The Human Voice for Life and Art
THA 115a Spring 2018
Explore the un-boundaried voice – deeply breathed and dynamically embodied
The Voice is the Muscle of the Soul ~Alfred Wolfsohn
Instructor: Marya Lowry Wed. 2-4:50
Spingold Merrick Theatre
Office Hours - By Appointment
COURSE DESCRIPTION AND GOALS
In this workshop-style course we will explore and celebrate the wide range of colors, timbres, heights and depths available to the human voice. Combining traditional Anglo-American methodologies and the Roy Hart Theatre vocal approach with archetypal imagery and traditional multi-cultural vocal styles, our goal is to discover the naked voice, powered by breath, free of tension, and fully embodied. Through improvisations, piano work, and self-generated performance projects, you will strengthen imaginative muscles in order to invigorate a more personal connection to your voice and your expressivity through sound, song and spoken word.
KEY ELEMENT AND LEARNING GOALS OF THE CLASS INCLUDE
• Body/breath/voice connection and physical release work
• Release and warm-up the entire instrument for performance
• Isolate and find optimal resonating feedback in the major resonating cavities of the body
• Expand Resonating Chambers (Vocal Archetypes) and Vocal Color:
i.e., Body, Sinus, Nasal, and Skull Resonators
• Increase lung capacity and strength in the breathing musculature
• Increase vocal elasticity and range
• Sensitize voice to emotion, imagery, and impulse
• Call Focus
• Application of Voice/Body work to Text
• Basic Vocal Health
• Empathetic Listening
• Development of a Personal Practice
• Collaborative Rehearsals for Projects and Practice
• Self-generated Performance Pieces
• Practice Logs/Journaling
• Laughing Voice (laughing yoga)
ASSIGNMENT OVERVIEW
o Readings – Selected Articles, Chapters in Books, web articles (detailed below)
o Self-Scripted Performance Projects generated from in-class work, developed and rehearsed outside of class
o Group practice outside of class
o Application of skills and vocal explorations into text
o Regular personal practice / Group Practice
o Practice Logs
PERFORMANCE PROJECTS MAY INCLUDE
- River of Life Performance Project
- gods and goddesses performance project
- Feral Choir – group project
- Vocal Archetypes Performance Project
- Breaking Boundaries–Exploring the bridge between singing, sounding and text
- Teaching Others Your Song
- Personal Performance Project
PRACTICE LOGS AND JOURNAL KEEPING
Required and a significant part class assignments and of your grade. Your practice log / journal is how you communicate your personal practice and ways you reflect on and communicate with me your struggles, curiosity, confusions, questions, plans, discoveries, ideas, musings on class exercises and rehearsal processes, etc., with clarity, details and specificity.
At least 2 entries per week. Due dates below. Guidelines on separate handout.
GROUP PRACTICE AND REHEARSAL
You are required to meet with a small group at least ONCE a WEEK to practice
Repetition, Repetition, Repetition: the foundation of all voice training is repetition. As with training any other muscle group in the body, developing the voice requires repetition and precision. Equal to the WHAT is the HOW. How fully you engage with your breath, your body and your imagination and how often you engage in active practice will define your growth. Repetition and Practice, there are no other doors to developing your voice.
READING
Roy Hart Theatre – History: Legacy and Articles
http://roy-hart-theatre.com Legacy – 4 short essays. 1. Alfred Wolfsohn, 2.Charlotte Solomon, 3.Roy Hart, 4.Roy Hart Theater
http://roy-hart-theatre.com/publications/#articles
~Finding your voice an Interview with Rosemary Quinn, Walli Höfingerand Christiane Hommelsheim
~Deep Song–A Personal Journey into Ecstatic Voice and the Art of Vocal Lamentation, Marya Lowry
~Your Own Voice In Life And Art, Walli Höfinger & Christiane Hommelsheim - Essay and Video
~Orlanda Cook, Singing with Your Own Voice, (selections provided) (uploaded to Latte) ISBN-13: 978-0878301829
~Quest for the Original Voice, Arthur Lessac American Theatre Magazine
~Additional articles on vocal health, current news in voice production, as assigned. These will be handouts or uploaded to Latte
GRADING
50%: Participation – attendance, punctuality, attitude, quality of contribution to classroom, willingness, degree to which you offer insightful feedback regarding yourself your ensemble members, level of commitment and discipline, willingness to risk and explore without knowing outcomes, deep listening
25%: Preparation – appropriate research, outside practice. practice logs/journal, effort, lines memorized for text or singing work, chapters read and/or videos watched, appropriate attire for the studio, details incorporated into performance projects
25%: Personal Growth / Progress – how well you incorporate feedback and the degree to which you improve artistically and vocally, quality of performance projects
A: consistent excellence in all the above
B: above average in all of the above
C: average in all of the above areas
D: below average
ATTENDANCE IS MANDATORY
The practical, participatory and ensemble design of this course demands your presence and full commitment in each class to your own process and to the group. Personal growth can only happen if you are present and fully committed each day. Therefore, only one absence will be accepted for the semester, reason is immaterial; please plan accordingly.
Be on time, dressed for class and ready to begin at the top of the hour.
You must inform me before class if you will be absent. Please send an email message or inform me in person.
CLOTHING: workout clothes, (no hats, scarves, jeans, chinos, skirts, belts), and minimal jewelry
Please keep me informed of any physical issues you have that might affect your participation; we will make the necessary adjustments.
ipads, laptops, phones, etc. are not allowed in class. They should be on “Silent” and stowed away.
The Syllabus and Assignments and due dates are all subject to change!
Details of assignments will be handed out in class. If you are unsure of what you need to prepare, please contact me.
THA 115a The Human Voice Class Progression Spring 2018
Jan 10, 17, 24, 31 – Vocal / physical work; warm up, breath work, resonance archetypes
10 read Orlanda Cook Chapter 1, for 1/17
17 http://roy-hart-theatre.com/publications/#articles and legacy (all essays) for 1/24
discussion of all reading (Cook and RHT)
*24 Group rehearsal outside class for Feral Choir, for 1/31;
Practice Logs/Journal #1 DUE 1/24
31 Feral choir – performance project
Feb 7, 14, 21, 28 cont. body/voice progressions; call focus, vocal health, text work, songs assignment
7 Begin Teach Others Your Song
14 Resonance/Archetypes and Text Performance Project. DUE
21 Break–no class
*28 Possible Guest Teacher
Practice Logs/Journal #2 DUE 2/28
Mar 7, 14, 21, 28 Piano work, Apply call to text, Breathing a Text: finding the playwrights rhythms, text improvisations
7 Lessac article, DUE 3/7
14 project TBA selected from above
21 project TBA
*28 Practice Logs/Journal #3 DUE 3/28
Apr 4, 11, 18
4 Break–no class
11 Coach Personal Performance Project, final presentation
18 Last Class–Final Presentations: Personal Performance Project, Debrief, Celebrate
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Tha 115a The Human Voice for Life and Art Syllabus Spring 2018 Marya Lowry