Resources

Next year’s words await another voice’: British Sign Language and voice work with D/deaf actors at the RCS

Accredited NGVW teacher Mel Drake introduces her work with D/deaf actors on the BA Performance course at The Royal Conservatoire of Scotland.

Download a copy of  Mel’s essai here

Essai recently published in: Theatre, Dance and Performance Training, 2019 What is new in voice training? Volume 10, No. 3, 448 – 454

Publication by Routledge Taylor & Francis Group

2020-05-12T09:58:02+01:00May 12th, 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|

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|

ARTEACTA 2: Academy of Performing Arts, Prague

Michaela Raisova looks back on her research fellowship working with Nadine George in London 2018 on the voice and classic text.

This publication,  published by the Academy of Performing Arts in Prague, focuses on performative art and artistic research. The book has been released in the Czech language only.

https://namu.cz/arteacta-2-2018

2019-11-25T14:57:04+00:00January 1st, 2019|

Acting through Voice and Speech: A Tone Resonates

In this book accredited teacher Karin Rudfeldt explores her life-long work with the voice and the spoken word; primarily from the perspective of a teacher and in her role as assistant professor of Voice and Speech at the Stockholm Academy of Dramatic Arts, but also as a musician and poet.

The book looks at voice and language in relation to characterisation and the creative process and seeks to find the connection between that which flows and that which binds, the link between chaos and order.

Click the links below to view Karin’s book in  Swedish or English

Karin Rudfeldt_Acting through Voice and Speech_SWEDISH

Karin Rudfeldt_Acting through Voice and Speech_ENGLISH

 

2019-08-15T11:37:55+01:00August 1st, 2016|

The Deadly Power of the Living Voice by Thorey Sigthorsdottir

MA dissertation piece
Advanced Theatre Practice Central School of Speech and Drama

In this dissertation, Sigthorsdottir explores how voice can be used as a creative tool in the devising context.

Working with the Nadine George Voice Work and using qualitative and quantitative analysis in the workshop context Sigthorsdottir explores this question and evolves discussion around the use of voice in the devising process. With commentary from Nadine George and Guy Dartnell, collaborative, artist, teacher and mentor.

Click here to View PDF

2019-07-29T13:05:08+01:00September 20th, 2012|
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