Read more
This wide-ranging volume explores the technical and physical aspects of voice as a craft, questioning its definitions, its historical presence, training practices and its publications. Drawing on a wealth of experience, Jane Boston presents a selection of readings that demonstrate and contextualize some of the defining moments of voice throughout history. This clear and accessible text examines the relationship between voice and aesthetics and poetics, against the backdrop of class, race and gender politics, demonstrating how vocal training has been and still is inevitably connected to such issues.
Underpinned by theory, voice practitioner accounts, and cultural and historical contextualization, this comprehensive resource will be invaluable for practitioners, researchers and students of voice studies, physical theatre and theatre history.
List of contents
Acknowledgements
Part One: Introductions
Preface
Chapter One: Voice Locations
Part Two: Histories
Chapter Two: Voice as an Instrument of Theatre
Chapter Three: Voice Stylistics
Part Three: Theatre Spaces
Chapter Four: The Voice Performs Theatre spaces
Interview with Kristin Linklater
Part Four: Theatre Speaks
Chapter Five: Voice and Logos
Interview with Claudette Williams
Part Five: Contested Trainings
Chapter Six: Sequences for the Voice: The Theatre Voice Manual
Interview with Patsy Rodenburg
Chapter Seven: Extremities: Experiments in Theatre Voice
About the author
Jane Boston is Senior Lecturer in Voice at the Central School of Speech and Drama in London, and Head of the International Centre for Voice.
Summary
This wide-ranging volume explores the technical and physical aspects of voice as a craft, questioning its definitions, its historical presence, training practices and its publications. Drawing on a wealth of experience, Jane Boston presents a selection of readings that demonstrate and contextualize some of the defining moments of voice throughout history. This clear and accessible text examines the relationship between voice and aesthetics and poetics, against the backdrop of class, race and gender politics, demonstrating how vocal training has been and still is inevitably connected to such issues.
Underpinned by theory, voice practitioner accounts, and cultural and historical contextualization, this comprehensive resource will be invaluable for practitioners, researchers and students of voice studies, physical theatre and theatre history.
