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Index
Cover
Half-title Page
Title Page
Copyright
Contents
Acknowledgements
Introduction
Training actor’s voices: Towards an intercultural/interdisciplinary approach
The Korean National University of Arts, School of Drama: Case study
The origins of this approach
Notes
References
1 Conversations and methodologies
Embodiment: The role of vocal anatomy in the “natural/free” voice approach
Embodiment practices between bodies and voices: Learning p’ansori and its adaptations at KNUA
Interculturalism: One way of (re)considering voice practice
Conversations from intercultural theatre discourse
Practice as research: Another way to (re)consider voice practice
Notes
References
2 What is the “natural/free” voice approach?
What is a “natural” or “free” voice?
The “blocked” voice
The “blocked” voice and “habits”
The “natural/free” voice and rib reserve
Rib-reserve, a “natural” breath and Grotowski
The “natural/free” voice and bone prop
The role of “technique” in the “natural/free” voice approach
The Alexander Technique and the “natural/free” voice
The “natural/free” voice and “re-education”
“Allowing” as technique
Adapting the “natural/free” approach
Notes
References
3 What is sŏngŭm [성음] in p’ansori [판소리]?
A brief overview of p’ansori: Definitions
P’ansori and border-crossing
Brief history
Embodying role
Form and function of the voice within the telling
What is sŏngŭm?
Training towards sŏngŭm in the studio
Video sample one—p’ansori training
The role of emotion, specifically han, in p’ansori training
Vocal techniques: Creating sound and meaning
Vocal techniques: “Sankongbu” [lit. 산/mountain 공부하다/to study, “mountain study”]
Influence of sankongbu in pitch range
The role of resonance in sound production
The “natural” in p’ansori and the “natural/free” voice approach
Strategies for talking about voice
Notes
References
4 The role of breath in training actors’ voices
The “problem(s)” interweaving breath
The role of self in Anglo-American voice pedagogy
Approaches to mind, body, and awareness
Beyond Western biomedical models and understandings of self: Bodymind unity and breath as “awareness”
Benefits of integrating dahnjeon breathing and ki into the “natural/free” voice approach
Dahnjeon breathing sequence
Notes
References
5 The role of “presence” in training actors’ voices
Conceptualizing “energy” and “presence” through the “natural/free” voice approach
Transmission of embodiment practices: Training towards “presence” using “natural/free” voice exercises
Body
Breath
“When you talk about ‘centering’ the breath, do you mean using the dahnjeon?”
Placing “centering” and “dahnjeon breathing” on a continuum of training
“Mind” and “energy”
The “problem” with “presence” in conceptualizing the relationship between “energy” and voice
Listening
An application of mǒt and mat to training actors’ voices towards an understanding of “presence” in the voice
Feedback loops
Notes
References
6 Text/vocal text
A return to the market and street
(Re)examining aural/oral training/performance relationships in the market/street
Finding “text” in outdoor sites
Sounds of culture
Cultural ear-training: Field research at Namdaemun Market
Creating original, devised performances: The culture-voice relationship as the center of the creative process
Notes
References
Conclusion
References
Index
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