Becoming Grounded - Awareness & Movement in the Voice Studio
Thursday 18th January 2024, 5:00 PM - 7:00 PM (London Time)
Being grounded is a dynamic relationship between the floor and performing artist. A good relationship supports artistic expression and the development of reliable technique. This workshop will guide you to understand the physical connections that contribute to being grounded and introduce you to methods to teach, practice, perform and live while being grounded.
The workshop will feature balance concepts from the Body Mapping course ‘What Every Musician Needs to Know About the Body’, which will provide a map for our movement. Body Mapping grew out of the Alexander Technique and is the conscious updating of body maps that guide all movement.
With a clear understanding of the key places of balance, we will integrate movement patterns. The patterns begin with weight shifting in the feet which can resonate up through the body. These memorable patterns guide the body to remain grounded as we move in a balanced way. The patterns have been adapted from Core Movement Integration and Drew Ricciardi’s themonkeybodyTM method.
Integrating awareness of the body and movement into practice will enhance the learning process by providing access to subtle nuanced movements that create exquisite musical expression. Additionally, with practice these movement patterns will become a basis for performing choreography in the practice room, onstage in recital, ensembles or productions, or when leading a group. Participants will have tools and strategies for integration into performing and teaching.
Vanessa Mulvey
Vanessa Mulvey balances work as a flutist, Body Mapping educator, personal trainer and parkour coach. She is a faculty member at the Longy School of Music of Bard College and New England Conservatory of Music.
Attend this course for as little as £22 as part of the Voice Professional Training CPD Award Scheme.
Learn MoreSorry, this is an archived short course...
We have plenty of upcoming short courses coming soon. See details of some of them below or look at the full list of short courses.
Wednesday 4th March 2026
1:00 PM - 2:00 PM
Wednesday 11th March 2026
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Wednesday 18th March 2026
1:00 PM - 2:00 PM
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1:00 PM - 2:00 PM
Wednesday 1st April 2026
1:00 PM - 2:00 PM
Wednesday 8th April 2026
1:00 PM - 2:00 PM
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Louisa Morgan
This six-week course is an opportunity to learn about both Received Pronunciation and Standard Southern British English. Rather than a course in learning how to speak RP/SSBE (there are many brilliant available courses for this already), this course is about learning how to coach it.
Thursday 5th March 2026
1:00 PM - 2:30 PM
Thursday 12th March 2026
1:00 PM - 2:30 PM
(London Time)
Acting Emotion: Perspectives from the Masters
Louisa Morgan
Stanislavski said, “our artistic emotions are, at first, as shy as wild animals and they hide in the depths of our souls.” Michael Chekhov said, our bodies should be like a “sensitive membrane, a kind of receiver and conveyor of the subtlest images, feelings, emotions and will impulses.” And Meisner said we should be “living truthfully under imaginary circumstances.” Join Louisa Morgan in this 2-part course as she explores a range of well-known acting practitioners to investigate what they believed (or believe) about emotion and how they approached it in their work. She'll compare their work to see where they align and where they diverge.
Tuesday 17th March 2026
5:00 PM - 7:00 PM
(London Time)
The Use of Vibrato in Belt and Legit Styles of Singing in Professional Female Musical Theatre Performers
Dr. Alyssa Becker
Shaped by the popular music of its time, musical theatre blends storytelling with an ever-evolving range of vocal styles—from classical legit singing to jazz, hip-hop, and powerhouse belting. Despite its importance, much of what we understand about vibrato comes from laboratory-based studies that strip singing of its musical, stylistic, and performance context. Join Dr Alyssa Becker as she connects current research with real-world pedagogy, revealing how elite musical theatre performers strategically use vibrato to shape style and storytelling, and showing how these insights can be applied in the voice studio to train stylistic flexibility and control!