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SATA pedagogy...
This page is for those using 'Singing and the Actor' work in their
teaching, whether for grade exams, in the private studio, in
coaching or class voice lessons.
Gillyanne writes about her experience working
with actors:
"One actor said to
me that she didn't want to read the book in case she found out all
the things she was supposed to know before singing a song. Although
she had a copy of the book she hadn't actually read it. She imparted
this information during a lesson in which we were concentrating on
vowels. I suggested we might use the Michael McCallion Voice Book
instead of mine, since she was familiar with it already. We flipped
through the book in search of vowel charts and vowel boxes. She
immediately went into panic - 'I don't understand these at all, I
never could in Drama School either and I can't see how they relate
to sound.' I showed her my mouth-sized cut-out of the vowel box and
put it alongside my own mouth, so that she could see the
relationship between the shape of the mouth, the box and the vowel
placement. 'Oh, is that all?' she said. She immediately 'got' from
this demonstration that in singing it is useful to medialise the
vowels, bringing the back vowels further forward in the mouth space.
Actors will sit
through the theory voice work if they understand the practical
application at an early stage. In this section of the SATA
experience I share with you my experience of applying Singing and
the Actor work in lesson plans and sample case histories."
Read Gillyanne's feature article
Lesson plan -
Monitoring personal effort
(SATA 2ed p14; 1ed p17)
Read
A mini article on mirening
by Jeremy Fisher
(with sound file download)
Download the latest
Singing and the Actor Training brochure
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Vocal Process SATA-related
products include:
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Singing and
The Actor - the book by Gillyanne Kayes |
Click on an image
(above) to find out more.
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