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Annie Morrison, creator of the Morrison Bone Prop, abandons the notion that language and thought are mainly processed in the left cerebral hemisphere, and coaches the actor to speak from the heart. Through this method, words acquire physical properties, such as weight, texture, colour and kinetic force.
Think about Martin Luther King, Mao Zedong or Malala Yousafzai; potent speech impacts external events. And internally, it forms and shapes the world of the speaker. Seeing articulation as a purely mechanical skill is detrimental to an actor's process: it is crucial to understand what language is doing on a biological level.
This workbook is invaluable for actors, both professional and in training, and also for voice and speech teachers.
List of contents
Acknowledgements
Foreword
Introduction
Chapter One: Intelligibility
Chapter Two: Fundamentals
Chapter Three: Centering
Chapter Four: Releasing Tension
Chapter Five: Exploring the Articulators
Chapter Six: Exploring Sounds
Chapter Seven: Troublesome Sounds
Chapter Eight: Connected Speech
Chapter Nine: Poetry
Chapter Ten: Drills & Word Lists
Appendix I: Vocal Health, Nasal & Sinus Health, Aural Health
Appendix II: Additional Eye Exercises
References
About the author
Annie Morrison has worked for over 40 years as a voice and speech therapist and teacher. She teaches at RADA and is a visiting lecturer on several BA & MA Acting courses, as well as the MA Voice Studies course at the Royal Central School of Speech & Drama. She runs workshops on articulation and effective strategies for dysfunctional voice and speech issues for voice coaches and singing teachers in the UK and abroad.
Summary
Annie Morrison, creator of the Morrison Bone Prop, abandons the notion that language and thought are mainly processed in the left cerebral hemisphere, and coaches the actor to speak from the heart. Through this method, words acquire physical properties, such as weight, texture, colour and kinetic force.
Think about Martin Luther King, Mao Zedong or Malala Yousafzai; potent speech impacts external events. And internally, it forms and shapes the world of the speaker. Seeing articulation as a purely mechanical skill is detrimental to an actor's process: it is crucial to understand what language is doing on a biological level.
This workbook is invaluable for actors, both professional and in training, and also for voice and speech teachers.
