• BONE

Kevin Crawford

Program Director (MFA in Physical Theatre)
Living in Arezzo, Italy
Worked with Roy Hart and was part of the Roy Hart Theatre (before 1991)
Roy Hart Voice Teacher since 1977

At this point in my teaching I do not espouse a single philosophy or approach, although my work is permeated with Roy Hart’s direct legacy. As the majority of my work is with young theatre professionals in training, my aim is to invite them to re-examine their assumptions about the voice, and to propose a coherent approach that they can refer to in their professional life. My place in this is as privileged observer, informed ‘provocateur’ and patient guide for reconstructing a wider vocal vision.

Kevin Crawford is a founding member of the Roy Hart Theatre company. He toured extensively with the company for over twenty years, before moving to Ireland, where he was a member of faculty at the School of Drama, Trinity College. In 2001, he was awarded an MA in Voice Studies from the Royal Central School of Speech and Drama. In 2002, Kevin was appointed Lecturer at the Université d’Artois before joining Accademia dell’Arte in Arezzo, Italy, where he directs the MFA in Physical Theatre. Directorial credits include ‘Wolf’s Bride’, ‘The Bacchae’ and ‘Bartholomew Fair’. He wrote and recently performed ‘Montee’ in collaboration with cellist Caroline Boersma: performances in US, Italy and France.
Kevin Crawford has trained with Roy Hart, Marita Gunther, Derek Rossignol, Robert Harvey, Lisa Mayer, Dorothy Hart and Viviane Young.
He speaks English, French and Italian.


E-Mail: moc.liamg@eciovdrofwarcnivek
Website Academia dell’Arte, MFA in Physical Theatre, www.dellarte.it
Accademia dell’Arte, The school as a whole, www.dell-arte.org

Articles published in Vastavox Journal :
– Music and Madness in Heightened Text
Inspired by Oliver Sachs’s book  Musicophilia I look at how strategies for investigating text may benefit from a movement-based approach where musicality and textual colour can inform each other
– Tangents and Parables
Tangents and parables posits alternative pathways into exploring Heightened Text
– Shakespeare and Commedia
How Shakespeare and Commedia dell’Arte can complement each other in actor-training
These articles are available through the author and can be shared on Googledocs, http://www.dellarte.it