Voice and the Actor

Kobo eBook available

read instantly on your Kobo or tablet.

buy the ebook now

Voice and the Actor

by Cicely Berry
Foreword by Peter Brook

Wiley | August 13, 1991 | Trade Paperback

Not yet rated | write a review
"Speaking is part of a whole: an expression of inner life." Cicely Berry has based her work on the conviction that while all is present in nature our natural instincts have been crippled from birth by many processes--by the conditioning, in fact, of a warped society. So an actor needs precise exercise and clear understanding to liberate his hidden possibilities and to learn the hard task of being true to the ''instinct of the moment''. As her book points out with remarkable persuasiveness ''technique'' as such is a myth, for there is no such thing as a correct voice. There is no right way--there are only a million wrong ways, which are wrong because they deny what would otherwise be affirmed. Wrong uses of the voice are those that constipate feeling, constrict activity, blunt expression, level out idiosyncrasy, generalize experience, coarsen intimacy. These blockages are multiple and are the results of acquired habits that have become part of the automatic vocal equipment; unnoticed and unknown, they stand between the actor''s voice as it is and as it could be and they will not vanish by themselves. So the work is not how to do but how to permit: how, in fact, to set the voice free. And since life in the voice springs from emotion, drab and uninspiring technical exercises can never be sufficient. Cicely Berry never departs from the fundamental recognition that speaking is part of a whole: an expression of inner life.. After a voice session with her I have known actors speak not of the voice but of a growth in human relationships. This is a high tribute to work that is the opposite of specialization. Cicely Berry sees the voice teacher as involved in all of a theatre''s work. She would never try to separate the sound of words from their living context. For her the two are inseparable. --from Peter Brook''s foreword to Voice and the Actor

Format: Trade Paperback

Dimensions: 162 pages, 8.31 × 5.5 × 0.38 in

Published: August 13, 1991

Publisher: Wiley

The following ISBNs are associated with this title:

ISBN - 10: 0020415559

ISBN - 13: 9780020415558

save
28%

In Stock Hurry, only 0 left! Not yet released

$12.15  ea

Online Price

$15.99 List Price

or, Used from $5.04

eGift this item

Give this item in the form of an eGift Card.

+ what is this?

This item is eligible for FREE SHIPPING on orders over $25.
See details

Easy, FREE returns. See details

Item can only be shipped in Canada

Downloads instantly to your kobo or other ereading device. See details

All available formats:

Check store inventory (prices may vary)

Reviews

– More About This Product –

Voice and the Actor

by Cicely Berry
Foreword by Peter Brook

Format: Trade Paperback

Dimensions: 162 pages, 8.31 × 5.5 × 0.38 in

Published: August 13, 1991

Publisher: Wiley

The following ISBNs are associated with this title:

ISBN - 10: 0020415559

ISBN - 13: 9780020415558

Table of Contents

Introduction.

1. Vocal Development.

2. Relaxation and Breathing.

3. Muscularity and Word.

4. The Whole Voice.

5. Speaking Poetry.

6. Listening.

7. Using the Voice.

Summary of Exercises.

Index.

From the Publisher

"Speaking is part of a whole: an expression of inner life." Cicely Berry has based her work on the conviction that while all is present in nature our natural instincts have been crippled from birth by many processes--by the conditioning, in fact, of a warped society. So an actor needs precise exercise and clear understanding to liberate his hidden possibilities and to learn the hard task of being true to the ''instinct of the moment''. As her book points out with remarkable persuasiveness ''technique'' as such is a myth, for there is no such thing as a correct voice. There is no right way--there are only a million wrong ways, which are wrong because they deny what would otherwise be affirmed. Wrong uses of the voice are those that constipate feeling, constrict activity, blunt expression, level out idiosyncrasy, generalize experience, coarsen intimacy. These blockages are multiple and are the results of acquired habits that have become part of the automatic vocal equipment; unnoticed and unknown, they stand between the actor''s voice as it is and as it could be and they will not vanish by themselves. So the work is not how to do but how to permit: how, in fact, to set the voice free. And since life in the voice springs from emotion, drab and uninspiring technical exercises can never be sufficient. Cicely Berry never departs from the fundamental recognition that speaking is part of a whole: an expression of inner life.. After a voice session with her I have known actors speak not of the voice but of a growth in human relationships. This is a high tribute to work that is the opposite of specialization. Cicely Berry sees the voice teacher as involved in all of a theatre''s work. She would never try to separate the sound of words from their living context. For her the two are inseparable. --from Peter Brook''s foreword to Voice and the Actor

From the Jacket

"Speaking is part of a whole: an expression of inner life." Cicely Berry has based her work on the conviction that while all is present in nature our natural instincts have been crippled from birth by many processes—by the conditioning, in fact, of a warped society. So an actor needs precise exercise and clear understanding to liberate his hidden possibilities and to learn the hard task of being true to the ‘instinct of the moment’. As her book points out with remarkable persuasiveness ‘technique’ as such is a myth, for there is no such thing as a correct voice. There is no right way—there are only a million wrong ways, which are wrong because they deny what would otherwise be affirmed. Wrong uses of the voice are those that constipate feeling, constrict activity, blunt expression, level out idiosyncrasy, generalize experience, coarsen intimacy. These blockages are multiple and are the results of acquired habits that have become part of the automatic vocal equipment; unnoticed and unknown, they stand between the actor's voice as it is and as it could be and they will not vanish by themselves. So the work is not how to do but how to permit: how, in fact, to set the voice free. And since life in the voice springs from emotion, drab and uninspiring technical exercises can never be sufficient. Cicely Berry never departs from the fundamental recognition that speaking is part of a whole: an expression of inner life…. After a voice session with her I have known actors speak not of the voice but of a growth in human relationships. This is a high tribute to work that is the opposite of specialization. Cicely Berry sees the voice teacher as involved in all of a theatre's work. She would never try to separate the sound of words from their living context. For her the two are inseparable. —from Peter Brook's foreword to Voice and the Actor

From Our Editors

Voice and the Actor covers everything actors need to know about controlling the voice, their most important instrument. It includes detailed, clear exercises and explanations on developing a natural stage voice, breathing, enunciation, and pitch and timbre, with special advice on difficult delivery problems.
Item not added

This item is not available to order at this time.

See used copies from 00.00
  • My Gift List
  • My Wish List
  • Shopping Cart