{"product_id":"voice-and-the-actor-isbn-9780020415558","title":"Voice and the Actor","description":"\u003cp\u003e\"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.\u003cbr\u003e—\u003cb\u003efrom Peter Brook's foreword to Voice and the Actor\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIllustrations\u003c\/p\u003e \u003cp\u003eDiagrams in Text Page\u003c\/p\u003e \u003cp\u003eResonating spaces 10\u003c\/p\u003e \u003cp\u003ePossible rib movement 21\u003c\/p\u003e \u003cp\u003eGood and bad positions on the floor 23\u003c\/p\u003e \u003cp\u003eBone-prop in the mouth 49\u003c\/p\u003e \u003cp\u003ePosition of tongue and its movement 53\u003c\/p\u003e \u003cp\u003ePalate lowered 55\u003c\/p\u003e \u003cp\u003ePosition of back of tongue and soft palate 56\u003c\/p\u003e \u003cp\u003ePhotographic Plates Facing Pages\u003c\/p\u003e \u003cp\u003eIncorrect posture 62\u003c\/p\u003e \u003cp\u003eCorrect posture 62\u003c\/p\u003e \u003cp\u003eFree position on the floor 63\u003c\/p\u003e \u003cp\u003eTense position of neck and shoulders 63\u003c\/p\u003e \u003cp\u003eGood breathing position 78\u003c\/p\u003e \u003cp\u003eDemonstrating rib movement 78\u003c\/p\u003e \u003cp\u003eHands stretched above the head 79\u003c\/p\u003e \u003cp\u003eHands and head hung down 79\u003c\/p\u003e \u003cp\u003e\u003cb\u003eCicely Frances Berry\u003c\/b\u003e CBE was a British theatre director and vocal coach. Berry trained under Elsie Fogerty at the Central School of Speech and Drama, then based at the Royal Albert Hall, London.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePeter Stephen Paul Brook\u003c\/b\u003e, CH, CBE is an English theatre and film director who has been based in France since the early 1970s. He has won multiple Tony and Emmy Awards, a Laurence Olivier Award, the Praemium Imperiale, and the Prix Italia. He has been called \"our greatest living theatre director\".\u003c\/p\u003e   \u003cp\u003e\u003cb\u003e\"Speaking is part of a whole: an expression of inner life.\"\u003c\/b\u003e \u003c\/p\u003e\u003cp\u003eCicely Berry has based her work on the conviction that while all is present in nature our natural instinct 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'. \u003c\/p\u003e\u003cp\u003eAs 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. \u003c\/p\u003e\u003cp\u003eSo 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 the whole: an expression of inner life.... After a voice session with her I have known actors speak not of the voice but of 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. \u003c\/p\u003e\u003cp\u003e—\u003cb\u003efrom Peter Brook's foreword to\u003c\/b\u003e \u003cb\u003e\u003ci\u003eVoice and the Actor\u003c\/i\u003e\u003c\/b\u003e \u003c\/p\u003e\u003cp\u003eCover design by Richard Rossiter\u003c\/p\u003e","brand":"Wiley","offers":[{"title":"Default Title","offer_id":47990461464805,"sku":"NP9780020415558","price":15.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780020415558.jpg?v=1761787921","url":"https:\/\/k12savings.com\/es\/products\/voice-and-the-actor-isbn-9780020415558","provider":"K12savings","version":"1.0","type":"link"}