The vocal body
In current understandings of voicing, especially in long-standing training formulae for actors and singers, the body is considered as a supporting mechanism. Good, healthy and aesthetically pleasing voice is produced when all the relevant body parts function efficiently. Still, this chapter asks: is the mechanistic paradigm the only option? Can we decisively map our physiology into apparatuses that contribute to sound-making and parts that resist participation in voice or stay unaffected by sounding? What are the consequences of such a paradigm for both the extra-daily and the everyday voicers? Drawing on my work as a movement specialist and director with experimental opera groups which seek to challenge the body-voice dichotomy (Experience Vocal Dance Company and Opera in Space) as well as my doctorate project on the physicality of the voice in vocal dance, post-Grotowskian practitioners and Korean pansori singers, I wish to share my observations on the possibilities of physiovocal unity. Using a practical session with my opera singers as a case study, I will attempt to foreground an integrative perspective, which moves beyond understandings of the body as a mere facilitator or homebase of vocal emission.
This is the author accepted manuscript. The final version is available from Triarchy Press via the link in this record
In Body and Performance, edited by Sandra Reeve, pp. 85 - 98
Place of publication