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Presentation
Presentation
Integrated approach to voice work (physical, emotional, reflexive, and sensorial) This 3rd semester continues the trajectory started in the 1st year, taking individual competences further. In this sense, the UC seeks to make the student aware of his speaking and singing voice by developing technical skills for its effective use, so that they can respond to situations they face in the audiovisual and performing arts universe.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Bachelor | Semestral | 6
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Year | Nature | Language
Year | Nature | Language
2 | Optional | Português
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Code
Code
ULHT6801-26193
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Prerequisites and corequisites
Prerequisites and corequisites
Not applicable
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Professional Internship
Professional Internship
Não
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Syllabus
Syllabus
The voice as a global gesture; links to emotional expression: verticality, breathing, primal sound. Anatomy and physiology of the vocal organ and the support structures. Development of perceptive and oral attention. Body awareness, tensions and aperceptions. Phonation and resonance: voice projection, notion of effort, registers. Articulation in speech and singing: similarities and differences. Artistic expression: presence and authenticity. Practice in small excerpts used in other classes: diction, rhythm, intention, characterization. Sung repertoire: tuning, vocal range, polyphony. Stress and the voice: voice balance, vocal health. The voice as a therapeutic tool for self-discovery: recognizing oneself, expressing oneself, daring the unprecedented experience.
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Objectives
Objectives
Physiological understanding of the vocal act; training of all the structures involved in the speaking and singing voice, practice in stage situations, reading, song or improvisation, in order to build a technical autonomy enabling an authentic expression.
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Teaching methodologies and assessment
Teaching methodologies and assessment
The voice will be worked from an awareness point of view and not only trained: the student is asked to develop his self-awareness as well as attention to others ( proprioception, observation and listening abilities), to risk expressing himself, discover unknown sounds and new physical functioning; to verbalize difficulties and experiences and participate constructively in self and others development, and in building a secure group interaction for experimentation.
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References
References
Berry, Cicely The actor and the text. Virgin Books, London, 1993. Chapman, Janice L. Singing and Teaching singing. San Diego: Plural Publishing, San Diego, 2017. Edgerton, Michael Edward. The 21st Century Voice. Rowman & Littlefield Publishing, Baltimore MD, 2021. Lemos M.L. Cardoso. O Cantor a Caminho. Da Voz Humana ao Humano na Voz. Desenvolvimento, Aprendizagens e Manutenção da Voz Humana. Tese de Doutoramento, Universidade de Lisboa. http://hdl.handle.net/10451/36596 Malde, Melissa; Allen, Maryjean; Zeller, Kurt-Alexander. What every singer needs to know about the body. Plural Publishing, San Diego-Oxford,2013. Morris, Ron; Hutchinson, Linda. If in doubt, breathe out. Compton Publishing. Oxford, 2017. Rodenburg, Patsy. The actor speaks. St.Martin’s Press, NYC, 2000.
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Office Hours
Office Hours
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Mobility
Mobility
No