Our future page for voice acting classes!


A beautiful voice is a voice rich in harmonics, intelligible, full of colors: to obtain this result you need technique and that this technique is clearly understood and applied.

What does it mean to “be in the voice”?

Being in voice is the height of happiness for the actor. Being aware that the sound obeys, makes every detail, every step, every nuance. It is clearly audible even from a distance, regardless of the volume of the voice.
On the other hand, not being vocal is a huge limitation. The voice that does not make its own feeling artistically, does not express what also lives within us.

There are actors who are not normally spoken. They keep their voices on an external, false tone, inevitably crippling everything they have to express. An actor or actress who feels the part of her, but does not have the vocal qualities to express it, who has a beautiful voice, with a good timbre and easy inflections, but little strength, does not reach beyond the fifth row. of an audience. And when he is aware of it, he often tends to force it, ruining not only the sound, the diction and the pronunciation, but also all the work on the character.

All of this can often be eliminated with the help of the right voice setting that cancels out contractions, tension, strain, wrong breathing, and lip articulation.

It is therefore necessary to use all didactic means to operate in this area which is so important for the actor. You need to understand how to take care of your respiratory and vocal systems.

When an actor arrives on the scene he must have all his creative elements , and the voice is one of the most important.

The path of “Vocal Technique” in Scenic Souls.

First we will try to understand how our body works in the production of sound starting with the concept of low breathing : how it is obtained, what are the blocks that can prevent it. Once obtained, we will ask ourselves what it means to “support” the air column and how we will be able to keep it constant (a fundamental condition for having a continuity of emission).

Once we have found a column of air that knows how to be continuous, we will focus on resonances and on the concept of the mask which is the end of the mechanism.
We will then find ourselves facing the biggest knot of this technique: the ability to have energy in the abdominals and to be completely relaxed from the chest upwards so that the ribcage can also contribute to the creation of the beauty of the voice.

It is a delicate technique, but very reassuring for an artist when well done and in order not to be lost it must be part of everyday life: very often the stress of the performance prevents us from breathing correctly and the whole mechanism is useless. For this reason, daily work is proposed in the classroom in order to be able to present oneself in front of an audience and be able to count on a solid, intelligible and quality voice.