NIDA Voice Lessons – Day 3

Breathing Co-ordination

Alexandar ____ techniques

  • Getting body back into natural alignment
  • 1 technique: semi-supine position
    • get a book, lie on back, feet flat on floor, arms in t-shape
    • Breath, let gravity pull you down
    • Body will realign it’s self
      • Called constructive rest
  • Silent la la la
    • Coordinates the breath (slows it down)
    • Push against wall while speaking lines – keeps you grounded and energised

Feedback:

  • Do omnish (paints a picture)
  • Pushing against the wall (make endings more sharp)
  • Stop gloating
  • Don’t rest things for the sake of reciting them, give a perspective

 

NIDAOnline: NIDA Audition Preparation – Classical Monologues (Day 2)

  • you feel the words on the page and make them yours
    • Make your monologue true to you, make it sensor – make it more believable
  • When speaking a classical monologue, don’t speak in rhythm, try and speak normally.
  • Impatient of not hearing back from a text she sent
  • Fidgety
  • Frustrated
  • Angry
  • Upset at protese?
  • Happy letter was from protease

Feedback:

  • Go deeper into text
  • Find a person who who love not form you family – put face to nurse
    • Love her
    • Being mean to her
    • Know who the nurse is
    • Someone who is an older woman who you trust
  • can be a little skitzo – 14 year olds are a little skitzo when talking about love
  • Have to know how hot Romeo is – find that person in your life
    • Know how exciting that is

Challenge:

  • Understanding what’s happening

Success:

  • Get out of the rhythm

NIDA Online: The Creative Voice – Day 2

Focusing on the musicality the voice

Gurning:

  • Art of making silly faces

Omnish

  • More gurning will change the way you sound

Exercise:

  • Speak lines normally
  • Speak lines in Omnish
  • Speak lines normally again
  • Notice the differences

Reflection

  • Difficulties in speaking Omnish while speaking your lines (the same intention)
  • Change in pitch and pace
  • More animated in voice and facial expression
  • Difference between first and 3rd read
  • More emotion
  • Gives us more, range, color , texture
    • Sounds we’re not used to making these sounds
    • More range, color and texture we have make us sound more interesting
      • Breaks the usual rhythms we get stuck in

ABAB:

  • Get an idea of character playing though different tactics (e.g.: energise, fear, ..)
  • Get story/understanding of character
    • Commit to the words and actions creates the allusion of character
  • Pitch changes
  • vouls shift
  • Vocal energy can shift
  • Texture
  • change in speed and delivery
  • Break habit, change tactics
    • More variety and options
  • Hard with short word/phrase – can’t explore tactic much
  • Adding nuance to the word
    • Creates more depth to the story
  • Brings intention.
  • What do you want form the audience?

NIDAOnline: NIDA Audition Preparation – Classical Monologues

  • Zoom Call
  • 4 sessions.

 

Job of an actor:

  • Articulation/be heard
  • Remain in character
  • Remember lines
  • Remember que’s
  • Knowing what and when to say
  • Being heard
  • how much energy you should bring to the stage
    • Must bring freshness when repeating the scene
  • Keep your breath
  • Reality and truth of humanity
    • How do you use your props as if you use them every day (e.g.: smoking, using your whole body)
      • can use rosemary Tabasco instead of actually smoking
  • Must have self care
  • Must find own way to get into scene (e.g.: playing a drunk when you’ve never been drunk)
  • Have to do all of this and make it look effort less

Given Circumstances:

  • who
  • What
  • When
  • Where
  • why

The actor as detective

  • Must read the text to get the given circumstances
  • Must understand what is happening in the scene and why they said what they said
  • At teh given time
  • Don’t think of it as a speech, but as a series of thought
    • The character doesn’t have speech planed out,

Objective:

  • I want
  • I need
  • I must have

Choose the strongest

Raise the stakes

How do I get it? – action

  • As long as you can physically do it, that’s what gives it the “action”
  • What’s in the way of achieving your objective? – gives you drama.
  • Don’t want perfection/polished actor when auditioning
  • Looking for actor who they can work with (actor will bring something the producers like)
  • want to see your version of the character
  • What motivates your character – what makes them human?
    • Take them off the classical/heightened language pedestal and make them human
      • there’s sometimes a tendency to put on an actor voice – don’t
      • Want to hear your voice
        • Want clarity of utterance (speak clearly)
        • Pace
        • Ease
        • All things that are far easier said than done

Homework: Study play:

Questions:

  • Who are you? – Juliet
  • Age? – 13
  • Gender? – Female
  • Race? – Italian
  • Professions?
  • Social status?
  • Family? – daughter of the patriarch of the House of Capulet
  • Relationships? – Romeo – love interest
  • Education?
  • Wealth? – wealthy family

For your speech specifically:

  • Where are you? – Capulet’s Orchard
    • geographical – Verona, Italy
    • Environmental – garden
    • Time of day
    • Season
  • Where have been
  • Where are you coming from
  • Where are you going
  • What do you want? – to meet with Romeo
  • What is fact
  • What can you speculate/assume

NIDA Online: The Creative Voice – Day 1

  • Zoom Call
  • Did some imagery breathing techniques
  • To free the voice, we need to free the breath
  • Want to be honest when we use our voice
  • Born with amazing body
  • Over time with conditioning, things go wrong:
    • Can you please be quiet
    • All these muscular conditioning affects our vocal conditioning
  • Excess muscular traction can hinder our communication despite feeling great
  • Releasing tension
  • Freeing the breath
  • Allows expression and undoes the conditioning
  • Breathing impulse is primary impulse
  • Breath connected to voice – communicates better
  • Freedom within the body will allow freedom within teh breath and vice versa

In The Heart Of Robin Hood Reflection 1

Near the beginning of the year, I was chosen to be part of the drama production, “In The Heart Of Robin Hood”, cast. This was a pretty big deal for me, even though I don’t have a speaking role. I’ve been auditioning for the High School productions for a couple of years, but unfortunately I haven’t been to lucky in the past.

I really enjoyed my first day of working on the production, though it was not what I expected. On the first day we did a read though of the play. I was not expecting this at all. I knew we had to read through the play beforehand, but doing a read through was a completely new experience for me. I really enjoyed it though as I want to gain experience of being in a production. I want to go into the acting industry.

Drama Rehearsal Reflection

December 2018 Magnolia Theatre at the Lincoln Center Fort Collins CO

I choose this photo as I was able to join the drama production “In The Heart Of Robing Hood” this year. I feel quite proud of myself for joining the production as I haven’t been successful in landing a role in the past. This just showed me that my perseverance and determination is paying off. I’m slowly improving my acting skills. Another reason why I’m proud of myself for doing this is because I have stage fright. Performing on stage is defiantly a challenge for me and is pushing me a little bit out of my comfort zone. A few of years ago, I wouldn’t have even consider auditioning for plays