Theatre: Special Projects
Office: MPAC 144
1. Overseeing the overall vocal health and maintenance of the performers.
2. The articulation and projection of the expression (NOT THE INTERPRETATION).
3. The technical coaching of all Vocal Extremes (shouting, screaming, laughing, crying, coughing, animal or environmental sounds, etc.)
1. CONSULT WITH THE DIRECTOR to get grounded in the production, to ascertain the expectations of the director, and to express your needs.
2. Contact each actor individually to discover if they have any personal vocal concerns or vocal history they wish to be known.
3. Try and get familiar with the performance space and anticipate the differences acoustically between the rehearsal and performance spaces.
4. Prepare the requested vocal extremes, break them down for learning, and be able to demonstrate them.
5. Be prepared to offer the actors additional resources.
1. Teach any vocal extremes up front, building dynamics and stamina throughout the process.
2. LISTEN ONLY. DO NOT WATCH. Eyes can distract and trick ears.
3. Sit in on rehearsals frequently early on to discover how all is developing and to catch any problems or vocal abuse quickly. Then visit at least twicea week thereafter.
4. Give written notes to individual actors after rehearsals, or when they are dismissed, saving verbal notes only for what cannot be written, or what is common to many. Take up as little rehearsal time with notes as possible, and always ask for permission from the Director to give verbal notes immediately following rehearsal.
5. Listen to runs once in the performance space and make the necessary acoustical adjustments.
During the Run:
1. Check in with the SM now and again regarding the vocal health of the actors. If there is a problem, contact the individual actor and try to be of assistance.