9781351180368_10.4324_9781351180368-21.pdf

As a first step towards tackling vocal presence as a matter of time, the proposed strategy is to attend to a particularly crucial moment in voice training: listening to one’s own voice while in act of voicing. Even if voicers are trained to ‘be in the moment’ or to ‘achieve presence,’ they can only...

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Έκδοση: Taylor & Francis 2023
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spelling oapen-20.500.12657-753232023-08-10T02:40:05Z Chapter 16 The always-not-yet/always-already of voice perception Thomaidis, Konstantinos aging, documentation, duration, embodiment, endurance, intercultural, temporality, aging, notions of time, performer training, training regimes bic Book Industry Communication::A The arts::AN Theatre studies As a first step towards tackling vocal presence as a matter of time, the proposed strategy is to attend to a particularly crucial moment in voice training: listening to one’s own voice while in act of voicing. Even if voicers are trained to ‘be in the moment’ or to ‘achieve presence,’ they can only rely on post-voicing auditory feedback or pre-voicing kinaesthetic awareness; voice perception is always-not-yet there or always-already there. When asked about definitions of vocal presence or whether they have developed a definition of vocal presence for the specific purposes of their studio work, all interviewees admit the complexity or impossibility of the task. Vocal presence can move beyond the bounds of the individual body and physiological or psychological notions of tension and release. Jane Boston asserts that an advantageous starting point for training vocal presence is breath, as ‘phonation depends on the appropriate manipulation of breath pressure and its conscious application for production of efficient soundwaves’. 2023-08-09T13:58:35Z 2023-08-09T13:58:35Z 2019 chapter 9780815396277 9780815396284 https://library.oapen.org/handle/20.500.12657/75323 eng application/pdf Attribution 4.0 International 9781351180368_10.4324_9781351180368-21.pdf Taylor & Francis Time and Performer Training Routledge 10.4324/9781351180368-21 10.4324/9781351180368-21 7b3c7b10-5b1e-40b3-860e-c6dd5197f0bb b6c89105-3623-4b1f-8884-6468bccd15c8 c1f2565c-65c6-4339-be4d-3b9878be853f 9780815396277 9780815396284 Routledge 16 University of Exeter open access
institution OAPEN
collection DSpace
language English
description As a first step towards tackling vocal presence as a matter of time, the proposed strategy is to attend to a particularly crucial moment in voice training: listening to one’s own voice while in act of voicing. Even if voicers are trained to ‘be in the moment’ or to ‘achieve presence,’ they can only rely on post-voicing auditory feedback or pre-voicing kinaesthetic awareness; voice perception is always-not-yet there or always-already there. When asked about definitions of vocal presence or whether they have developed a definition of vocal presence for the specific purposes of their studio work, all interviewees admit the complexity or impossibility of the task. Vocal presence can move beyond the bounds of the individual body and physiological or psychological notions of tension and release. Jane Boston asserts that an advantageous starting point for training vocal presence is breath, as ‘phonation depends on the appropriate manipulation of breath pressure and its conscious application for production of efficient soundwaves’.
title 9781351180368_10.4324_9781351180368-21.pdf
spellingShingle 9781351180368_10.4324_9781351180368-21.pdf
title_short 9781351180368_10.4324_9781351180368-21.pdf
title_full 9781351180368_10.4324_9781351180368-21.pdf
title_fullStr 9781351180368_10.4324_9781351180368-21.pdf
title_full_unstemmed 9781351180368_10.4324_9781351180368-21.pdf
title_sort 9781351180368_10.4324_9781351180368-21.pdf
publisher Taylor & Francis
publishDate 2023
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