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dc.contributor.authorThomaidis, Konstantinos
dc.date.accessioned2023-08-10T04:01:33Z
dc.date.available2023-08-10T04:01:33Z
dc.date.issued2019
dc.date.submitted2023-08-09T13:58:35Z
dc.identifierhttps://library.oapen.org/handle/20.500.12657/75323
dc.identifier.urihttps://directory.doabooks.org/handle/20.500.12854/112591
dc.description.abstractAs a first step towards tackling vocal presence as a matter of time, the proposed strategy is to attend to a particularly crucial moment in voice training: listening to one’s own voice while in act of voicing. Even if voicers are trained to ‘be in the moment’ or to ‘achieve presence,’ they can only rely on post-voicing auditory feedback or pre-voicing kinaesthetic awareness; voice perception is always-not-yet there or always-already there. When asked about definitions of vocal presence or whether they have developed a definition of vocal presence for the specific purposes of their studio work, all interviewees admit the complexity or impossibility of the task. Vocal presence can move beyond the bounds of the individual body and physiological or psychological notions of tension and release. Jane Boston asserts that an advantageous starting point for training vocal presence is breath, as ‘phonation depends on the appropriate manipulation of breath pressure and its conscious application for production of efficient soundwaves’.
dc.languageEnglish
dc.rightsopen access
dc.subject.classificationthema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studiesen_US
dc.subject.otheraging, documentation, duration, embodiment, endurance, intercultural, temporality, aging, notions of time, performer training, training regimes
dc.subject.otherthema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies
dc.titleChapter 16 The always-not-yet/always-already of voice perception
dc.title.alternativeTraining towards vocal presence
dc.typechapter
oapen.identifier.doi10.4324/9781351180368-21
oapen.relation.isPublishedByfa69b019-f4ee-4979-8d42-c6b6c476b5f0
oapen.relation.isPartOfBookTime and Performer Training
oapen.relation.isFundedByUniversity of Exeter
oapen.relation.isFundedByc1f2565c-65c6-4339-be4d-3b9878be853f
oapen.relation.isbn9780815396277
oapen.relation.isbn9780815396284
oapen.imprintRoutledge
oapen.pages16
oapen.review.commentsTaylor & Francis open access titles are reviewed as a minimum at proposal stage by at least two external peer reviewers and an internal editor (additional reviews may be sought and additional content reviewed as required).
peerreview.review.typeProposal
peerreview.anonymitySingle-anonymised
peerreview.reviewer.typeInternal editor
peerreview.reviewer.typeExternal peer reviewer
peerreview.review.stagePre-publication
peerreview.open.reviewNo
peerreview.publish.responsibilityPublisher
peerreview.idbc80075c-96cc-4740-a9f3-a234bc2598f1
dc.relationisFundedByc1f2565c-65c6-4339-be4d-3b9878be853f
peerreview.titleProposal review


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