I would like to draw your attention to the new publication initiatives spearheaded by the Centre for Interdisciplinary Voice Studies:
1) With the publication of its second issue, the Centre of Interdisciplinary Voice Studies is currently celebrating the first year of the Journal of Interdisciplinary Voice Studies. You can find more information about the journal, including guidelines for submission and subscription, here. The first issue is freely available online while 1.2 is our first themed issue on the topic of ‘Voice and/as Devising.’
We would also like to draw your attention to the Call for Papers for issue 2.1 (Spring 2017):
Special Issue of the Journal of Interdisciplinary Voice Studies
‘Voicing Belonging: Traditional Singing in a Globalized World’
Editors: Konstantinos Thomaidis and Virginie Magnat
Coming out of the 2016 TaPRA Interim Event of the Performer Training Working Group, ‘Training to Give Evidence,’ gracefully organised by Kate Craddock and hosted by Northumbria University, certain provocations around the ethics of verbatim, documentary, and auto/biographical performance still resonate with me. To navigate such a rich landscape, I would briefly like to outline some thoughts in relation to voice.
Voice and vocal practices were, implicitly or explicitly, a recurrent trope in many of the papers and practical demonstrations. As part of his opening provocation on mimicry and impersonation in verbatim theatre, Tom Cantrell shared interviews with actors that have engaged with the genre. Ken Drury, in an attempt to distance his approach to acting from impersonation and the creation of exact copies, stated that he was mainly interested in the (real-life) person’s behaviour. By contrast, Jason Watkins started accessing his character through locating the accent and was mainly preoccupied with rhythm – not necessarily of words, he hastened to footnote, but rhythm of thinking. There is an intriguing underlying assumption perhaps emerging here; acting has to do with behaviours, actions, feelings and thoughts, but the role of vocality in training and performance is at best acknowledged when recast in the shadow of the above, or, at worst, implicitly equated with mimicry.
As a voice studies practitioner-scholar, I constantly come across deeply embedded assumptions about voice, and, when interacting with scholarly environments more closely affiliated with performance studies, sometimes these assumptions transform into a certain type of polemics. Bodies speak the truth; voices can hide it. Actors are trained into speaking classical/mainstream/canonical texts; performers/artists honour their own voice or prefer to work with the untrained or the amateur. Body-first approaches to text are (ideologically) valued more, and the trained actor as a ‘talking head’ has been criticised consistently by a lineage of influential practitioners and makers in the UK.