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Ros Steen works with visual/digital artist Màiri Lafferty to release vocal authenticity in the experimental film ‘Tongues’

Tongues is an experimental film directed by visual/digital artist Màiri Lafferty and supported by a Morton Award from the Royal Scottish Academy. It is about glossolalia or speaking in tongues and is based on Lafferty’s childhood experience of the Pentecostal movement in the US and Scotland. It was filmed at Basic Mountain, Edinburgh in June 2019 and documented by Holly Yeomen in her text Polyphonic Representation.

Tongues comprises four workshopped Acts designed to create a secular environment  to practice glossolalia led by Ros Steen, accredited teacher of NGVW, and Layla Brown, a classically trained singer specialising in improvisation. The band of artists Fallopé & the Tubes –  Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, & guest Rosslyn Oman  – participate in these Acts whereby Steen and Brown use radical pedagogical vocal techniques, including Nadine George Voice Work with its roots in the pioneering research of Alfred Wolfsohn, to enable the group to release ‘their authentic, magnetically haunting sound, a voice relation of Wolfsohn’s dying souls’. [Holly Yeoman.]  Text spoken was drawn from A.L.Kennedy’s essay Proof of Life ( published in ‘On Writing’, Jonatahn Cape 2013) as well as vocal deconstructions of the participants names.

Before filming, Màiri experienced Nadine George Voice Work in a lesson with Ros to understand the work from her own embodiment of it. In an e mail subsequently she wrote the session

has transformed the film itself – originally fundamentally visual – into something far more performative…. it is the process of the film that is the most important thing…how can I create the best space for it? How can I create a safe and generous space for a group of women to engage with their own energy – to begin to understand its force and power, and harness it to vocalise something that they otherwise cannot articulate?’

Both film and Yeoman’s text are currently available here :


2020-04-20T21:52:16+01:00April 20th, 2020|

A Collection of Papers by Ros Steen

VSI is delighted to be able to share with you a collection of papers from Accredited Teacher, Emeritus Professor and former Head of Research and the Centre for Voice in Performance of the Royal Conservatoire of Scotland, Ros Steen.

Ros has been a Voice Practitioner for over 35 years and has studied and worked with Nadine George since they met in 1990. Trained at the Royal Conservatoire of Scotland (formerly RSAMD) and the University of Glasgow, Ros pioneered the use of Nadine George voice work as a medium of rehearsal in professional theatre in Scotland and was responsible for introducing and establishing the work as a core language of the Scottish theatrical landscape. The work forged a new role for the voice specialist in productions, that of Voice Director.

These papers give a fascinating insight into Ros’s work with the Nadine George Voice Work and the voice in training and theatrical contexts.

Click on the links below to download a copy of each paper.

Helena, Hitler and the Heartland : Ros Steen, pp 43 -58 originally published in Shakespeare Around the Globe and other contemporary issues in professional voice and speech training presented by the Voice and Speech Review, Mandy Rees,ed, Cincinnati, OH: Voice and Speech Trainers Assoc., Inc., 2005, ISBN 0-9773876-0-7 Used with permission.

Teaching Voice in the New Millennium :Introduction to the Day : Keynote address. Published in The Contemporary Voice: How We Teach Voice in the New Millennium ed Bruce Wooding, 2006. Central School of Speech and Drama.

Seein Oursels as Ithers See Us by Ros Steen, originally published pp 281 -290 in Voice and Gender and other contemporary issues in professional voice and speech training presented by the Voice and Speech Review, Mandy Rees , ed, Cincinnati, OH: Voice and Speech Trainers Assoc., Inc., 2007, ISBN  978-0-9773876-1-8 Used with permission.

Double-hinged Doors : The RSAMD’s voice work in Training and Theatre, LIPA conference, 2008, Ros Steen and Bill Wright

What We May Be : the integration of Lecoq Movement and George voice work at the RSAMD, Ros Steen and Joyce Deans, pp 46-62 in The Moving Voice, the Integration of Voice and Movement Studies presented by the Voice and Speech Review, Rena Cook, ed, Voice and Speech Trainers Assoc., Inc., 2009, ISBN 978-1-934269-55-8; Used with permission

Earthing the Electric by Ros Steen is published in Theatre, Dance and Performance Training, Vol 3 (3) 2012, Routledge.


2020-06-10T10:16:28+01:00April 1st, 2020|

Martin Vogel eloquently languages his experience of a two day workshop in Glasgow with Nadine

‘I’ve written before about the stirring voice work of Nadine George. My introduction to the work last year has turned out not to be an isolated encounter but the beginning of an exploration that I suspect I might pursue for some time. Most recently, I joined a two-day workshop in Glasgow with a group of people with varying levels of experience in the method – from decades to none.’

To download this fascinating piece in full  click HERE

Martin Vogel


2019-12-19T22:28:09+00:00December 19th, 2019|

Growing Voices ed Ros Steen

It is over 25 years since Nadine’s voice work was first introduced to the Royal Conservatoire of Scotland, and to Scottish Theatre. Since then, the work has been developed and researched within performance training as well as professional theatre productions. This has resulted in creating a significant impact on rehearsal performance practice, the role of the voice specialist in production and on the application of the vocal work to directors, the direction process, and new writing. The work became the core vocal practice in the Conservatoire’s School of Drama in 2006, when Professor Ros Steen established the Centre for Voice in Performance, CViP.

Growing Voices charts the growth and development of the work’s impact on training and the profession through a range of responses from directors, voice practitioners, playwrights, actors, staff and students, who speak in their individual voices about their relationship to the work.

This publication from the Conservatoire’s Centre for Voice in Performance is a testament to the profound impact of Nadine and her work:

‘…the technique opened a whole new thing which has been amazing – the voice, the communication, the vibration and resonance and the energies.’ John Tiffany, Director (Harry Potter and the Cursed Child, Black Watch, Once)

‘…thank you [CViP] for all that you did over the years to ensure we were able to have the best experience possible in voice. I will cherish our masterclass with Nadine George for a very long time to come. ‘ Contemporary Performance Practice student, Royal Conservatoire of Scotland, 2018.

View Growing Voices PDF

2019-07-26T15:25:55+01:00July 4th, 2019|
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