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Voice and the Actor

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"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 processesby 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 "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


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"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 processesby 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 "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

30 review for Voice and the Actor

  1. 4 out of 5

    Son

    Essential A crucial set of observations on the subject, with practical exercises, appreciation for language, focus on the subject. Read it.

  2. 4 out of 5

    Julie Bozza

    Present from my sister!

  3. 4 out of 5

    Constantin

    There is great information given in this book, but the material and the way of presentation feels very outdated. It has some very useful tips though!

  4. 4 out of 5

    Christina knox

    this is an excellent book. it's amazing that they packed so much information into so few pages.

  5. 5 out of 5

    Pooya Kiani

    محسن یلفانی رو بخاطر این کتاب باید ماچ کرد. همچنان بهترین کتاب برای پرورش بیان و صدا.

  6. 5 out of 5

    Barrett Woodruff

  7. 4 out of 5

    Josh Macphee

  8. 4 out of 5

    Glea Burbano

  9. 4 out of 5

    David

  10. 4 out of 5

    Tyler Toppings

  11. 5 out of 5

    Beverley

  12. 4 out of 5

    Christine Bissonnette

  13. 4 out of 5

    Kat

  14. 5 out of 5

    Brea Glosson

  15. 5 out of 5

    Christine Rapley

  16. 5 out of 5

    Maili

  17. 4 out of 5

    Brian

  18. 5 out of 5

    Hannah Rae

  19. 5 out of 5

    ساسان عاصی

  20. 5 out of 5

    Ailsa

  21. 5 out of 5

    Megan

  22. 4 out of 5

    Belinda Quimby

  23. 5 out of 5

    Kate

  24. 4 out of 5

    Michael Flood

  25. 4 out of 5

    Samuel Buti

  26. 5 out of 5

    Katie Butler

  27. 4 out of 5

    Luis Barnett

  28. 4 out of 5

    Vindhya

  29. 5 out of 5

    Stuart Gates

  30. 4 out of 5

    Jeri

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