The convergence of voice and body has been investigated through most of the 20th century and has continued to develop throughout the past decade. Physiologically, the voice is housed within the body. It is therefore logical to initially focus on the physical aspect of vocal training, and to combine the separate voice and movement training in both logical and illogical senses in order to unify these two separate yet interconnected elements.
This investigation does not claim to discover a new performance aesthetic, actor training method or a new physical and vocal training aesthetic. It aims to examine various combinations of existing Oriental and Occidental methods in order to discover an alternative to the multifaceted area of the human voice in performance pertaining to the notion of ‘crisis’.
The work explored throughout this investigation, using the Voice Theatre Lab as a means of exploration in training and performance, is the result of the application of various synergies, dichotomies and contradictions. These contradictions and abstract applications abandon literal and textual realities, and focuses on opposites and non-conventional means of vocal production and physical states.
The result is a series of training and performance aesthetics that go beyond the quotidian forms of physical and vocal expression.
Authorised by the Head of School, Tasmanian College of the Arts
19 October, 2012