Acting & Actor Training
Voice
Category
The voice – its use, production and health – is arguably the most vital aspect of the actor’s instrument. That the word ‘audience’ is used so commonly indicates the aural and oral signifiers involved.
Video
Drawing on a half century of documenting performance across multiple genres, from post-modern dance to physical theater to body work, as well as site-specific performance, with audiovisual examples from some 53 practitioners, including Eugenio Barba, Tim Etchells, Joan Skinner, Kristin Linklater, and Steve Paxton, Peter Hulton’s “A Digital Essay on Performance”considers performance as a body in operation with imagery and attempts to identify some of its foundational features.
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These sessions were initially organised by Laboratory Theatre members for fellow actors who were interested in the practice of overcoming difficulties with breathing, the voice, and lethargy.
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Active Breath Somatic Practice – the vital relationship of the breath in performance practice, Patricia Bardi, Lecture-Presentation at the Breath as a Tool in Performance Conference– National Centre for the Performing Arts.
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Lisa Mayo of the Kuna and Rappahannock Nations was a founding member of the Native
American women’s feminist theatre group, Spiderwoman Theater. She was a singer,
actor, and playwright who wrote and performed with Spiderwoman Theater for 35
years.
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Thelma Holt talks about her early career as an actress in the immediate post-war period, changes in the 1950s and 1960s effected by the Royal Court, and her role in developing the fringe theatre scene.
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A modern day metaphor for the journey of the
lonely self to find peace with one's
identity.
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Solo performance vocalizing a US State Department questionnaire, a woman’s response to being mugged, and a existential soliloquy.
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This workshop took place at East Hampton, NY, in October 2016, part of an
attempt to address different ways of looking at the character of Blanche du
Bois.
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Patricia Bardi and Arthur Brooks (music: trumpet) create an improvised performance exploring a nuanced and textured expressive language investigating the relationships among embodied sound texture, music movement, dance, voice, and text.
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Patricia Bardi and Arthur Brooks create an improvised performance in 1998 exploring a nuanced and textured expressive language investigating the relationships among embodied sound texture, music movement, dance, voice, and text.
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A documentation of a five-day workshop, with Zygmunt Molik leading a group of participants at the historical site of the Brzezinka farm, where most of Grotowski’s paratheatrical work took place.
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This excerpt from an evening-long performance, Figment has improvisersusing compositionas a formal element.
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This film, shot in the early part of the 1990s by leading Polish film-maker Jacek Petrycki, shows Gardzienice on the road in the Carpathian mountains in the Ukraine, rehearsing and training.
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Shot at a workshop held at La Bartra, a retreat centre in the Prades mountains. Most of those present had worked with Suryodarmo for many years, and they came from across Europe to share his practice.
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A narrow catwalk between two flanks of spectators: ‘Maran Ata! The Lord is coming! A child is born in Bethlehem. He will destroy Jerusalem. Kyrie Eleison. He has not come to bring peace.’
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let’s take a
walk is an audio journey around the
Barbican that starts with a question from a
stranger hoping to take us out of our social
bubble.
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let’s take a
walk is an audio journey around the
Barbican that starts with a question from a
stranger who might take us out of our social
bubble.
Video
let’s take a
walk is an audio journey around the
Barbican that starts with a question from a
stranger who might take us out of our social
bubble.
Video
Gardzienice’s physical and vocal training hinges on two main ideas: mutuality and musicality. It usually begins with song, perhaps discovered on a rural expedition or taken from ancient Greek music.
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The full performance of Light Becomes Her is a dynamic collage of
voice, dance, movement, and character which looks at one woman and the multiple
aspects of the different women living inside her.
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The excerpt of Light Becomes Her is a dynamic collage of voice, dance, movement, and character which looks at one woman and the multiple aspects of the different women living inside her.
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A solo performance boldly exploring female empowerment and resilience in the context of male behaviour.
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mountaineering explores choice, interaction, and personal conversation with audience participants at the Roundhouse and Salisbury Playhouse.
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mountaineering explores choice, interaction, and personal conversation with audience participants at the Roundhouse and Salisbury Playhouse.
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This workshop has a strong focus on voice work. It takes place on Dartmoor, in an ancient stone circle, a village hall and a garden, and illustrates Suryodarmo’s individual movement practice.
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Pin Drop Echoes Through shows Patricia Bardi and pianist Alex Maguire creating a performance that build bridges and dismantle boundaries between movement, dance, voice, text, and music.
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An explanation of how performances are created at Odin Teatret. It describes the stages in the work, presenting the different phases of the process in which text, actor and director interact.
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A performance that describes the vicissitudes of the voice of an actor and the stratagems she invents to ‘interpret’ a text. In theatre, actors need to create a labyrinth of rules to follow or refuse.
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The Organs’ Presence in Voice, Movement and Expression Workshop, Patricia Bardi holds a workshop on combining somatic practice and improvisation in integrating voice and movement in a creative process.
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A performance-demonstration about the difference between theatre and dance. European culture suffers from the division between theatre and dance. They are, in fact, a single world.
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An audio-visual introduction to the Routledge Voice Studies collection Somatic Voices in Performance Research and Beyond (2021).
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Inthis lively performance, Patricia Bardi shares some of her discoveries and insights that have developed over many years of independent research and performance practice of Vocal Dance. Performed at the SDNO, School for New Dance Development, Amsterdam, 1995.
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Video
A look at the science behind human perception through performance lectures,
surround sound, hidden televisions, and sweeping panoramic views of the London
skyline.
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Video
A look at the science behind human perception through performance lectures,
surround sound, hidden televisions, and sweeping panoramic views of the London
skyline.
Commentary
by Peter Hulton
Drawing on a half century of documenting performance across multiple genres, from post-modern dance to physical theater to body work, as well as site-specific performance, with audiovisual examples from some 53 practitioners, including Eugenio Barba, Tim Etchells, Joan Skinner, Kristin Linklater, and Steve Paxton, Peter Hulton’s “A Digital Essay on Performance”considers performance as a body in operation with imagery and attempts to identify some of its foundational features.
Practitioner
Niamh Dowling is Head of Performance at Rose Bruford. She has trained with Monika Pagneux and Anne Bogart, collaborated with Teatr Piesn Kozla, and worked internationally as a Movement Director.
Practitioner
Peter Hall was instrumental in the creation of Royal Shakespeare Company in 1961. His renowned work as a director is characterised by attention to detail, meticulous verse speaking, and strong design.
Practitioner
A leading actor in Grotowski’s Laboratory Theatre for 25 years, Zygmunt Molik appeared in all of its productions. From 1964 he began leading Acting Therapy workshops, and continued to do so until 2008.
Practitioner
Julia Varley joined Odin Teatret in 1976. An actor, director, teacher and writer, she is Artistic Director of the Transit Festival, and Editor of The Open Page, a journal of women’s work in theatre.
Related Items
Practitioner
A leading actor in Grotowski’s Laboratory Theatre for 25 years, Zygmunt Molik appeared in all of its productions. From 1964 he began leading Acting Therapy workshops, and continued to do so until 2008.
Category
Applied to theatre practice, the term ‘Laboratory’, commonly associated with Grotowski, is used to denote concentrated and consistent experiment as being at the root of the theatre-making process.