Exploration and Curiosity

Theatre is a constant exploration - it is not a blueprint. The idea that something can be ‘blocked’ becomes increasingly repulsive to me when I see the way in which actors are hindered by this. It is the thing that turns me off many of the big productions (eg. ‘blueprint musicals’) that are identical in all aspects, regardless of continent or culture. It is turning us into stupid creatures that  long for the spectacular and are always longing for a grander set, more spectacular costumes, rather than an examination of the human condition.
  
As an audience member I pay for that exploration, I demand exploration.
 
Exploration of the space, the voice, the body within the context of the text - and that exploration can only come from a sense and discipline of curiosity.
 
Here’s the rub: curiosity cannot be turned on and off at will. It is not something that one can simply turn up a notch at show time. It must be present with us in all aspects of training, rehearsal and - as artists - life.
It is as important to train actors to be curious in every aspect of life as it is to train them in technique. I’d go as far to say that a major part of technique IS curiosity.
 
 The beauty of encouraging and training actors to be curious is that it then perpetuates that all important exploration. It will pervade every movement, every word and breath - because here it sits naturally and at home.

4 Ways to Encourage your Curiosity:
1. During your voice and body routine, try to notice something new/different in every exercise you do.
2. When you hear a word that is unfamiliar to you, look it up and start using it!
3. Question all that you a being taught - don’t take a particular point of view for granted - explore the possibilities for yourself. Don’t think you HAVE TO reach a conclusion.
4. Vocally explore your body and space minus a sense - for example, with a blindfold on or earplugs in. Find a different sensory perspective.

Miss Pronunciation XII

Miss Pronunciation is Tickled Pink!

Here’s one: short and sweet - ticklish.....examine it carefully.....

I know: There’s no sound between the ‘k’ and the ‘l’!

What would lead us to pop one in? Hmmmm? Now, Miss P, is never one to put the spelling before the pronunciation, but here is a clear case of an extra vowel (a schwa) being popped in for jollies.

So instead of being ‘tick-e-lish’,  you’re simply ‘tick-lish’.

Summer Early Bird Rates (available until November 25):

Private Voice Series

Accents and Dialects

Shakespeare Series 

(in Conjunction with Present Tense)

A Language Invasion - Or Is It?

I’ve been pondering this subject for quite some time and last night during a post rehearsal discussion, things really came to a head as I discussed pronunciation with the director:

ME: This is an Australian musical. We say half (h-AH-f) not haff. It really should be sung that way.

DIRECTOR: No, we sing ‘haff’. Look at so many of the the great Australian singers - they all head that way.

Now, like it or lump it, this is generally true (with the exception of Mr. Warlow and various others who will sing what is thoroughly ‘accent appropriate’ at all times).

....But how far into our lives and how quickly do we accept a changing pronunciation? What has to be the proportion of people using it before it becomes the accepted standard? One of the beauties of the English tongue is its ability to adapt and move with the times....but how fast should it move along? Or are we working during a time of ultra-hasty language transition due to globalisation?

I’m certainly not suggesting we set up a language authority akin to the L'Académie française where all language must be officially approved. At the same time, I’m receiving a groundswell of young actors walking into my studio throwing around their NOOZ (news) and WORI (worry) left, right and centre.

Do I simply throw my hands up in the air, defeated and admit that ‘yes, this is fine - I accept this shift in the language’ OR do I ‘correct’ them?

Is this ignorance, a generational dialect or a significant shift in our language?

At the moment I’m working on a case by case basis, depending on the context. I’ll inform the individual of the alternative pronunciation, and let them do the choosing in their day-to-day speech. All very P.C., I know. One must summon a great deal of self control to push the pronunciation police to the rear of my mind and stop them from screaming  “It’s N-Y-OOZ, not NOOZ”.

I hear constant critisism of the “Americanisation” of English, but you’ll hear the different pronunciations I’ve set out here in half a dozen British dialects....which begs the question: is what I’m addressing a new pop-culture accent? One that is accepted by many, understood and growing rapidly in use? Or is it a sign of a cultural cringe toward our own Australian accent and a yearning for a greater acceptance in the global marketplace?

In the case at hand, we were discussing pronunciation during singing so there are other factors to take into account: Do we want the twang of ‘æ’ (as in ‘apple’) or the open resonance of ‘aː’ (as in balm); Are we going stylistically Broadway?; Are we being consistent with the spoken text?

Whatever it is, if we understand it, if we have flexibility to use the alternative where appropriate  and the intention behind it is clear, does it really matter?

Surely as a Theatre Voice Coach it is not up to me to police or become guardian of the language, but to make sure it is reflected correctly within the context it is being used.

In 30 years time will I be telling actors “It’s NOOZ, not N-Y-OOZ”?

Vocal Cringe

I’m working with a truly magnificent actor at the moment. She’s making steady progress and all of the elements are coming together. Like most of my private students, she records our sessions to use later as a reference. I say:

- Hey, when you are listening back to that, I want you to specifically hear the difference in resonance between that first try and the second one.

I then see it. It’s the cringe - that shrinking down of the neck like a turtle withdrawing into a shell, that grimace, that tightening of the throat. I say:

- Don’t do that! I want you to listen purely for comparison of what those two different shapes achieve.

But it’s too late. The simple mention of listening back to her voice made her want to run from the room, screaming!

What is that?

VOICE LOVE VS. CRINGE

The first question I ask a new student is this:

- What do you love about your voice?

....followed by......

- What would you like to change about your voice?

Every time, I have to prod and poke to get an answer on the first question......while the answers to the second are usually numerous and (9/10 times) ridiculous things they have been told by past directors/acting coaches.

Why do we willingly hate the sound of our own voices?

Our voices reflect who we truly are - they’re like a passport covered in stamps of where we have been, both geographically and emotionally. This makes us vulnerable, it makes us compare them to other voices, it makes us undermine the confidence in the thing that is arguably the most expressive outlet we have.

And when this thing is criticised, we really take it to heart....we start to believe it. My voice is too high, my voice is squeaky, my accent is too strong.....the list could go on and on and on.......

STEPPING BACK FROM THE PRECIPICE OF VOCAL CRINGE:

It’s so important to give your voice some love, and here are some ways you might be able to change your view on the thing that is most reflective of you:

1. Sit down and write a list of 5 things you LOVE about your voice. NOW.

2. If you’re having voice doubts or a director/lecturer is giving you vague voice instruction, book a session with a voice professional - they’ll be able to put it into terms you understand and can act upon.

3. Examine your goals - beware of going for the 'voice beautiful' and steer towards the voice healthy, sustainable, open and flexible.

4. Your accent is part of who you are - don’t force another accent (this used to often be done at drama schools), head for a more open and flexible version of you, and a greater understanding of how your own accent is configured.

5. Find a POSITIVE voice mantra (it might be one of your points from the initial list) and write it down, repeat it, use it when facing someone critical.

6. Warm up your voice & support system daily and give it a fighting chance to be the very best it can be.

7. Examine other performers that have amazingly unique voices that have become their brand: Sean Connery, Bernadette Peters, Joan Rivers, Jane Horrocks, Michael Jackson, Bryan Brown, Fran Drescher, Alan Rickman......

If you have a story of voice love/cringe or can suggest an actor with a unique voice, add to comments......