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Voice: Onstage and Off 2nd New edition [Minkštas viršelis]

4.11/5 (30 ratings by Goodreads)
(University of Oregon, USA), (University of Cincinnati, Ohio, USA)
  • Formatas: Paperback / softback, 430 pages, aukštis x plotis: 297x210 mm, weight: 884 g, 8 Halftones, black and white; 43 Tables, black and white
  • Išleidimo metai: 18-Apr-2011
  • Leidėjas: Routledge
  • ISBN-10: 0415585589
  • ISBN-13: 9780415585583
Kitos knygos pagal šią temą:
Voice: Onstage and Off 2nd New editionDidesnis paveikslėlis
  • Formatas: Paperback / softback, 430 pages, aukštis x plotis: 297x210 mm, weight: 884 g, 8 Halftones, black and white; 43 Tables, black and white
  • Išleidimo metai: 18-Apr-2011
  • Leidėjas: Routledge
  • ISBN-10: 0415585589
  • ISBN-13: 9780415585583
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9780415585583.html
Raktažodžiai:
Voice: Onstage and Off is a comprehensive guide to the process of building, mastering, and fine-tuning the voice for performance. Every aspect of vocal work is covered, from the initial speech impulse and the creation of sound, right through to refining the final product in different types of performance. This highly adaptable course of study empowers performers of all levels to combine and evolve their onstage and offstage voices.



This second edition is extensively illustrated and accompanied by an all-new website, full of audio and text resources, including:















extensive teacher guides including sample syllabi, scheduling options, and ways of adapting to varying academic environments and teaching circumstances downloadable forms to help reproduce the books exercises in the classroom and for students to engage with their own vocal development outside of lessons audio recordings of all exercises featured in the book examples of Voiceover Demos, including both scripts and audio recordings links to useful web resources, for further study.



Four mentors - the voice chef, the voice coach, the voice shrink and the voice doctor - are on hand throughout the book and the website to ensure a holistic approach to voice training. The authors also provide an authoritative survey of US and UK vocal training methods, helping readers to make informed choices about their study.

Recenzijos

'I do not know of a more comprehensive book on the subject'



- Beth McGuire, Yale School of Drama



'...excellent resource and should ofer superb value to the field for a long time to come.'



- Jane Boston, Central School of Speech and Drama, UK



'...a book that practically teaches by itself. Comprehensive and easily accessible...'



- from Voice and Speech Training in the New Millennium, Conversations with Master Teachers by Nancy Saklad

List of illustrations
xxi
List of tables
xxiii
Preface xxvi
Acknowledgments xxxiii
Chapter 1 Owning your voice
2(48)
1.1 A stranger inside
4(2)
1.2 Voice baby --- starting fresh
6(5)
1.2.1 Exercise --- My voice history
7(1)
1.2.2 Exercise --- My vocal profile
8(2)
1.2.3 Exercise --- Tracking the blocks
10(1)
1.2.4 Exercise --- Keeping the good stuff
11(1)
1.3 Vocal contradictions
11(2)
1.3.1 Exercise --- Voices from hell
12(1)
1.3.2 Exercise --- Voices from heaven
12(1)
1.4 Basic equipment
13(2)
1.4.1 Exercise --- Checking it out
14(1)
1.4.2 Exercise --- Recording time
14(1)
1.4.3 Exercise --- Audition update
14(1)
1.5 Imitators --- a voice mirror
15(2)
1.5.1 Exercise --- My subject in public
16(1)
1.5.2 Exercise --- Subjects in a scene
17(1)
1.6 The voice recipe --- nine ingredients
17(15)
1.6.1 Tempo --- your voice in time
18(1)
1.6.2 Rhythm --- your drum beats
18(1)
1.6.2.1 Exercise --- My tempo/rhythm
19(1)
1.6.3 Articulation --- shaping the sound
20(1)
1.6.4 Pronunciation --- standard, regional or eccentric?
20(1)
1.6.4.1 Exercise --- My articulation/pronunciation
21(1)
1.6.5 Pitch --- notes on your sheet music
22(1)
1.6.6 Volume --- filling space
22(1)
1.6.6.1 Exercise --- My pitch/volume
23(1)
1.6.7 Quality --- creating the sound core
24(1)
1.6.7.1 Exercise --- My qualities
25(1)
1.6.8 Word choice --- your own lingo
26(1)
1.6.9 Vocal nonverbals --- snap, crackle, and pop
27(1)
1.6.9.1 Exercise --- My words/my sounds
28(1)
1.6.9.2 Exercise --- My voice recipe
29(3)
1.7 Your voice compared with your classmates' --- the voice awards
32(2)
1.7.1 Exercise --- The voice awards
33(1)
1.8 The cave --- your voice's home
34(1)
1.8.1 Exercise---The cave's effect
35(1)
1.8.2 Exercise --- Comparing notes
35(1)
1.9 Ownership --- an end to denial
35(3)
1.9.1 Exercise --- Drawing and coloring your voice
36(1)
1.9.2 Exercise --- Naming your voice
36(1)
1.9.3 Exercise --- Talking to your voice
36(2)
1.10 Electronic voices
38(2)
1.10.1 Exercise --- Electronic analysis
39(1)
1.11 Warming up your voice
40(6)
1.11.1 Exercise --- vocal warm-up
40(6)
1.12 Mini warm-up
46(1)
1.13 Other short warm-ups
47(3)
Terms to remember
48(1)
Summary
48(2)
Chapter 2 Healing your voice
50(86)
2.1 The Voice Doc and the Voice Shrink
54(1)
2.2 Vocal health --- caring for your voice
54(3)
2.3 The Voice Shrink: vocal use --- how behavior affects voice
57(8)
2.3.1 Smoking, working in smoky environments
59(1)
2.3.2 Dehydration
60(1)
2.3.3 Coughing/throat clearing
61(1)
2.3.4 Shouting/yelling/loud speaking
62(1)
2.3.5 Failure to warm up before extended use and to cool down afterwards
62(1)
2.3.6 Excess tension of the tongue, jaw, and neck muscles
63(1)
2.3.7 Insufficient rest
63(1)
2.3.8 Speaking or singing at vocal extremes
64(1)
2.3.9 Protect your hearing
65(1)
2.4 The Voice Doc --- a medical perspective
65(4)
2.4.1 Vocal hygiene
66(2)
2.4.2 An important note on laryngo-pharyngeal-reflux disease (LPR)
68(1)
2.5 Healing breathing --- the source of sound
69(11)
2.5.1 Shallow breathing
70(1)
2.5.1.1 Exercise --- Observing breathing patterns
70(1)
2.5.1.2 Exercise --- Finding the full breath
71(2)
2.5.1.3 Exercise --- Full breath with sound
73(1)
2.5.2 Connecting breath to sound - avoiding the glottal attack
73(1)
2.5.2.1 Exercise --- Releasing the glottal attack
74(1)
2.5.3 Audible inhalation
74(1)
2.5.3.1 Exercise --- Freeing inhalation
75(1)
2.5.4 Poor breath management/running out of air too soon
75(1)
2.5.4.1 Exercise --- Observing breathing in conversation
76(1)
2.5.5 Picking up cues
77(1)
2.5.5.1 Exercise --- Connecting breath and thought
78(1)
2.5.6 Breathing for phrasing
79(1)
2.5.6.1 Exercise --- Organizing ideas --- connecting breath and thought
79(1)
2.5.7 Exhaling before speaking
80(1)
2.6 Healing tempo --- your voice in time
80(3)
2.6.1 Raising or dropping pitch and intensity as tempo changes
81(1)
2.6.1.1 Exercise --- Tempo isolation
82(1)
2.7 Healing rhythm --- your drum beats
83(17)
2.7.1 Phrasing hierarchies
84(2)
2.7.1.1 Exercise --- Phrasing hierarchies
86(3)
2.7.1.2 Exercise --- Macbeth on Monday Night Football
89(2)
2.7.2 Punctuation matters
91(1)
2.7.2.1 Exercise --- The punctuation dance
91(3)
2.7.3 Word stress
94(1)
2.7.4 What not to stress
94(4)
2.7.5 What to stress
98(1)
2.7.6 How to stress
99(1)
2.8 Healing articulation --- vocal dexterity
100(4)
2.8.1 Exercise --- Articulation drills
101(3)
2.9 Healing pitch --- notes on your sheet music
104(10)
2.9.1 Median note
105(1)
2.9.1.1 Exercise --- Finding the optimal median note
106(1)
2.9.1.2 Exercise --- Median notes and power plays
106(1)
2.9.1.3 The heroic build
107(1)
2.9.2 Range, inflection, and intonation
107(1)
2.9.2.1 Exercise --- Pitch isolation
108(2)
2.9.2.2 Exercise --- Pitch patterns
110(1)
2.9.3 Putting pitch and rhythm together
110(1)
2.9.3.1 Exercise --- Esau Wood
111(3)
2.10 Healing volume --- building a bigger voice
114(10)
2.10.1 Volume misconceptions
115(1)
2.10.2 Building a bigger voice
116(1)
2.10.2.1 Exercise --- Single-note intensification
117(1)
2.10.2.2 Exercise --- Intensification and breath support
118(1)
2.10.2.3 Exercise --- Volume isolation
119(1)
2.10.2.4 Exercise --- Isolating volume, varying pitch
120(1)
2.10.3 How loud is loud enough?
120(1)
2.10.3.1 Exercise --- Appropriate size
120(1)
2.10.3.2 Exercise --- Size with intimacy --- connecting
121(1)
2.10.3.3 Exercise --- Size with intimacy --- sharing
121(1)
2.10.3.4 Exercise --- Size --- expanding the world
122(1)
2.10.4 Volume enhancers --- timbre, quality, and resonance
122(1)
2.10.4.1 Exercise --- Finding room resonance
123(1)
2.10.4.2 Exercise --- Finding room resonance in large spaces
123(1)
2.10.4.3 Exercise --- Focusing sound for volume
124(1)
2.11 Healing quality --- finding the sound core
124(7)
2.11.1 Resonance
126(1)
2.11.1.1 Exercise --- Full-body resonance
126(2)
2.11.2 Tonal quality
128(1)
2.11.2.1 Exercise --- Tonality isolation
129(1)
2.11.3 Breathy or pressed voices
130(1)
2.11.3.1 Exercise --- Exploring breathy and pressed sounds
131(1)
2.12 Owning anew
131(5)
2.12.1.1 Exercise --- The voice awards, part 2
132(1)
2.12.1 The top twenty vocal directions
132(1)
2.12.1.2 Exercise --- Toppling the top twenty
133(1)
Terms to remember
134(1)
Summary
135(1)
Chapter 3 Mastering your language
136(46)
3.1 Written language versus spoken language
137(4)
3.2 Symbols for sounds
141(2)
3.2.1 Diacritics
141(1)
3.2.2 Respelling or transliteration
142(1)
3.2.3 Phonetics
142(1)
3.3 The International Phonetic Alphabet
143(1)
3.4 Sound groups
144(11)
3.4.1 Exercise --- Separating vowels from consonants
145(1)
3.4.1 Voiced and voiceless consonants
145(1)
3.4.1.1 Exercise --- Separating voiced and voiceless consonants
146(1)
3.4.1.2 Exercise --- Voiced endings
147(1)
3.4.1.3 Exercise --- Voiced/voiceless accent endings
147(2)
3.4.2 Consonant creation
149(1)
3.4.2.1 Exercise --- Identifying your organs of speech
150(3)
3.4.2.2 Exercise --- Guess the consonant
153(2)
3.5 Vowel formation
155(7)
3.5.1 Lexical sets for vowels
157(2)
3.5.2 Diphthongs and triphthongs
159(2)
3.5.2.1 Exercise --- Diphthongs and triphthongs versus two-syllable words
161(1)
3.6 Phonetic transcription
162(13)
3.6.1 Syllabification
162(1)
3.6.1.1 Exercise --- How many syllables?
163(1)
3.6.2 Syllable stress
163(1)
3.6.2.1 Exercise --- Which syllables are accented?
164(1)
3.6.3 How to divide syllables
164(1)
3.6.4 Vowel sounds that depend on stress
165(1)
3.6.4.1 Exercise --- Hearing vowels change with stressing
166(1)
3.6.5 Strong and weak forms
167(1)
3.6.5.1 Exercise --- Strong or weak form?
168(2)
3.6.6 How do sounds affect each other?
170(1)
3.6.6.1 Exercise --- "R" alterations
171(1)
3.6.6.2 Exercise --- "R" alterations in sentences
172(1)
3.6.6.3 Exercise --- Released and unreleased "L"
173(1)
3.6.6.4 Exercise --- Released and unreleased "L" in sentences
173(2)
3.7 Pronunciation
175(4)
3.7.1 Exercise --- Pronunciation attitudes
176(1)
3.7.2 Speech tells who we are, where we are, and when we are
176(3)
3.8 Resources
179(3)
Terms to remember
180(1)
Summary
181(1)
Chapter 4 Expanding your voice
182(56)
4.1 Rediscovering your voices
185(1)
4.1.1 Exercise --- Being a baby --- getting what you want
185(1)
4.2 Rediscovering language
186(3)
4.2.1 Exercise --- Battling theories
187(1)
4.2.2 Exercise --- Word tasting --- a return to the roots of language
187(2)
4.3 Expanding --- tempo/rhythm
189(8)
4.3.1 Exercise --- Revealing rhythmic structure
189(1)
4.3.2 Exercise --- Word tasting --- finding the internal rhythms of words
190(2)
4.3.3 Exercise --- Word tasting --- finding internal rhythms of words in text
192(2)
4.3.4 Exercise --- Rhythm --- finding freedom within form
194(2)
4.3.5 Exercise --- Tempo --- racing effortlessly
196(1)
4.4 Expanding --- pronunciation/articulation
197(9)
4.4.1 Bone prop/cork --- the controversial helper
198(1)
4.4.2 Consonant action --- finishing off a drill
199(1)
4.4.2.1 Exercise --- Articulation --- initiating with accuracy
199(1)
4.4.2.2 Exercise --- Articulation --- attacking the terminals
200(2)
4.4.2.3 Exercise --- Articulation and breath control
202(1)
4.4.3 Interpreting through articulation
202(1)
4.4.3.1 Exercise --- Word tasting --- words to hurt or heal
203(1)
4.4.3.2 Exercise ---Using A.A.C.O.
204(2)
4.4.3.3 Exercise --- Hidden relationships
206(1)
4.5 Expanding --- pitch
206(5)
4.5.1 Pitch prominence for stronger stressing
206(2)
4.5.1.1 Exercise --- Pitch and parallelism
208(2)
4.5.1.2 Exercise --- Singing the speech
210(1)
4.6 Expanding --- volume
211(3)
4.6.1 Vocal weightlifting
211(1)
4.6.1.1 Exercise --- Volume building
211(3)
4.6.2 Working with amplification
214(1)
4.7 Expanding --- quality
214(3)
4.7.1 Exercise --- Quality control
215(2)
4.8 Expanding breath and emotion
217(7)
4.8.1 Exercise --- Stepping out
218(1)
4.8.2 Exercise --- Stepping into emotions with effector patterns
219(5)
4.9 Putting it all together
224(7)
4.9.1 Exercise --- Giving meaning to the words
225(1)
4.9.2 Exercise --- Jabberwocking
226(2)
4.9.3 Exercise --- Masking and unmasking
228(2)
4.9.4 Exercise --- Classical masking and unmasking
230(1)
4.10 The vocal gym --- getting in shape
231(7)
4.10.1 Voice work-out checklist
233(2)
4.10.2 Warm-ups versus work-outs
235(1)
4.10.2.1 Exercise --- Voice awards --- where are you now?
236(1)
4.10.2.2 Exercise --- Where do we go from here?
236(1)
Terms to remember
237(1)
Summary
237(1)
Chapter 5 Refining your voice
238(66)
5.1 Class acts
240(1)
5.2 Acrolects and hyperlects
241(4)
5.2.1 General American
242(1)
5.2.2 Elevated Standard
243(1)
5.2.3 British Received Pronunciation
244(1)
5.3 GA, ES, and RP in comparison
245(36)
5.3.1 Resonance and tune
246(1)
5.3.2 R coloration
247(1)
5.3.2.1 Exercise --- Practice adding and dropping r-coloring
248(4)
5.3.2.2 Exercise --- Practice R intrusion
252(1)
5.3.3 A mediations
253(7)
5.3.3.1 Exercise --- Practice the flat intermediate and round A
260(1)
5.3.4 U liquidation
261(1)
5.3.4.1 Exercise --- Practice dropping or adding the liquid U
262(1)
5.3.5 Back-vowel separation
263(2)
5.3.5.1 Exercise --- Contrasting back vowels
265(1)
5.3.5.2 Exercise --- Practice adjusting [ ce.r] in GA and [ o.r] in ES and RP
266(1)
5.3.6 Twang elimination
267(1)
5.3.6.1 Exercise --- Practice removing or adding the right kind of twang
268(1)
5.3.7 Schwa elevation
269(2)
5.3.7.1 Exercise --- Practice lowering or elevating the schwa
271(1)
5.3.8 Completions
271(1)
5.3.8.1 Exercise --- Practice lovely completions
272(1)
5.3.9 T articulation
273(1)
5.3.9.1 Exercise --- Practice T articulation
274(1)
5.3.10 W/WH distinction
275(1)
5.3.10.1 Exercise --- Practice [ M, W] in contrast
276(1)
5.3.11 Precision --- detail work
276(3)
5.3.11.1 Exercise --- Elevating
279(1)
5.3.11.2 Exercise --- Changing cultures
280(1)
5.3.11.3 Exercise --- Finding ES
280(1)
5.3.11.4 Exercise --- Transcribing for precision and accuracy
280(1)
5.4 Acting in an acrolect without sounding phony
281(1)
5.5 Regional/ethnic freedom --- owning all language
282(1)
5.5.1 Exercise --- Storytelling
283(1)
5.6 Verse versus prose
283(7)
5.6.1 Scansion --- scoring verse
286(1)
5.6.2 Stress release
287(1)
5.6.2.1 Exercise --- Scanning
288(1)
5.6.2.2 Exercise --- The mighty human iambic pentameter line
288(1)
5.6.3 Rhyming
289(1)
5.7 Classical speech hints A to Z --- antithesis to zone
290(14)
5.7.1 Exercise --- Classical speech A to Z
298(1)
5.7.2 Exercise --- Refinement imitations
298(1)
5.7.3 Exercise --- Verse imitation/conjecture
299(1)
5.7.1 Pulse beats --- metre and meaning
299(1)
5.7.1.1 Exercise --- Swinging the pendulum
299(2)
Terms to remember
301(1)
Summary
302(2)
Chapter 6 Releasing your other voices
304(52)
6.1 Accents versus dialects
306(2)
6.1.1 Native versus second-language accents
307(1)
6.1.1.1 Exercise --- Diving into an accent
307(1)
6.2 Opening your ear --- releasing your tongue
308(1)
6.3 Organic/cultural accent base
309(3)
6.3.1 Images
309(1)
6.3.2 Values
309(1)
6.3.3 Influences
309(1)
6.3.4 Warm-ups
310(1)
6.3.5 Physical lives
310(1)
6.3.5.1 Exercise --- Developing an accent character
311(1)
6.3.5.2 Exercise --- United Nations of accents
311(1)
6.4 Technical accent base
312(1)
6.5 Researching the sounds
313(3)
6.5.1 Most important resources
313(1)
6.5.2 Online resources
314(1)
6.5.3 Print resources
314(2)
6.6 Geographic index of accent sources
316(4)
6.7 Hierarchies --- individualizing the accent
320(3)
6.7.1 Exercise --- Hierarchizing
320(1)
6.7.1 Thickening and thinning
320(1)
6.7.1.1 Exercise --- Thin to thick to thin
321(1)
6.7.1.2 Exercise --- Teaching the accent
322(1)
6.7.1.3 Exercise --- Testing how it took
323(1)
6.8 Character voices
323(4)
6.8.1 The 3 Cs --- characters/caricatures/cartoons
324(1)
6.8.2 Same text/different voices
324(1)
6.8.2.1 Exercise --- Four voices
325(2)
6.8.2.2 Exercise --- Four voices imitations
327(1)
6.9 Discovering all your voices
327(9)
6.9.1 Voice personas
328(1)
6.9.1.1 Exercise --- Voice personas
329(1)
6.9.2 Voice attitudes
329(1)
6.9.3 Voice circumstances
330(2)
6.9.3.1 Exercise --- Do it and change it
332(1)
6.9.3.2 Exercise --- Voice du jour
332(1)
6.9.4 Voice constructing
332(1)
6.9.4.1 Exercise --- Individual voice inventory
333(1)
6.9.4.2 Exercise --- Character voice inventory
334(2)
6.10 Voiceover demos
336(10)
6.10.1 Playing the microphone like an instrument
336(1)
6.10.2 Kinds of demo
337(1)
6.10.3 Commercial demo
337(3)
6.10.4 Non-broadcast demo
340(2)
6.10.5 Cartoon demo
342(2)
6.10.6 Other voiceover styles
344(1)
6.10.6.1 Exercise --- Demo
345(1)
6.11 Taking vocal direction
346(1)
6.11.1 Exercise --- Directions: "What are they saying to me?"
347(1)
6.12 For further study
347(4)
6.13 Singing and speaking
351(3)
6.13.1 Exercise --- Songs as monologues
352(1)
6.13.2 Exercise --- Song/monologue with underscoring
352(1)
6.13.3 Exercise --- Recitative --- talking the song
353(1)
6.13.4 Exercise --- Singing the monologue
353(1)
6.14 Checking back
354(2)
Terms to remember
355(1)
Summary
355(1)
Chapter 7 Selecting your system
356(38)
7.1 Who are the most influential voice and speech teachers?
358(1)
7.2 A self-assessment
359(3)
7.2.1 Exercise --- Discovering how you learn
359(3)
7.3 Edith Skinner
362(2)
7.4 Arthur Lessac
364(2)
7.5 Cicely Berry
366(3)
7.6 Kristin Linklater
369(2)
7.7 Patsy Rodenburg
371(3)
7.8 Comparing the systems
374(7)
7.8.1 Comparing the solutions
374(6)
7.8.2 Comparing the qualities
380(1)
7.9 Other sources
381(5)
7.9.1 Exercise --- Dueling theories
386(1)
7.10 Advanced program checklist
386(1)
7.11 How are voice and speech experts trained, certified, and licensed?
387(1)
7.12 Physical relaxation/alignment/focus systems
388(2)
7.13 What promising new approaches are on the horizon?
390(4)
Terms to remember
392(1)
Summary
392(2)
Chapter 8 Planning your voice future
394(26)
8.1 Exercise --- An honest summary
397(1)
8.2 Exercise --- A final performance imitation
398(1)
8.3 Exercise --- A final vocal gift
399(1)
8.4 Exercise --- Make a list, check it twice
400(1)
8.1 Owning
400(2)
8.1.1 Blocks and strategies
400(1)
8.1.2 Unfinished business
401(1)
8.1.3 Audiolization
401(1)
8.2 Healing
402(2)
8.2.1 The actual shrink
402(1)
8.2.2 Remedial work
403(1)
8.2.3 Behavior modification
403(1)
8.3 Mastering
404(1)
8.3.1 Transcription
404(1)
8.3.2 Memorization
404(1)
8.3.3 Categories
405(1)
8.4 Expanding
405(3)
8.4.1 Body to voice
405(1)
8.4.2 Alignment on
406(1)
8.4.3 Floor on upward
406(1)
8.4.4 Breath power
407(1)
8.4.5 Revolving variety
408(1)
8.5 Refining
408(3)
8.5.1 The sound of silence
408(1)
8.5.2 Coloring
409(1)
8.5.3 Three kinds of freedom
409(1)
8.5.4 Temporary affectation
410(1)
8.5.5 Versing
410(1)
8.6 Releasing
411(3)
8.6.1 Accenting
411(1)
8.6.2 Character voicing
412(1)
8.6.3 Copy work
413(1)
8.6.4 Demos
413(1)
8.6.5 Songbird
414(1)
8.7 Selecting
414(3)
8.7.1 A better cave
414(1)
8.7.2 Expanded learning modes
415(1)
8.7.3 Systemizing
415(2)
8.7.4 Research
417(1)
8.8 Backing into your future --- lifelong vocal work
417(3)
Summary 420(1)
Index 421
Robert Barton is professor emeritus of acting at the University of Oregon. He is the author of Style for Actors, Acting: Onstage and Off, Acting Reframes, and co-author of Theatre in Your Life and Life Themes (both with Annie McGregor). He has been honored as Outstanding Acting Coach by the American College Theatre Festival and writes a column "Many Right Ways" for The Voice and Speech Review.









Rocco Dal Vera is a professor of drama at the University of Cincinnati's College-Conservatory of Music, specialising in theatre voice and speech with particular interest in voice and emotion. He is co author of Acting in Musical Theatre (with Joe Deer, Routledge, 2008), columnist for Dramatics Magazine and Teaching Theatre, and founding editor of the Voice and Speech Review.