Voice into Acting

AcknowledgementsForewordList of illustrationsIntroductionPART ONE LAYING THE FOUNDATIONSIntroductionChapter 1 The organic acting approach and the voiceChapter 2 The organic acting approach and the brainPART TWO THE ESSENTIAL VOCAL SIX - AND INTEGRATING ACTING INTO VOICEIntroductionChapter 3 Alignment - backbone of the actionChapter 4 Breath - the great creative connectorChapter 5 Centred onset of sound - the vocal identity of the actorChapter 6 Pitch range - the music of meaningChapter 7 Resonance - vibrating the experienceChapter 8 Articulation - shaping thought and actionPART THREE INTEGRATING VOICE INTO THE ORGANIC ACTING PROCESSIntroduction Chapter 9 Interval - receiving and respondingChapter 10 Awareness, ease and focus Chapter 11 The action - given circumstances, interaction and objectives Chapter 12 Seeing, sensing and feeling Chapter 13 Character voice Chapter 14 The actor in the space PART FOUR INTEGRATING VOICE IN REHEARSAL AND PERFORMANCE - PUTTING IT ALL TOGETHERIntroduction Chapter 15 Meeting the play and the character Chapter 16 From impulse to action Chapter 17 From action to form Conclusion Selected bibliography About the authors Index Permissions

Christina Gutekunst is currently Head of Voice at East 15 Acting School, UK. John Gillett is an actor, director, teacher and the author of Acting on Impulse, revised in a new edition as Acting Stanislavski: A practical guide to Stanislavski's approach and legacy (Bloomsbury Methuen Drama, 2014).