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by Christina Kapadocha (Editor)
Somatic Voices in Performance Research and Beyond brings together a community of international practitioner-researchers who explore voice through soma or soma through voice. Somatic methodologies offer research processes within a new area of vocal, somatic and performance praxis. Voice work and theoretical ideas emerge from dance, acting and performance training while they also move beyond commonly recognized somatics and performance processes. From philosophies and pedagogies to ethnic-racial and queer studies, this collection advances embodied aspects of voices, the multidisciplinary potentialities of somatic studies, vocal diversity and inclusion, somatic modes of sounding, listening and writing voice.
Methodologies that can be found in this collection draw on:
- eastern traditions
- body psychotherapy-somatic psychology
- Alexander Technique, Feldenkrais Method
- Authentic Movement, Body-Mind Centering, Continuum Movement, Integrative Bodywork and Movement Therapy
- Fitzmaurice Voicework, Linklater Technique, Roy Hart Method
- post-Stanislavski and post-Grotowski actor-training traditions
- somaesthetics
The volume also includes contributions by the founders of:
- Shin Somatics, Body and Earth, Voice Movement Integration
- SOMart, Somatic Acting Process
This book is a polyphonic and multimodal compilation of experiential invitations to each reader's own somatic voice. It culminates with the "voices" of contributing participants to a praxical symposium at East 15 Acting School in London (July 19-20, 2019). It fills a significant gap for scholars in the fields of voice studies, theatre studies, somatic studies, artistic research and pedagogy. It is also a vital read for graduate students, doctoral and postdoctoral researchers.
Author Biography
Christina Kapadocha (PhD) is a Lecturer in Theatre and Movement at East 15 Acting School. She is a London-based theatre and somatic practitioner-researcher and founder of Somatic Acting Process(R). Her current practice research and publications introduce new discussions on the somatic in theatre and performance studies.
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