vocal delivery and maximizing their vocal potential.
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