3. How can we connect language to dramatic text?

This is probably, in my opinion, why Voice Studies and Production is a module classified under drama. Corrigan (1997) has mentioned that a there is relevance of the teaching of voice with psycho-physical techniques – in other words to bridge the mental and physical aspects (forming a mind/body unity) when it comes to speech production. Rolfing, mentioned in the article, seem to hint at the floor work that we do weekly in class to achieve some kind of alignment at our spinal cords and body– but I might be wrong. And the reason we do these floor work, humming and vocalization exercises each week might be in line with what some of the principles of psycho-physical techniques assumes – that we (a) don’t try too hard, (b) only look at end-product, (c) repeat the exercises over time, (d) don’t overanalyze and (e) let it happen. (Corrigan, 1997, pp. 95-96) It might seem counterproductive to heed these advice as we naturally want to improve ourselves in the shortest time possible and to overdo things. I do practise what is done in class at home but more often than not I question these activities – what am I trying to achieve here? Disinterest often makes me panic a little.

Another thing that struck me in Corrigan’s article is that it mentions “our musculature is a reflection of our mental state, and reciprocally that our mental states affect and shape our musculature” (1997, p. 98) It somehow correlates to what Claire said in class: to be confident in our posture and poise allows us to be more focused and speak better, and this cycle just goes on. It also explains why people do power poses before heading on for a speech or performance. Perhaps to connect language to dramatic text, we have to “look” the part before we can try to “sound the part”. Hence, it makes sense for Claire to incorporate the drama classes together with speech. In the fun and light hearted environment, we “let go” and allow our bodies to produce the sounds we want.

In class, we used a variety of ways to use spoken language in dramatic text (or play) such as pitch, pauses, intonation etc. However, it is a challenge to convey if we do not put ourselves into it. (i.e. if we do not feel it, or are too self-conscious to feel) Apart from achieving a high level of vocal control, there is a need to inject or project some of our personality into the text we are reading to make it come alive. For myself, I think achieve a balance between technical control and the injection of feeling is vital. Too much or too little of either may just make the text I read lose its essence or relatability. After all, speech is meant for listening – there is always a receptive aspect to it.

References:

Corrigan, M. (1997). ‘Psycho-Physical Techniques and Their Relevance to Voice and Actor Training’, in Hampton, M. & Acker, B. (Eds.), The Vocal Vision: Views on Voice by 24 Leading Teachings, Coaches & Directors. New York: Applause