This paper will discuss pedagogical issues arising from the performance of the voice, with the focus on practical vibratory chants, ritual chants, and traditional songs as a means to expand the creative consciousness of the vocal action in the training of the actor. This study is inspired by the principles of the vocal practices of Maud Robart, who worked on vibratory 'songs of tradition' with Jerzy Grotowski during the latter's 'Art as Vehicle' stage, and also by the contributions of Paul Zumthor and his concepts of vocality, cultural tradition and performance. Through these vibratory chants, the aim is to expand the vocal experience, with an integration of academic knowledge and popular knowledge, and ancestral wisdom with contemporary realities. Through an encounter with other cultures, the goal is to extend perception and perspectives on vocal pedagogies, and then go beyond culture into the depths of human language: the full creative potential of the voice. Vibratory chants offer an opportunity to expand vocal performance possibilities, and thereby to develop the actor's creative consciousness and presence in work with vocal action, whether spoken or sung.
|Journal||Urdimento - Revista de Estudos em Artes Cênicas|
|Publication status||Published - 5 Jun 2014|