Observations of the Voice - Voice and the Actor

Observations of the Voice
Questions:	Friend – Luke Engelen :	Famous Person – Ben Whinshaw:
What kind of tone is their voice?	Mixed, he can vary in a high and low tone of voice.	Low, in a sense of mature and calculative state of voice.
How fast or slow do they speak?	Often staying at an average pace, he can speed up or slow down his pacing if necessary.	Averagely paced.
Do they pause a lot?	Yes, even when expressing passionate point of views or in deep thought he can pause to think through.	Not often, only for dramatic effect.
Do they find it difficult to project?	No, when performing he gives exceptional projection, even when expressing his thoughts.	No, he keeps to a good volume and only projects at a louder volume to express deep thought.
Do they articulate their words?	Sometimes, when words are unclear or unheard of to him, he can hesitate.	Yes, for dramatic effect.
What is their pitch like?	Mixed, judging by emotional response he can express high or low pitch in voice.	Low, to support the mature/low tone.
Do they embrace certain words?	Yes, for express and dramatic effect.	Yes, for dramatic effect.
Do they speak in one tone?	No, he varies based on the current scenario.	No, he stays at a calm/low tone.
Do they have any specific difficulties when pronouncing certain words?	Sometimes, based on whether the words are unclear or unheard of.	No, I haven’t seen any flaws with his pronunciation of any vocabulary text.
Do you like their voice?  If so, why?	Yes, it can vary in pattern to change perception.  It can give a comedic sense to his personality.  Plus it adds an increasing sense of theatre to his voice.  All admirable and entertaining.	Yes, it has a sense of wisdom and will about it.  It makes me believe he knows what he’s talking about and has a precise pattern of speaking.  Plus he articulates with such exception that I truly admire each word that exhales from his mouth.
Do you dislike their voice?  If so, why?	No, while the shifts in pattern are noticeable, it is still a nice and fun voice to listen to.	No, so far I haven’t seen any flaws with his vocal performances.
Is their voice loud/voluminous?	Sometimes, it varies in pattern and he can sometimes project to a louder state than previously.	Not often, he tends to keep his voice at lower tone, and only extends loudly when needed to.
Is their voice quiet?	No, I cannot recall a session of a quieter tone.	No, it is at a decent tone when it is clear and understandable.
Is their voice deep?	No, while varying in pattern it is certainly not deep, it hasn’t pushed this boundary of complete low and deep.	No, it is precise and calm.  Not deep and menacing.
Is it high/low?	Mostly high, but can cross into an average tone that is a perfect blend of high and low.	Low, as far as I’ve seen he hasn’t projected and high pitched/toned voice.
Is it strong?	Yes, it can be, especially when expressing points and telling stories.	Extremely, I can understand each spoken word and he inflects such emotion to a believable state.
Is it weak?	No, it always stays at an energised tone that it hasn’t been weak.	No, it is strong and sometimes powerful.
Is it shaky?	Yes, often varying, but fun to listen to.	No, it rarely shifts tone.
Is it husky?	No, it ca be more precise than husky.	No, it is very precise.
Is it crisp?	Sometimes, like the tone it varies between clear and crisp.	No, it is more clear than crisp.
Is it clipped?	Sometimes, as his vocal pattern varies.	No, it keeps to a good and well-paced pattern.
Is it drowning?	No, he never loses energy.	Never, it is always on point.
Is it nasal?	No, his projection is purely through the mouth.	Sometimes, vocalisation is expressed deeply and nasal captivity is the way forward.
Is it squeaky?	No, with an average tone, it is never squeaky.	No, he cannot project squeaky with a low tone of voice.
Is it crackly?	No, his average tone ensures no cracks within his projection and pronunciation.	No, it is perfectly patterned.
Is it raspy?	No, while mixed and varying in tone, it hasn’t been visibly raspy.	No, he hasn’t given any indication of raspy projection in his voice.
Is it distorted?	Somewhat, because of its unclear and varying pattern many could make the assumption that it is distorted.  All in all it is a nice and equally unusual voice to listen to.	No, it is clear, precise, and admirable.

 

Self-Observation - Voice and the Actor

Voice and the Actor

What are the characteristics of your voice?

·         Body & Posture – Physically I do find unwanted tensions within my shoulders and chest captivity and this does have an effect on my posture as I fidget, until I find relaxation.

·         Rhythm & Articulation – When rehearsing I like to memorise my lines through repetition, this allows me to gain an exceptional rhythm, in my projection of my lines.  Although I sometimes hesitate in articulating my ‘t’s and ‘th’s.

·         Breath Support – Learning and memorising a rhythm to my speech does support my breath capacity, as I know precise points to inhale and exhale.

·         Projection & Pitch & Tone – When it comes to projection, I feel I have mastered the appropriate stage voice, to an extent where I am not screaming my lines and I am inflicting the appropriate pitch and tone residence suited for my character.

·         Observational Feedback – Although, I have received feedback stating that I need to work on: my pacing and pauses to ensure a better performance.

In what ways do these vocal qualities benefit or hinder you as a stage performer?

These vocal qualities can be a benefit to help me establish my:

·         Flaws with certain vocal characteristics; like pacing, pauses, and sometimes breath control.

·         Progression in the production process; know how I started and how I improved as the production progressed.

·         Understanding of the character I am performing as.

However these qualities can hinder my overall vocal performance, as it sometimes gives me a sense of overconfidence and I don’t always establish my vocal errors.

What vocal exercises might be suitable for building on your strengths and to address the issues mentioned?

1)      Breath Control – This will help me to ensure I do not bring more unwanted tension within my chest captivity.  As well as ensuring I do not do any physical damage to my interior structure.
          How does the exercise works?  While inhaling and exhaling (through the nose and out the mouth), I physically press against my lower chest (diaphragm) area.  This way I can focus on what tension can, and needs to, be released, plus giving myself, and my lungs, more breath control and captivity to project to exceptional levels on stage. 

2)      Tongue Twisters – This will help me to provide exceptional articulation within my speech.  It warms-up my mouth muscles and vocal folds to ensure clear and precise pronunciation.  Particular tongue twisters like: ‘Peter Piper’ and ‘There those thousand thinkers’ really support my delivery of my ‘P’s and my ‘TH’s.  Thereby giving me distinct clarity within my lip and tongue muscles, giving me a muscle memory, that ensures extra detail on stage.

3)      Alexander Technique – This exercise will help me to focus on all my unwanted tensions and rectify my physical posture to a standard that will assist my vocal delivery.  Plus, it will ensure complete relaxation on stage and in character.       
          How does the exercise work?  Lying on the ground listening to soothing sounds, and focusing on your posture, you will be able to inflict something new, but comfortable, within your posture.  Thereby giving you a new physicality and enough comfort and focus to bring exceptional vocal delivery on stage.

What other vocal exercises will improve your techniques?  Why?

·         Actor’s Neutral – This exercise demands us to embrace a standing posture that breaks us free from our physical habits.  Like leaning to one side, keeping our feet apart or close together, or even leaning against something for support.  ‘Actor’s Neutral’ supports my unwanted tensions, breath control, and allows me to focus on various areas of my body.  Like the structure of my spine, my diaphragm capacity, and the space between my ribs and my lungs.  All ensuring that my vocal characteristics and flaws can be in neat condition and in good health for any stage performance.

·         Humming – These exercises focus mainly on our vocal folds and diaphragm breath control.  Altering the pitch and tone of humming widened my abilities of pitch and tone, and releases any bad carbon dioxide within my vocal chords.  Plus this exercise ensures I am truly prepared and warmed-up for any performance.

Character Study - Don Pedro - Shakespeare

Character Study – Don Pedro

Performance Techniques

     When exploring the character of Don Pedro, I looked to two interpretations, of ‘Much Ado About Nothing’, for inspiration.  The two interpretations that I became most fond of were; Kenneth Branagh’s motion picture, and David Tennant and Catherine Tate stage production.  Both interpretations offered a classical and modernised interpretation of the characters, and while different in performance styles, there were several techniques and traits that I admired and wanted to imitate in my interpretation of the character.  This is what I achieved…

Physically – The character of Don Pedro is rich and respectful, in the sense of him being a member of the royal household in “Arragon” (“Don Pedro of Arragon” – Leonato, Act 1 Scene 1) and is a loyal friend and companion.  Although, at the same time, I wanted to explore more of the human side to Don Pedro, and truly bring him to life.  

     I was hugely inspired by Adam James’ performance of the character, in the modernised David Tennant and Catherine Tate stage production.  In this clip here, I really saw the true humanised, down-to-Earth, side to the character: https://www.youtube.com/watch?v=Dv6I_07pT6Q. 

     Physically the character paced back and forth amongst his friends (Benedick and Claudio) and his old friend, and host (Leonato), showing his deep compassion for his friends.  As well as clearly showing he is enjoying himself. 

     Plus physical gests and movements to other characters inflict a sense of traditional Shakespearean acting.  Particularly on the line; “Be happy, lady; for you are like an honourable father.”  You can see his arms slightly lifted, to show an attempt of comfort and respect for the character he is addressing.  Plus he makes it all the more clear who he is addressing by taking steps towards her.

     All these techniques hugely inspired my physicality of the character.  Because of his simple and naturalistic pacing, it added a sense of realism for a modern audience.  Plus with gests and movements reminiscent of Shakespearean acting, it would all an extra homage to the original text/performance.

Vocally – Now similarly to the character’s physical traits, I wanted to vocally project the rich, fun and respectful traits of Don Pedro.  Vocally, I knew I couldn’t simply take to stage and enunciate the lines.  Plus I wanted to challenge myself to see what other techniques I could use to bring the character to life with true Shakespearean reflection.

     Firstly I looked to a traditional styled interpretation of the play.  Kenneth Branagh’s motion picture casted Denzel Washington to portray the character.  While physically and wardrobe wise, anyone would get the impression that this man was indeed a man of royal offspring.  However vocally, the pacing was sometime too quick or too slow.  Here is evidence of Denzel Washington’s performance:   https://www.youtube.com/watch?v=PJ7W-dz1OvE.  Although I admired the calm and sweet tone within his voice, that was reflective of the respectful character that Don Pedro is.  I did find this to be a poor imitation of Shakespeare’s text.  Therefore I explored to find better inspiration.

     During rehearsals I did struggle with the pacing and pronunciation of certain words in the text.  Fortunately this vocal exercise video, found on the National Theatre website, assist in my rehearsing, understanding, and performance of the text: http://www.nationaltheatre.org.uk/video/text-work-on-blank-verse. 

     How did this assist my rehearsing?  As rehearsals drew to an end, the text became more of a muscle memory and I didn’t hesitate to project and pronounce the lines.

     How did this assist my understanding?  In contrast to understanding what the lines meant, as I discovered the meaning via No Fear Shakespeare (http://nfs.sparknotes.com/muchado/), but in more of a sense that I understood how to say these lines meaningfully. 

     How did this assist my performance?  During my main performance I was able to successfully project each line, with good and accurate intention.  Not only that but I paced each sentence to a degree where I could enhance my pronunciation of certain words, all to add an extra sense of intrigue for our audience.

     All proved to be a success in my main performance.

Key Influences and Inspirations

     Of course, no performance is completely original.  Therefore I had to bring Don Pedro to life, by drawing from select inspiration.  As mentioned previously, Kenneth Branagh’s motion picture, and David Tennant and Catherine Tate’s stage production, interpretations were a huge inspiration of mine.  But, which one is my most fond interpretation of inspiration?  

Classical – Kenneth Branagh’s motion picture interpretation could be considered a classical interpretation.  As it is set in the Elizabethan era, and stays true to the original text.  However, the majority of the performances in this interpretation are less than stellar.  Therefore I didn’t draw much inspiration from Kenneth Branagh’s interpretation.

     Although one handy resource, which I found on the National Theatre website (http://www.nationaltheatre.org.uk/video/text-work-on-blank-verse), that assisted with my vocal performance, also assisted me with understanding the classical performance styles of Shakespeare.  While the video footage doesn’t show classical performances at work, it does offer various vocal techniques, and suggests various physical techniques, that all gives a great insight to how classical performances would have been.

     This was a huge source of inspiration and assisted vastly with my main performance.

     Another useful source of inspiration was the Shakespearean workshop we took part in.  This workshop had us take part in practical exercises where we could explore physical gests and movements, as well as vocal deliveries, that could enhance the storytelling of the scene.  An example of an exercise we took part in had us taking single steps towards or away from our performance partner and saw what story was being told.  The piece of text we used was from Act 4 Scene 1; in this scene we see Benedick and Beatrice confessing their love for each other.  We used the steps towards our partners as an advantage to show their compassion for each other, and steps away to show the tension building within the scene.

     All were a huge inspiration, and assisted for my main performance to be a success.

Modern – In contract to the lack of classic interpretation footage of ‘Much Ado’, there were loads of modernised interpretations to look to for inspiration. 

     There was Adam James’ interpretation, in David Tennant and Catherine Tate’s stage production.  I was extremely fond of this interpretation.  For his look, to his movement on stage, to his vocabulary, this was the best interpretation of the character I had seen.  The majority of my interpretation drew inspiration from this performance.

     However there was another source of inspiration, for our modernised interpretation of the play that I admired.  Back in the early 2000s the BBC released a mini series of short films showing modernised interpretations of Shakespeare’s plays.  We watched the modernised ‘Much Ado About Nothing’ episode.  I admired the show, as it for filled its purpose, to welcome a modern audience to the world of Shakespeare plays.  The episode also modernised the text, as well as the setting.  While there was a lack of Don Pedro, in this interpretation, I was slightly inspired by their modernisation of the text.  It stayed true to the comedy and entertainment values that can be seen in all interpretations and the original text.  That was a goal I set myself to do in my main performance, to introduce the character to a modern audience, all the while upholding the comedic value of the text.

     All of which I feel I achieved.

Other Sources of Inspiration – When looking to other sources, or in this case, characters of inspiration, I mainly drew to other humorous Shakespearean characters that could help me bring Don Pedro to life.  One character in particular, that inspired me to enhance the comedic value of the character was Mercutio, from Shakespeare’s Romeo & Juliet.

     Performed exceptionally by Harold Perrineau, in Baz Luhrmann’s 1996 modernised motion picture interpretation of Romeo + Juliet.  I found this portrayal of Mercutio exceptional because it didn’t lack comedic value, and he knew when to take the character seriously for dramatic effect.  This was something I wanted to make reference to.  I particularly his introduction scene in the motion picture: https://www.youtube.com/watch?v=xV_L6RsiHZo.  I like this scene because it is instantly apparent that the character is fun and wants to have a good time.  While, at the same time, indicating a serious sense when he speaks with Romeo.  This is something I wanted to do with Don Pedro. 

     I wanted to introduce the character as a fun, energising, individual, all the while indicating to a serious side to the character.  While ‘Much Ado’ lacks tragedy scenes, in comparison to Romeo & Juliet, there is hints of serious treatment within the characters.  I could only make slight hints/references in my main performance.  But I was truly inspired by the character of Mercutio to show the comedic value of the character and the storyline.

Personality

     For my final study into the character of Don Pedro, I looked to his personality traits.  Using mainly the original text and reference I managed to deduce five traits which I feel summarise my interpretation of the character.

1)      Calm – I found Don Pedro to be an extremely calm individual.  In the original text he is depicted as the Prince of Arragon; “Don Pedro of Arragon”.  Yet I found when he interacts with other characters, he didn’t give any indication of stress or concern as being the Prince.  Particularly in line like: “You have it full, Benedick”, “Be happy, lady; for you are like an honourable father”, and “I dear swear he is not hypocrite, but prays from his heart.”  All of this quotes I felt summarised his calm personality, as he focuses on the main subjects at hand, and feels more concern and passion for his friends.

2)      Energised – The first line spoken by Don Pedro in the text reads: “Good signor Leonato, are you come to meet your trouble?  The fashion of the world is to avoid cost, and you encounter it.”  I found this line extremely energising, to read and to say.  Because he is greeting, complementing, and thanking an old friend.  Therefore I felt it necessary to open with such energy to show the energised character on a roll.  

3)      Respectful – Joining words like: “Be happy, lady”, “honourable father”, and “prays from his heart.”  I admired Shakespeare’s use of structuring words for Don Pedro, as it gave a respectful sense to the character.  Many of the lines/words that came before these sentences seemed like sarcasm, and they followed with respectful recovery words to ensure that all characters get along well and have fun.  Don Pedro is respectful to all his friends and family, these lines strongly show it, and I wanted to show that this isn’t an arrogant, self-driven man; he is a kind and respectful individual whom likes all things good.  

4)      Good-Listener – During Act 1, Scene 1, all characters are blocked by the first duologue between Beatrice and Benedick.  I felt this would be a key opportunity to mime Don Pedro’s interactions with his old/good friend Leonato.  As the duologue progressed, I and my fellow cast member improvised a silent conversation between the characters.  I felt this was a good opportunity to show the listener side to Don Pedro.  Linking into the respectful side to the character, Don Pedro would respect his counterpart and listen to whatever they needed to say.

5)      and Collective – Linking all these traits together, I did find that Don Pedro is indeed a collective individual.  Not in the sense of Don John, who is collective in a bad sense and plots against his family and friends.  But more in the sense that Don Pedro truly thinks before he acts.  In Act 1 Scene 1 I strongly felt the was thinking about what to say and when to say it.  Especially in the line: “Truly, the lady fathers herself.”  At first, much like the character, I found this line slightly disrespectful and little to sarcastic that it backfires and Hero (whom the comment is guested to) doesn’t respond kindly.  Therefore Don Pedro compliments her as a better response, with: “Be happy, lady; for you are like an honourable father.”  Thereby think about what he previously said and mending the situation to being a fun introduction.

Character Profile - Don Pedro - Shakespeare

Character Profile: Don Pedro

Character’s Name:

Don Pedro

Character’s Age:

28

Where is the character from:

Arragon – Referred to as “Don Pedro of Arragon” (by Leonato in Act 1, Scene 1).  He is the first royal blood born son of the King of Arragon (the second unnatural born son being his bastard [half] brother Don John).

In our interpretation the character is still referred to as “Don Pedro of Arragon”, but is the lead singer in his folk band ‘The Nothings’.

What is the character’s Status:

Relationship – Single

Family – Heir to the throne of Arragon.

Does the character have a Best Friend:

Benedick – In the original text, Benedick is Don Pedro’s right hand man and commander to Pedro’s leads in the war (taken place pre the storyline).  In our interpretation, Benedick is the lead bass guitar player in their folk band.

Claudio – In the original text, Claudio serves as Don Pedro’s count and manages his lands and his authorities as the Prince.  In our interpretation, Claudio is the lead guitar player in their folk band.

Leonato – In the original text, Leonato is the count of Messina and serves as Don Pedro’s good friend and hosts the gathering of Pedro, and his army, as they return from the war.  In our interpretation, Leonato is the manager of the festival in Messina (this is the setting of our performance).

What does Don Pedro love?

·         Spending time with his friends.

·         Taking part in social gatherings/parties.

·         and Arranging marriages for his closest friends (Benedick and Claudio).  

What does Don Pedro hate?

·         Anyone who goes against his good will/intentions.

·         Letting people down.

·         and Seeing people suffer (Don Pedro is a very selfless individual).

What are Don Pedro’s Dreams and Aspirations?

Original – Don Pedro aspires to be a great man and live up to a reputation of one day being a good King of Arragon, and making his father proud.

Our Interpretation – Don Pedro doesn’t want to let his friends downs (particularly Leonato) and give an outstanding performance, at the festival, that makes everyone happy.