A pre-performative training towards performance, research and how to develop own directions / structures into the voice work
The roots of voice and listening
-Link to Alfred Wolfsohn and the approach of the Roy Hart theatre*, in order to the process of contemporary performative issues in connection to voice performance.
-Tools of listening connected to the teaching of Marita Günther – her interpretation of Alfred Wolfsohn’s approach- and aspects of the invaluable experiences from Kaya Anderson and eventually of other founder members or Roy Hart Thearte.
-The depth and dimension of extended voice in range (horizontal) as well into the human depth (vertical), based on the lecture “Momentum” S.Weins Cologne 2013
Approaching the voice in personal presence and contemporary Performance
-Voice, impulse and development
-Colours, timbre, dimensions and flexibility of voice
-Voice in/out active body
-Voice within musical dialogues, imaginative or other inspiring processes
-Voice leading the awareness into the sources of personal creation.
-Dialog as a general source to bring human expression into an appreciative aesthetic context.
-The cruel and beautiful poetry of nonverbal expression and being.
Another approach to body, movement, grounding(support system), and reading the space in order of expression
-Learning about body mind and breathing
-Piano as a main instrument in the voice work, the challenges, complexity and musical support.
The moment and the time
-Discovery and development of own assesses towards creating and sharing
-Presence work in space/ time / dynamics /colours / form/ flexibility
-Including the aspects of Body-Mind-Centering (BMC), FM Alexander technique and other voicemovement- performance tools.
Piano in the voice work.
“Voicing/Tracing”* is the headline of an advanced proposition for deepening studies. The offer contains 2 intense weeks during the year (2020) and intense 10 days in Malérargues. Each setting will follow three of the main themes (voice, movement, music, listening, performance,…). The offer is 36 hours per week to open the space for guest teachers and apprentices during this period. The training will lead to the performance, there will be short performances created after each intense week. The main theme of the 3rd week will be collaborative performance, which will include all elements of the training.
The participants will have a possibility to develop their own personal and artistic gesture/voice during the whole process of the program (through observing, teaching and performative skills). Each intensive week, Sašo Vollmaier offers 6 hours of piano training as deepening study with the main theme ” the approach to the voice with piano”.
*The term VOICING/TRACING has been positioned very intentionally between the two central artistic means of expression voice and moves, as interface so to speak, since sounds as well as bodily movements can both be regarded as traces due to their volatility in space and time. They can enter into a dialog with other artistic traces (of movement, objects, space, Instruments..).
What kinds of artistic options are possible due to such interactions between voice- and movement traces?
And what kinds of challenges result from this for the spectators/listeners – particularly if these interactions primarily unfold within the area of the non- verbal, beyond the obvious allocations of meaning or outstanding narrative threads?
Description of the approach
Listening to the present voice of a person is among the most nearest social acts of human exchange.
Accordingly, the listening process demands high awareness, full respect, attentive care, and deep knowledge of how to focus on listening, sounding and moving.
Here, the attention goes beyond words and follows the vital expression of a resonating human being.
Participants are invited to share in a transformative journey of profound discovery as they awareness what a voice may need, how the surpluses of meaning would like to be received, held, accepted, shaken, energised, expressed, explored, touched, and accompanied. A process which involves the whole potential of human creativity in body-mind and opens up the entire vocal range. Space and time define the moment. Different artists (actor, singer, dancer, per-former and other genre of fine art), both professional and amateur, can produce deeply grounded performances in different layers of art.
Profound skills will be developed under the guidance of the vocal/movement performer Susanne Weins and vocal/ music performer Sašo Vollmaier, and the inspiring care of the invited founder members of Roy Hart theatre.
The tradition of listening to human voices in a specific way as a performative expression is based on the historical research of Alfred Wolfsohn/Roy Hart (Centre Artistic International Roy Hart) and supplemented with direct transmissions to the so-called Roy Hart Teachers.
In this work, listening becomes a radical way of connecting a person’s voice as the embodiment of individual and cultural history and his/her deep personal potential of human existence and development. Wolfsohn’s approach emancipated the human voice from its marginal standing and transformed it into a full and rich phenomenon. In its social act, the surplus of meaning and imaginary component of the human voice represents the phenomenon of performative processes. It contains all identification of the multidimensional meaning of presence, even as it connects time, space and memory.
In any case, however exciting the contemporary philosophical or anthropological quest for theories explaining the human voice may be, the practical tradition of this work speaks for itself.
Voice work is body/mind work; It contains voice and movement in space and time and involves impacts of emotions, excitement, playfulness, reflection and creation. A serious challenging work.
The praxis includes intense physical warm ups, body-mind awareness and expression, practical knowledge about anatomy and the physicality of movement, breathing and voicing, and developing awareness of timing, spacing and artistic intuition.
Intonation, coloration, and texturation are explored in individual and group sessions. Catching the moment will yield “your” secret surprise.
Being a soloist and group supporter in sounds, words and music are beautiful and challenging forms of communication that will lead into your personal style of expression and open your path to the audience.
Approach and use of the piano in the voice work
The piano was always taking a big part in the voice work, mainly for giving a right pitch and supporting with accompaniment through the songs (various musical genres).
The main element of this research is to use the piano as a support, not only through the songs or giving the right pitch, but as well looking for the colour/timbre for each voice and supporting its quality, even a rhythm of the sound. The personal study of Saso Vollmaier connects different musical elements (listening, phrasing, rhythm, dynamic, tempo,…).
He will create a “simplified” version for each student, based on their musical background.
For advanced students this option contains possible spaces for supervised moments, reflection and creating personal artistic projects.
Artist all genres are invited to include the value of this particular voice work in their individual creative processes.
1st intensive week (body, voice)
Theme: VOICE & BREATH & ROOTS
Practical theme: listening, voice, breathing, dialogues, voice exploration Teaching piano for voice work
Personal theme of each participant
2nd intensive week (emotion)
Theme: PRESENCE & SPACE
Practical theme: movement, musical parameter, performance tools Teaching piano for voice work
Personal theme of each participant
3rd intensive week (awareness)
Theme: PERFORMANCE, UNDERSTANDING, MISUNDERSTANDING & ARTISTIC ISSUES
Practical theme: Philosophy of non-expected situations in creation
Teaching piano for voice work
Artistic theme: VOICING/TRACING
info : moc.sniewennasus@liam
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