Table of Contents

Acknowledgements
Foreword
List of illustrations
Introduction
PART ONE LAYING THE FOUNDATIONS
Introduction
Chapter 1 The organic acting approach and the voice
Chapter 2 The organic acting approach and the brain
PART TWO THE ESSENTIAL VOCAL SIX – AND INTEGRATING ACTING INTO VOICE
Introduction
Chapter 3 Alignment – backbone of the action
Chapter 4 Breath – the great creative connector
Chapter 5 Centred onset of sound – the vocal identity of the actor
Chapter 6 Pitch range – the music of meaning
Chapter 7 Resonance – vibrating the experience
Chapter 8 Articulation – shaping thought and action
PART THREE INTEGRATING VOICE INTO THE ORGANIC ACTING PROCESS
Introduction
Chapter 9 Interval – receiving and responding
Chapter 10 Awareness, ease and focus
Chapter 11 The action – given circumstances, interaction and objectives
Chapter 12 Seeing, sensing and feeling
Chapter 13 Character voice
Chapter 14 The actor in the space
PART FOUR INTEGRATING VOICE IN REHEARSAL AND PERFORMANCE – PUTTING IT ALL TOGETHER
Introduction
Chapter 15 Meeting the play and the character
Chapter 16 From impulse to action
Chapter 17 From action to form
Conclusion
Selected bibliography
About the authors
Index
Permissions

Promotional Information

The first book to fully integrate acting skills with voice technique.

About the Author

Christina Gutekunst is currently Head of Voice at East 15 Acting School, UK.

John Gillett is an actor, director, teacher and the author of Acting on Impulse, revised in a new edition as Acting Stanislavski: A practical guide to Stanislavski’s approach and legacy (Bloomsbury Methuen Drama, 2014).

Reviews

Voice into Acting is an inspiring, comprehensive, and accessible guide to voice training, acting techniques, and body awareness for actors and performers .. It is a rich resource for teachers and students, and for established actors wishing to refresh or revisit their training or get out of bad habits. It is excellent: a challenging and insightfully presented series of methodologies that demands an intellectual, instinctive, and physical understanding of the acting process.
*New Theatre Quarterly*

A unique and valuable resource for all those who wish to explore a cohesive and fully integrated method for bringing a character to vivid life onstage, fully engaging the voice, body, and mind.
*Theatre Topics*

I was fascinated to read Voice into Acting and the approach it presents for integrating vocal pedagogy with the acting process. The authors combine a depth of experience in voice teaching and in acting that enables them to write with authority, wisdom and clarity, making a valuable contribution to the field. The material is thorough, detailed, and very well organized. Strongly recommended.
*DAVID CAREY, Voice and Text Director UK and USA, co-author of The Verbal Arts Workbook*

A thoughtful, comprehensive guide packed with useful, practical exercises for joining voice pedagogy and the acting process … Voice into Acting is a complete guide that could be used to create a voice class, acting class or in a rehearsal process to synthesize both. As demonstrated by the authors’ use of Shakespeare to integrate the process, the methods can be applied to any text, ranging from new plays to classics. The exercises provide a vast resource that could be used for an ensemble of actors in rehearsal, group of students in a classroom, or by an individual actor seeking to develop their skills.
*Voice and Speech Review*