Voice Intensive with Brent Maddox
Brent Maddox currently serves as an Assistant Professor of Theatre at Belmont University, where he teaches voice and movement in the BFA Performance program. He is a graduate of the Gainesville Theatre Alliance (the professional training program of Gainesville State College and Brenau University in Gainesville, GA), and he received his MFA in Acting from the University of Alabama in 2003. In the years since receiving his M.F.A., Brent furthered his actor training in New York at the Actors Movement Studio where he studied the Michael Chekhov Technique with master teacher Ragnar Freidank, and Commedia dell’arte with Fabrizio Paladin. Voice and text training includes working with master teachers Catherine Fitzmaurice (Fitmaurice Voiceworks); Louis Colaianni (The Linklater Institute); Dave Demke (Shakespeare and Company), and Nancy Krebbs (Lessac Kinesensic Training). For the past several years he has studied Shakespeare's Heightened Language at the Michael Howard Studios in NY with world-renowned voice and acting coach, Patsy Rodenburg, head of the voice program at London's Guildhall School of Music and Drama. Brent is a member of the Voice and Speech Trainers Association (VASTA).
WORKSHOP INTENSIVE DESCRIPTION:
This workshop offers an in depth exploration of voice, body and text work. It is designed to meet the needs of actors who seek to expand their voice training for the stage, and an opportunity to revitalize their relationship to Shakespeare's text. Using Shakespeare’s Heightened Language, we will explore ways to free the body and voice of habitual patterns and stress that will lead to greater emotional truth and believability in your performance. A one-two minute, prepared Shakespeare monologue (preferably in verse) is required for this workshop.
WORKSHOP INTENSIVE FORMAT – June 16-18, 2011
An introduction to a series of exercises involving the 3 Components of voice work: the body, breath and support, and a free and placed voice. We will also begin to explore the power of being present through Second Circle energy work.
We will continue the work from day one, plus focus on the actor's individual voice and experiences, which are incorporated into text work. We will also explore text analysis and how the structure of the verse might influence character development and performance.
Integrating the work from day one and two, we will move more vigorously through the voice and body work with the actors reconnecting with Shakespeare's text. This culminates into one-on-one monologue sessions with the instructor.