Fitzmaurice Voicework ®

Voice work based on the Fitzmaurice technique can also include, depending on the needs, breathing training, the resonators, Speech, dialects, text, song and voice in movement. While the training It is specific, it is compatible with other techniques. Fitzmaurice explores the dynamics between body, breathing, voice, imagination, language and presence. Encourage the vibrant voices to communicate intention and emotion without excessive effort. The Technique unites the physical experience with mental attention.

Destructuring (disrupting, the first phase, promoting the body awareness free and spontaneous breathing, and theexpressiveness of the voice by Tremorwork (tremors), various body positions that cause muscle tremors without tension.

Restructuring (restructuring), the second phase, encourages the economy of the effort as we speak or act, using the focus line by Catherine Fitzmaurice. The result is a wide recording of the voice without tensions.

Main Elements

Physical / Body
We develop the consciousness of the acquired voice / effort patterns through a series of soft and / or rigorous exercises, accessing the body's own system to give and release tensions.

Respiration
We explore the central role of breathing so much when it comes to emitting sound as it is time to inspire imagination without forcing the air but allowing all the oxygenation of the body.

Quality in the Voice
We cultivate the ability to accurately communicate the thoughts and feelings that the text, space and present moment demand for choice and spontaneity.

Practical results
We reduce the tension to the voice, increase registers and expressiveness to make our parliament easier and clearer and the intention is more effective.

From

The work began with the investigation and the classes of Catherine Fitzmaurice. He began to act when he was three years old, at seventeen he already studied voice, verse, and interpretation with Barbara Bunch, also a teacher of Cicely Berry. Later Catherine entered the Central School of Speech and Drama of London where she won a scholarship and a prize, and could continue to learn with Cicely Berry classical voice techniques. She starts working as a teacher at the Central School at 1965.

As Professor Catherine Fitzmaurice observed that Many of his students had body tension and many inhibitions when it came to working. Lack of expressiveness in their voices. He saw that the problem was basically in breathing and from beginning to investigate he discovered the work of Wilhelm Reich. He began to integrate this knowledge with the study of the body and body energies and added to his classical formation, the Fitzmaurice Voicework.

He is currently based in New York, but has given classes throughout the world, and teaches and advises at the Central School in London, the Julliard School of Drama, the Yale School of Drama, Harvard University, New York University, the Moscow Art Theater, Lincoln Center among many others.

To have a deeper knowledge of the development of your work there are articles written by Catherine Fitzmaurice as Breathing is Meaning / Breathing is Meaning among others, and interviews on the page www.fitzmauricevoice.com website.