An Introduction to Linklater Voice Work
with Deborah Garvey
Tuesday 21st September at 6-8pm (UK time)

This course will be recorded and sent out to all pre-registered participants to watch in their own time.
Due to licensing laws, we are unable to sell this course retrospectively.

Course Details

Linklater voice work was developed by world-renowned practitioner Kristin Linklater.  It is taught on actor training programmes across the world and attracts actors, singers, anyone interested in exploring and unlocking the potential of their voice.

Linklater voice work is practical, imaginative and organic.  It takes you through a series or ‘progression’ of step-by-step practical exercises that include relaxation, awareness of breathing, the experience of voice vibrating in the body, how to open the throat, the development of resonance and range, and the articulating activity of lips and tongue.  The work aims to awaken the expressive potential of the human voice with clarity and a deep connection to text.  This is primarily speaking voice work although a prominent feature of the progression is the use of the keyboard which sets it apart from other spoken voice practices.   Singers can also benefit enormously from the focus on free breathing, resonance and the release of tongue and jaw tension as well as becoming attuned to creative and imaginative impulses.

For more information on Kristin Linklater, please follow the link below

Following an introduction which contextualises this work within Western voice practice, participants will be guided through the progression of practical exercises developed by Kristin and laid out in her first book Freeing the Natural Voice: Imagery and Art in the Practice of Voice and Language (1976: revised 2006).

The progression begins with freeing body, breath and mind into voicing.  This leads into an exploration of releasing the jaw, tongue and soft palate before moving into resonance work.  The progression builds momentum by enlivening the ribs and diaphragm to prepare individuals for energised, heightened expression and range.  This is explored further through arpeggios and swings into articulation.

Note to participants

Please wear loose clothing that you can move freely in and no make-up.   There will be a combination of standing and floor work.  Options will be given to accommodate any practical considerations experienced on zoom in the spirit of a supportive and flexible learning environment.

Please bring a short piece of spoken text (no more than 8 lines) that you are familiar with.  Anything that you connect to, whether poetry, dramatic text or song lyrics.

About Deborah Garvey

Deborah (Deb) Garvey is a voice, dialect and singing coach who draws on her training as an actor and singer.   She has a B.Mus. and an MA in Voice Studies from the Royal Central School of Speech and Drama and was a Lecturer in Voice at Central for six years before joining the BA Acting voice team at the Royal Academy of Dramatic Art in 2019.   She continues to work as a visiting lecturer at Central on the MA/MFA Voice Studies and BA Acting Collaborative and Devised Theatre programmes.   Deb is a designated Linklater voice teacher, having trained with Kristin at KLVC in Orkney.  This has led to workshop teaching in Zagreb and Vilnius and the development of a new workshop entitled Freeing the Natural Singing Voice  which Deb was due to co- teach with Kristin in 2020.   Deb is also a Fellow of the Higher Education Authority.

Deb has a research interest in two areas of voice work on which she has presented papers at industry conferences.  These are: The integration of spoken-sung voice techniques, which she is developing in conjunction with Linklater voice work and the Chekhov Collective;   Speech and dialect work which is rooted in the development of an inclusive model that does not assume the use of RP as standard.

Her most recent professional credit was as dialect coach on Be More Chill at the Other Palace Theatre London in 2020.   She maintains a performance profile, often utilising her composing skills to explore spoken-sung approaches to theatre-making.

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