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Modern Voice


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Table of Contents

"Preface 13 PART ONE: VOCAL REALISM Chapter 1 - Rhythm in Speech 18 1. Speech Rhythm: Separating the Elements 18 2. Speech Rhythm: Connecting the Elements 19 3. Speech Rhythm: Forming the Elements 19 4. Speech Rhythm: Analysing the Elements 21 a. Phrasing and Pausing 22 b. Stressing 27 c. Pitching and Tuning 34 d. Pacing 40 5. Revisiting the Basics 44 Chapter 2 - Rhythm in Writing 45 1. Speaking and Writing: What's the Difference? 45 2. Rhythm in Writing: Analysing the Elements 51 3. Speaking Text Aloud: Phrasing and Pausing 57 4. Speaking Text Aloud: Stressing 59 5. Speaking Text Aloud: Pitching and Tuning 61 6. Speaking Text Aloud: Pacing 64 7. Practical Work 65 8. Revisiting the Basics 76 Notes 77 Suggested Reading 78 PART TWO: REALISTIC DRAMA Chapter 3 - Journeys, Demands and Challenges 80 1. Context 80 2. Realism vs Naturalism 81 3. The Rise of Realism: Plays and Playwrights 83 a. Early Influences 84 b. England 86 c. America 95 d. Australia 105 4. The Rise of Realistic Acting 114 5. Vocal Demands 116 Chapter 4 - Creating Vocal Characterisation 120 1. Vocab Research 120 2. Rhythmic Research 122 3. Applying the Research 125 4. Text Samples 126 5. Workshop Plan 128 6. Revisiting the Basics 135 Text extract 1: Ivanov by Anton Chekhov/Tom Stoppard 127 Text extract 2: Ivanov by Anton Chekhov/Tom Stoppard 128 Chapter 5 - Dealing with Dialogue/ 136 Revealing Relationships 1. Spoken Dialogue 136 a. Rhythmic Synchrony 136 b. Allo-repetition 137 c. Redundancy 138 d. Interrupted, Overlapped and Unfinished Speech 139 2. Written Dialogue 140 3. Text Samples 141 4. Workshop Plan 151 5. Revisiting the Basics 155 Text extract 1: The Lady From the Sea by Henrik Ibsen/Pam Gems 141 Text extract 2: A Streetcar Named Desire by Tennessee Williams 144 Text extract 3: Look Back in Anger by John Osborne 147 Chapter 6 - Capturing the Colloquial 156 1. Accent Research 157 a. Source Material 157 b. Points of Tension and Sound Placement 158 c. Rhythm 158 d. Vowels and Consonants 159 e. Practice Sentences 160 f. The Play Text 161 2. Colloquial Research 161 a. Searching the Text 162 b. Pinpointing Meaning 163 c. Practising in the Accent 164 3. Text Samples 165 4. Workshop Plan 172 5. Revisiting the Basics 174 Text extract 1: Peaches by Nick Grosso 166 Text extract 2: Essex Girls by Rebecca Prichard 169 Chapter 7 - Voicing the Verbatim 176 1. What is Verbatim Theatre? 176 2. Key Plays and Players 176 3. Verbal Features 178 4. Original Performances 180 5. Pre-rehearsal Research/Preparation 182 a. Understanding the Verbatim Process 182 b. Collecting Background Information 182 c. Analysing the Text 183 6. Text Samples 184 7. Workshop Plan 187 8. Revisiting the Basics 191 Text extract 1: Deep Cut by Philip Ralph 184 Text extract 2: Gladiator Games by Tanika Gupta 185 Text extract 3: Life After Scandal by Robin Soans 186 Notes 193 Suggested Reading 196 Suggested Viewing 200 PART THREE: NON-REALISTIC DRAMA Chapter 8 - Demands and Challenges 202 1. Distorting Realism 202 a. Time 202 PART ONE: VOCAL REALISM Chapter 1 - Rhythm in Speech Chapter 2 - Rhythm in Writing PART TWO: REALISTIC DRAMA Chapter 3 - Journeys, Demands and Challenges Chapter 4 - Creating Vocal Characterisation Chapter 5 - Dealing with Dialogue/Revealing Relationships Chapter 6 - Capturing the Colloquial Chapter 7 - Voicing the Verbatim PART THREE: NON-REALISTIC DRAMA Chapter 8 - Demands and Challenges Chapter 9 - Marrying the Realistic with the Non-Realistic Chapter 10 - Expressing the Absurd Chapter 11 - Talking in Verse "

Promotional Information

An exciting followup to the author's successful previous book, Classic Voice, focusing this time on speaking contemporary texts.

About the Author

Catherine Weate has been voice coaching for over twenty years in England, Australia, Hong Kong, Africa and India. Her work has taken her into the diverse worlds of theatre, film, radio, education, commerce, law and politics. She has been Head of Voice at Rose Bruford College, Head of Voice and Vice Principal at the Academy of Live and Recorded Arts and Head of Examinations at LAMDA.


A useful guide - likely to be a valuable source of advice for anyone trying to help others develop specific vocal skills - the breadth of repertoire Weate refers to is also impressive * The Stage *
Aimed at absolutely everyone involved in fine-tuning of the human voice, from schools to training academies, universities, theatre companies and beyond - inestimable - superb detail - order without delay its predecessor, Classic Voice * Society of Teachers of Speech & Drama Journal *
I discovered these stunning books only recently and devoured them with glee. No other texts had previously given such comprehensive guidance on the difference between Classic and Modern styles. Really worth a look for any actor... Excellent group exercises applicable to any working texts - a great set for directors wanting to get the most from their actors. * Anna Boulic (Love Voice) on Modern Voice and Classic Voice *

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