Singing/Vocal technique as a method to research and develop physicality
Working with the opera singer, musician and fine art artist Teresa Arede. Working with Teresa has been extremely interesting and important for my research and creation. One of the difficulties I was confronting was the fact that as I am researching such an intimate subject, the question was - How could I develop physicality that was as intimate as the subject? – something that could be explored from real physical sensations in order to provoke physical movement and explore from there. I started working and researching with sounds of the body and created by the body which led me to work with instruments that could amplified the sound of the breath and provoke or affect physicality, such as: Harmonicas.
The Vocal/Singing technique methodology sounded very interesting from the beginning, but it became extremely important when I understood the common ground with dance. Both techniques are very physical in different ways, but the main focus is the importance of the central core as the most important area that is responsible for the awareness of the technique. How we breathe and how breath can move through the body, as a starting point for making any sound and movement. Dialogue between spoken language and movement, and between dancing and singing Within the singing approaches there are many techniques. The Belcanto technique developed in the 19th century in Italy has different schools, the Italian school, the German school, American, and English and each of these schools have their own specific approach, that has to do with various different focus such as support, the tongue, the vowels application when reaching the high tones among others The technique we are investigating is closer to Belcanto technique that has the focus on the support that comes from the pelvic zone working like a pull in and diagonally up towards the upper lower back. The diamond muscles in front of the body connecting the front to the back of the body having the starting point in the pubic bone. All is working together in order to give the support needed to the middle of the torso so the ribs will not collapse. There are other singing techniques that pushes the muscles out. The Accent method is a therapy designed to coordinate respiration, phonation, articulation and resonance to produce a clear speech. It’s a technique that needs to be done on a daily practice in order for the body to remember and be able to use it naturally. The detailed vocal technical training is of course not what I intent to achieve in a practical result but the sensation of it to research the movement result and playing with the sensation of the technique. In the singing technique there is tension but is about knowing where that tension goes and where is concentrated and the diamond and pull technique from the pubic bone is places where you can concentrate that tension, so it doesn’t go to other parts of the body. Like an engine that works with start and stop because its important to let go.
The relaxation of the anal muscles and sphincter is extremely important sensation in the technique when you inhale. What singing and dance have in common? Both are very physical. Opera of all forms of singing is extremely physical because of the simple fact that there is no microphone having to project the voice throughout a big auditorium. It’s a process that does not happen only in the throat. It needs the support of all the body and the corporality for it to happen, transforming your body in the instrument and not only the voice. The resonances that you work in the muscles and bones mainly in the face but as well in all the body is something extremely important. A machine that works to expel air correctly and with enough power to reach the necessary length. In dance you have a constant central activation of the whole body to keep everything alert to move the limbs of the body when necessary and in the necessary way, you also have this in the singing, the difference is, the breath doesn’t travel so high in the upper body keeping the focus between the pubic area to the ribs. In dance you have a longer core and breathing / exhalation happens to help and cause movement. How could the dancer apply the singing technique into the body as a tool to movement research? The fact is, dancers can understand the singing technique, however, they will not be able to technically and physically domain it. It takes years of practice to achieve the understanding. The Vocal instrument we are not able to see it which makes it more difficult. Looking for sensations in the body through the technical training of singing will be the approach and focus I will be applying to research and develop qualities of movement and voice.
The Sounding Body: Voice as Movement by Peter Sciscioli Peter Sciscioli in his practice explores how the extension of movement into sound and vibration can alter the perception and activate space differently than movement alone. The dialogue between spoken language and movement, and between dancing and singing and how this interplay can expand the variety of choices that are available, allowing for a fuller means of expression through the body.