TDPT 10.3: What is new in voice training?

We are delighted to share that the latest Theatre, Dance and Performance Training special issue, ‘What is New in Voice Training?’, is out.

The issue, guest edited by Konstantinos Thomaidis, proposes a timely re-examination of voice in performer training. The literature on voice, theatre and pedagogy is, of course, vast. In the case of singing, it is largely dominated by paradigms appropriate for operatic and musical theatre performance. In the case of speech training, areas that have been systematically explored include the pedagogies developed by an influential generation of mid-twentieth-century, UK- and US-based speech trainers – and, to a lesser extent, the voice practices pertaining to (post)Grotowskian lineages or the integration of first-wave somatics into voice work. While drawing impetus from these significant insights, the purpose of this special issue has been to lend an attentive ear to the transformations such established pedagogies are currently undergoing as well as to less widely circulated and emergent methodologies.

In other words, the issue asks: What is new in voice training?

Contributors to the issue shared their practice and research in a variety of formats (peer-reviewed articles, essais, visual essays, postcards, ATQs, blogs, reviews) and engaged with topics and sets of questions such as:

  • Renewing voice training: How are existing systems, exercises and practices reconfigured in new settings? How can we re-evaluate the foundational premises of voice training through recent discoveries in physiology and advances in critical theory? In what ways are such methods adapted, hybridised, repurposed, recycled, rethought?
  • New practices: Which are the new approaches to voice, speech and singing training currently in the making? How do they depart from or extend current conceptualisations of voicing? What performance contexts are they designed for? How are they taught, recorded, written about and transmitted?
  • New documents: Which practices of voice training have not been systematically documented and disseminated? Which practices have received less critical attention and how can new archives engage us in dialogue with them? What is the place of the ‘document’ in practice-as-research approaches to voice pedagogy?
  • The new voice coach: Which are the new exigencies placed on coaches today? What challenges do they face? Which methodologies have been developed in response? How is voice training conducted beyond the conservatoire studio?
  • New contexts: How is voice training taking into consideration gender, class and ethnic diversity? How is the pedagogy of speech and song responding to neurodiverse trainees? How are interdisciplinary performers trained in voice work? How is training originally developed for artistic performance adapted in other contexts and circumstances?
  • New criticalities: Which emergent critical methodologies can we deploy to critique voice training or to generate new approaches? How can voice training embrace ecocritical or new materialist strategies? What is the place of the expanding corpus of vocal philosophy in the studio?
  • New histories, new lineages: What does new archival research reveal about the lineages and historic practices of voice training? How is the history of voice training rewritten? How are premodern forms of voice training revitalised in contemporary performer training?

CONTENTS

Editorial: What is new in voice training?

by Konstantinos Thomaidis

https://doi.org/10.1080/19443927.2019.1677384

Answer the question: How are voice trainings adapted, recycled, transplanted and repurposed?

Rockford Sansom: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1667179

Abimbola Adetola Stephen-Adesina: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1667180

Luis Aros: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1667181

Oliver Mannel: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1667182

Sarah Weston: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1667183

Article

Vocal Empowerment Curriculum for young Maya Guatemalan women

by Beth Osnes, Chelsea Hackett, Jen Walentas Lewon, Norma Baján & Christine Brennan

https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1637371

Essay

Pitch and gender in voice training: new methodological directions

by Jane Boston

https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660523

Essay

The act of listening: Gardzienice’s mutuality practice and the ACTing voice

by Anna-Helena McLean (collaborating academic advisor Demetris Zavros)

https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660524

Article

Singing bodies: reconsidering and retraining the corporeal voice

by Gavin Thatcher & Daniel Galbreath

https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1637370

Postcards

J. Ariadne Calvano: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660530

Rachel K. Carter: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660531

Essay

Support: birthing the voice

by Leah Lovett

https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660525

Article

Speech-language pathologists with a vocal music background: exploring impact on the training of the transgender voice

by Danielle Cozart Steele

https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1640781

Postcards

Ben Macpherson: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1677387

Annie Sanger-Davies: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1677386

Article

Devisers in the dark: reconfiguring a material voice practice

by Electa W. Behrens

https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1637372

Essay

Approaching Italian gorgie through Karnatik brigha: an essai on intercultural vocal transmission

by Charulatha Mani

https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1677385

Article

Between preservation and renewal: reconsidering technology in contemporary pansori training

by Konstnatinos Thomaidis

https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1645040

Visual Essay

Becoming robot through voice: training in artificial voices

by Francesco Bentivegna

https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1634639

Essay

‘Next year’s words await another voice’: British Sign Language and voice work with D/deaf actors at the Royal Conservatoire of Scotland

by Mel Drake

https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1677388

Obituary (Cicely Berry)

Stephen Kemble: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660538

Postcards to the future of voice

Kate Godfrey: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660532

Margaret Pikes: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660533

Darryl Taylor: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1667178

Subhashini Parthasarathy: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660534

Theodoros Terzopoulos: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660535

Jaroslaw Fret: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660536

Anne Bogart: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660537

Reviews

Marcus Cheng Chye Tan: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1640782

Sarah Holden-Boyd: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1640783

For colleagues without institutional access, the editorial, the obituary and the article by Cozart Steele are freely available.

Further, the special issue is accompanied by a series of entries posted on the journal’s blog: http://theatredanceperformancetraining.org/category/comebacks/what-is-new-in-voice-training/

Special thanks to all contributors, the TDPT team and the community of artists, trainers, trainees, practitioner-scholars, peer reviewers and interviewees that the special issue represents.

With all best wishes,

Konstantinos Thomaidis

Senior Lecturer in Drama, Theatre & Performance

University of Exeter

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