The human voice has been a topic of investigation for centuries, and yet it is object of mystery.
About
The Voice Theatre Lab is housed at the Academy of the Arts, Launceston. The Voice Theatre is a laboratory; it focuses on physio-vocal training and explores these through its productions. Since its inception in 2006, the group have developed exploratory exercises that combine body and voice, merging East and West, with a particular focus on ‘crisis’. Forms of crisis in these investigations include dichotomies of voice and body, abstract imagery of sounds within texts (merging text and sound), the abandonment of text and the expression of imagery only through sound, relationship of core strength muscles and the voice, voice and abdominal tensions and freedom. As well as training sessions throughout the year with core company members, the company mount exploratory productions that investigate these concepts.
The work of the Voice Theatre Laboratory is physically and vocally rigorous and spectators that enjoy challenging, expressive and experimental work, will find the experience most rewarding. It is demanding work that investigates the performer’s vocal presence through physical and conceptual acts of crisis. Each production focuses on the performers voice as the fundamental expressive and artistic material at the centre of a gamut of all theatrical elements.
The Research
The Voice Theatre Lab pushes the boundaries of the use of the human voice and body through states of ‘crisis’. The work explored is the result of the application of various dichotomies and contradictions, which abandons literal, and textual, therefore focusing on opposites and non-conventional means of vocal production and physical states. Voice work provides the key for the performer to rediscover his or her mysterious entity – an inner voice through improvisations and non-verbal expressions.
The Voice Theatre Lab’s on-going investigation aims to maintain the view that voice is indeed an immensely important tool, a tool that has been neglected, and that physical and conceptual crisis, as opposed to freedom, relaxation and textual, ‘literal reality’, can benefit the voice and allow it to flourish and reveal its many colours and nuances.
Repertoire
For information regarding any of the productions, including touring, contact the director, Robert Lewis.
Reviews and other words
‘5’ Review by Jeff Hockley
If words are our thoughts in action, then what are we to make of a performance of complex story-telling where there are no words, just sounds. One might say that ballet and dance cope with this very well, and any addition of sounds might enhance meaning. ‘5’ is a physical and vocal journey exploring the number ‘5’ and as such it is presented as neither a scripted piece nor a dance piece. The director, Robert Lewis, claims that there is no story either, but rather interconnections of scenes which depict the five natural elements inspired by the ‘Wu Xing’ in Chinese philosophy. What the actors are able to do, though, is present powerful connections, destructions, yearnings, responses and emotions of all kinds just through a heightened use of voice and appropriate physicalisation.
This kind of presentation is not for faint-hearted actors, either, for the extraordinary use of voice is taken to a level not often heard on stage. The actors use an astonishing range of vocal techniques way beyond what is required for normal text-based work and as such extend the audience’s involvement in the journey which the actor’s take in representing and defining their particular element. Often there were intense moments, either as soloist or ensemble, but there were also times when there was a noticeable holding back as if self-exploration stayed in the comfort zone rather than impulsively letting go. The same could be said for the spontaneity inherent in the semi-improvisational techniques used by the actors: when they were really in the moment there were harrowing and wonderful sequences, but there were also times when it was clear that the sound was predetermined no matter what influence was at work.
It is a pity that in our human world of emotions and feelings there is only one positive against four negatives. As such, most of ‘5’ is quite intense, moving from one conflict to another, pulling apart and destroying any hope of conciliation. However, happiness was represented, but was mostly overwhelmed, which meant that there was virtually no relief from the onslaught and no longed-for sense of smiling calm, of warm harmony, and of resolution.
Western philosophies look for cause and effect but Lewis examines the integration of voice and body and introduces us, through the performers, to three types of ‘crisis’: conceptual, physical and vocal. These are wonderfully demonstrated throughout, and what emerged at times was a thrilling balletic soundscape. ‘5’ is an effective demonstration of the power of the emotion, the body and the voice. We are lucky to have people who have the talent to deconstruct, to abstract and entertain us with this unique style of theatre. The number 5 is a sacred number in many cultures whether of elements, directions, feelings, body culture, medicine or other worldly or unnatural phenomena. To interpret these in movement and vocal expression is insightful and exploratory. The result deserves five stars.
Contacts
For further information please contact Robert Lewis.
