Contemporary actor training in the US and UK has become
increasingly multicultural and multilinguistic. Border-crossing,
cross-cultural exchange in contemporary theatre practices, and the
rise of the intercultural actor has meant that actor training today
has been shaped by multiple modes of training and differing
worldviews. How might mainstream Anglo-American voice training for
actors address the needs of students who bring multiple worldviews
into the training studio? When several vocal training traditions
are learned simultaneously, how does this shift the way actors
think, talk, and perform? How does this change the way actors
understand what a voice is? What it can/should do? How it
can/should do it? Using adaptations of a traditional Korean vocal
art, p'ansori, with adaptations of the "natural" or "free" voice
approach, Tara McAllister-Viel offers an alternative approach to
training actors' voices by (re)considering the materials of
training: breath, sound, "presence," and text. This work
contributes to ongoing discussions about the future of voice
pedagogy in theatre, for those practitioners and scholars
interested in performance studies, ethnomusicology, voice studies,
and intercultural theories and practices.
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