Customer Reviews

Singing and the Actor (Theatre Arts (Routledge Paperback))

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I've read several good books on voice for acting and singing. There's a lot to learn and I've found it helpful to look at it from many points of view. Other books cover the mechanics to some degree, but this one devotes a great deal of space to exercises that help you identify all the pieces that contribute to the production of sound. With these exercises, I find it a lot easier to methodically troubleshoot when something is not working and narrow it to the problem area, eg, larynx, support, etc. and action that causes the problem, eg, nasality, "excessive pressure on the vocal folds" etc. I also learned the mechanics involved in several techniques, such as "belting" or "crying". I would recommend this to any singer or actor starting out for understanding how the voice works.

This book contains detailed descriptions of the vocal qualities needed in today's theatre singing. It doesn't preach classical techniques, but it does tell you how to find sounds like twang, "speech", and cry safely and correctly. Clear and practical stuff with things to try out and assignments. A really useful book packed with information that I haven't seen published anywhere else. I loved it.

I've read several good books on voice for acting and singing. There's a lot to learn and I've found it helpful to look at it from many points of view. Other books cover the mechanics to some degree, but this one devotes a great deal of space to exercises that help you identify all the pieces that contribute to the production of sound. With these exercises, I find it a lot easier to methodically troubleshoot when something is not working and narrow it to the problem area, eg, larynx, support, etc. and action that causes the problem, eg, nasality, "excessive pressure on the vocal folds" etc. I also learned the mechanics involved in several techniques, such as "belting" or "crying". I would recommend this to any singer or actor starting out for understanding how the voice works.

I was impressed enough from what I had heard about this work previously and from the reviews here to get this book. I am very glad that I did - what an incredible piece of vocal instruction! If you are interested in learning about how to enhance the resonance and carrying power of your voice for theater, pop, or heavy rock music, this book is extremely useful.

This text is so rich in content and depth that it is difficult to do it justice - but to give a general idea - the following types of topics are covered: belt voice, twang as a singer's formant to enhance certain frequencies that are particularly favorable to voice quality in most modern music, laryngeal positioning, tuning vowel formants, tuning the oral resonator, and the critical role of the nasal port/soft palette in achieving strong tones. The instruction not only covers the "what" on these issues but also gives very specific step-by-step instructions on the "how" throughout the work by way of numerous progressively designed exercises that are provided. There are also a lot of illustrations to show what is being discussed at various points in the text.

I am a big fan of the Estillian school of vocal pedagogy, and this work is solidly based on those principles. It is decidedly NOT a book on classical voice training. It is, in many ways, an alternative to that approach. Classical voice training works great for opera to create a distinctive sound. That sound, however, does not map well to non-operatic or -classical genres because it often sounds too formal or stiff. A different sound is required, and, - by extension - so too are at least some different technical matters related to singing - though there is, of course, common ground between the two approaches (e.g., breath management, support, the importance of 'ring' or 'squillo' in the vocal tone).

One minor point that I think deserves attention is the book's title and cover. Specifically, I think that the title and cover are misleading in the sense that they suggest that the work is heavily concerned with voice for theatrical purposes much more than is really the case. In fact, the text is really an impressive in-depth analysis of vocal production, not so much a work on theater, acting, or drama. I think the title of the book's last chapter sums up the true emphasis here best and would have been a better overall book title ("The Act of Singing").

Having an actual Master's in vocal pedagogy (classical and non-classical), I would like to give an expert's opinion. This book was a great find when I was working on my master's thesis. The classical-only vocal pedagogy teachers are currently finding that they are being left behind, because of the emergence of scholarly, and expert evidence of the healthy and effective inclusion of ALL types of vocal techniques. Ms. Kayes book "Singing and the Actor" is not only CORRECT but, also desperately needed. Today's classical-only trained pedagogues may be just to embarrassed to admit they were dupped into believing that they have all the training they needed to work as a private voice teacher in the real world. If you are a voice teacher, and don't have this book, I beg you to get it- there is enough ignorance and arrogance some of today's voice teachers- it's 2006 for crying out loud!

This book is filled with incorrect misleading information on ways to manipulate the human voice to achieve sounds (ie. belting) that are scientifically proven to be damaging. Many of the techniques described in this book require the physical manipulation of the vocal apparatus, a process which can lead to undue strain on the vocal folds and surrounding musculature. Though this books does occassionally contain accurate information on the process of healthy singing, there is far too much that is incorrect and poses permanent damage to the voice. The author frequently contradicts herself as she explains her process of vocal "training." The techniques of this book ask the reader to embark on an unhealthy and permanently damaging course of vocal study. I recommend this book only to those wishing to know how NOT to sing.