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Vocal action: from training towards performance

Behrens, Electa (2012) Vocal action: from training towards performance. Doctor of Philosophy (PhD) thesis, University of Kent. (doi:10.22024/UniKent/01.02.94204) (KAR id:94204)

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This thesis describes and analyzes a practice as research study (2008 - 2011) which comprised performances, ongoing workshops and a symposium. Its focus is the (re)examination of voice training for the contemporary performer exploring what existing methods are sti11 relevant, what gaps exist in current training, and how these might be bridged. The methodology is that of a feedback loop in which theoretical research informs practical explorations (conducted by the researcher on herself) which inform practical applications (in which the research is applied with other performers in a pedagogical context). The inquiry is divided into two main topics: training for Vocal Presence and for Vocal Composition. In the first, the theoretical base is that of Konstantin Stanislavski's method of physical actions and its interpretations by Jerzy Grotowski and Ingemar Lindh, with a further link made to the work of positive psychologist Mihaly Czilcszentmihalyi. In the second, the starting points are the work of John Britton and Anne Bogart's Viewpoints. Within both areas, these theories and their related practices are explored through the creation of two perfonnance pieces: lhe sound of m/y/our name ... and One By One and then applied in the creation of a method of vocal (re)actions. This work was presented through a practice as research symposium and is documented on DVD and in an interactive website. This thesis argues for the importance of mapping the connections between different aesthetic and cultural methods for voice training. For the performer, it proposes a non-aesthetic-specific practical method and terminology, which can be used to work both within and across different vocal techniques as well as between body and voice. It thus aims to broaden the repertoire of approaches to voice work for vocal training and for devising performance.

Item Type: Thesis (Doctor of Philosophy (PhD))
DOI/Identification number: 10.22024/UniKent/01.02.94204
Additional information: This thesis has been digitised by EThOS, the British Library digitisation service, for purposes of preservation and dissemination. It was uploaded to KAR on 25 April 2022 in order to hold its content and record within University of Kent systems. It is available Open Access using a Creative Commons Attribution, Non-commercial, No Derivatives ( licence so that the thesis and its author, can benefit from opportunities for increased readership and citation. This was done in line with University of Kent policies ( If you feel that your rights are compromised by open access to this thesis, or if you would like more information about its availability, please contact us at and we will seriously consider your claim under the terms of our Take-Down Policy (
Divisions: Divisions > Division of Arts and Humanities > School of Arts
SWORD Depositor: SWORD Copy
Depositing User: SWORD Copy
Date Deposited: 20 Sep 2022 15:33 UTC
Last Modified: 20 Nov 2023 15:14 UTC
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