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Voice: Onstage and Off: Third edition 3rd edition [Kietas viršelis]

4.11/5 (18 ratings by Goodreads)
(University of Cincinnati, Ohio, USA), (University of Oregon, USA)
  • Formatas: Hardback, 382 pages, aukštis x plotis: 246x174 mm, weight: 930 g, 54 Tables, black and white; 18 Line drawings, black and white; 49 Halftones, black and white
  • Išleidimo metai: 22-Mar-2017
  • Leidėjas: Routledge
  • ISBN-10: 1138918571
  • ISBN-13: 9781138918573
Kitos knygos pagal šią temą:
Voice: Onstage and Off: Third edition 3rd editionDidesnis paveikslėlis
  • Formatas: Hardback, 382 pages, aukštis x plotis: 246x174 mm, weight: 930 g, 54 Tables, black and white; 18 Line drawings, black and white; 49 Halftones, black and white
  • Išleidimo metai: 22-Mar-2017
  • Leidėjas: Routledge
  • ISBN-10: 1138918571
  • ISBN-13: 9781138918573
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9781138918573.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.

Illustrations xxi
Tables xxiii
Preface: A place to start xxv
Acknowledgments xxxv
Chapter 1 Owning your voice 1(40)
1.1 A stranger inside
2(2)
1.2 Voice baby - starting fresh
4(4)
Exercise 1.2.1: My voice history
5(1)
Exercise 1.2.2: My vocal profile
6(2)
Exercise 1.2.3: Tracking the blocks
8(1)
Exercise 1.2.4: Keeping the good stuff
8(1)
1.3 Vocal contradictions
8(2)
Exercise 1.3.1: Voices from hell
9(1)
Exercise 1.3.2: Voices from heaven
10(1)
1.4 Basic equipment
10(2)
Exercise 1.4.1: Checking it out
11(1)
Exercise 1.4.2: Recording time
11(1)
Exercise 1.4.3: Audition update
12(1)
1.5 Imitators - a voice mirror
12(2)
Exercise 1.5.1: My subject in public
13(1)
Exercise 1.5.2: Subjects in a scene
13(1)
1.6 The voice recipe - nine ingredients
14(12)
1.6.1 Tempo: your voice in time
14(1)
1.6.2 Rhythm: your drum beats
15(1)
Exercise 1.6.2.1: My tempo/rhythm
15(1)
1.6.3 Articulation - shaping the sound
16(1)
1.6.4 Pronunciation - standard, regional, or eccentric?
16(1)
Exercise 1.6.4.1: My articulation/pronunciation
17(1)
1.6.5 Pitch - notes on your sheet music
17(1)
1.6.6 Volume - filling space
18(1)
Exercise 1.6.6.1: My pitch/volume
18(1)
1.6.7 Quality - creating the sound core
19(1)
Exercise 1.6.7.1: My qualities
20(1)
1.6.8 Word choice - your own lingo
20(1)
1.6.9 Vocal nonverbals - snap, crackle, and pop
21(5)
Exercise 1.6.9.1: My words/my sounds
22(1)
Exercise 1.6.9.2: My voice recipe
23(3)
1.7 Your voice compared with your classmates' - the voice awards
26(1)
Exercise 1.7.1: The voice awards
26(1)
1.8 The cave - your voice's home
27(1)
Exercise 1.8.1: The cave's effect
28(1)
Exercise 1.8.2: Comparing notes
28(1)
1.9 Ownership - an end to denial
28(3)
Exercise 1.9.1: Drawing and coloring your voice
29(1)
Exercise 1.9.2: Naming your voice
29(1)
Exercise 1.9.3: Talking to your voice
29(2)
1.10 Electronic voices
31(1)
Exercise 1.10.1: Electronic analysis
31(1)
1.11 Warming up your voice
32(5)
Exercise 1.11.1: vocal warm-up
32(5)
1.12 Mini warm-up
37(1)
1.13 Other short warm-ups
38(1)
Terms To Remember
38(1)
Summary
39(2)
Chapter 2 Healing your voice 41(70)
2.1 The Voice Doc and the Voice Shrink
43(1)
2.2 Vocal health - caring for your voice
44(2)
2.3 The Voice Shrink: vocal use - how behavior affects voice
46(7)
2.3.1 What you breathe matters - smoke, dust, allergens, and irritants
47(1)
2.3.2 Dehydration
48(1)
2.3.3 Coughing and throat clearing
49(1)
2.3.4 Shouting, yelling, loud speaking
50(1)
2.3.5 Failure to warm up before extended use and to cool down afterwards
50(1)
2.3.6 Excess tension of the tongue, jaw, and neck muscles
51(1)
2.3.7 Insufficient rest
51(1)
2.3.8 Speaking or singing at vocal extremes
52(1)
2.3.9 Protect your hearing
52(1)
2.4 The Voice Doc - a medical perspective
53(3)
2.4.1 Vocal hygiene
53(1)
2.4.2 An important note on laryngo-pharyngeal-reflux disease (LPR)
54(1)
2.4.3 Resources for vocal hygiene
55(1)
2.5 Healing breathing - the source of sound
56(9)
2.5.1 Shallow breathing
57(2)
Exercise 2.5.1.1: Observing breathing patterns
57(1)
Exercise 2.5.1.2: Finding the full breath
58(1)
Exercise 2.5.1.3: Full breath with sound
59(1)
2.5.2 Connecting breath to sound - avoiding the glottal attack
59(1)
Exercise 2.5.2.1: Releasing the glottal attack
59(1)
2.5.3 Audible inhalation
60(1)
Exercise 2.5.3.1: Freeing inhalation
60(1)
2.5.4 Poor breath management/running out of air too soon
61(1)
Exercise 2.5.4.1: Observing breathing in conversation
61(1)
2.5.5 Picking up cues
62(1)
Exercise 2.5.5.1: Connecting breath and thought
63(1)
2.5.6 Breathing for phrasing
63(1)
Exercise 2.5.6.1: Organizing ideas - connecting breath and thought
64(1)
2.5.7 Exhaling before speaking
64(1)
2.6 Healing tempo - your voice in time
65(2)
2.6.1 Raising or dropping pitch and intensity as tempo changes
65(2)
Exercise 2.6.1.1: Tempo isolation
66(1)
2.7 Healing rhythm - your drum beats
67(13)
2.7.1 Phrasing hierarchies
68(4)
Exercise 2.7.1.1: Phrasing hierarchies
69(2)
Exercise 2.7.1.2: Macbeth on Monday Night Football
71(1)
2.7.2 Punctuation matters
72(3)
Exercise 2.7.2.1: The punctuation dance
73(2)
2.7.3 Word stress
75(1)
2.7.4 What not to stress
75(4)
2.7.5 What to stress
79(1)
2.7.6 How to stress
80(1)
2.8 Healing articulation - vocal dexterity
80(4)
Exercise 2.8.1: Articulation drills
81(3)
2.9 Healing pitch - notes on your sheet music
84(8)
2.9.1 Median note
85(2)
Exercise 2.9.1.1: Finding the optimal median note
86(1)
Exercise 2.9.1.2: Median notes and power plays
86(1)
Exercise 2.9.1.3: The heroic build
87(1)
2.9.2 Range, inflection, and intonation
87(3)
Exercise 2.9.2.1: Pitch isolation
87(1)
Exercise 2.9.2.2: Pitch patterns
88(2)
2.9.3 Putting pitch and rhythm together
90(2)
Exercise 2.9.3.1: Esau Wood
90(2)
2.10 Healing volume - building a bigger voice
92(8)
2.10.1 Volume misconceptions
93(1)
2.10.2 Building a bigger voice
94(3)
Exercise 2.10.2.1: Single-note intensification
94(1)
Exercise 2.10.2.2: Intensification and breath support
95(1)
Exercise 2.10.2.3: Volume isolation
96(1)
Exercise 2.10.2.4: Isolating volume, varying pitch
96(1)
2.10.3 How loud is loud enough?
97(1)
Exercise 2.10.3.1: Appropriate size
97(1)
Exercise 2.10.3.2: Size with intimacy - connecting
97(1)
Exercise 2.10.3.3: Size with intimacy - sharing
98(1)
Exercise 2.10.3.4: Size - expanding the world
98(1)
2.10.4 Volume enhancers - timbre, quality, and resonance
98(2)
Exercise 2.10.4.1: Finding room resonance
99(1)
Exercise 2.10.4.2: Finding room resonance in large spaces
99(1)
Exercise 2.10.4.3: Focusing sound for volume
99(1)
2.11 Healing quality - finding the sound core
100(6)
2.11.1 Resonance
101(3)
Exercise 2.11.1.1: Full-body resonance
101(3)
2.11.2 Tonal quality
104(1)
Exercise 2.11.2.1: Quality isolation
104(1)
2.11.3 Breathy or pressed voices
105(1)
Exercise 2.11.3.1: Exploring breathy and pressed sounds
105(1)
2.12 Owning anew
106(2)
Exercise 2.12.1: The voice awards, part 2
106(1)
2.12.1 The top twenty vocal directions
107(7)
Exercise 2.12.1.1: Toppling the top twenty
107(1)
Terms To Remember
108(1)
Summary
108(3)
Chapter 3 Mastering your language 111(36)
3.1 Written language versus spoken language
112(2)
3.2 Symbols for sounds
114(2)
3.2.1 Diacritics
115(1)
3.2.2 Respelling or transliteration
115(1)
3.2.3 Phonetics
115(1)
3.3 The International Phonetic Alphabet
116(1)
3.4 Sound groups
117(8)
Exercise 3.4.1: Separating vowels from consonants
117(1)
3.4.1 Voiced and voiceless consonants
117(3)
Exercise 3.4.1.1: Separating voiced and voiceless consonants
118(1)
Exercise 3.4.1.2: Voiced endings
118(1)
Exercise 3.4.1.3: Voiced/voiceless accent endings
119(1)
3.4.2 Consonant creation
120(5)
Exercise 3.4.2.1: Identifying your organs of speech
121(3)
Exercise 3.4.2.2: Guess the consonant
124(1)
3.5 Vowel formation
125(6)
3.5.1 Lexical sets for vowels
127(2)
3.5.2 Diphthongs and triphthongs
129(2)
Exercise 3.5.2.1: Diphthongs and triphthongs versus two-syllable words
130(1)
3.6 Phonetic transcription
131(9)
3.6.1 Syllabification
131(1)
Exercise 3.6.1.1: How many syllables?
131(1)
3.6.2 Syllable stress
132(1)
Exercise 3.6.2.1: Which syllables are accented?
132(1)
3.6.3 How to divide syllables
132(1)
3.6.4 Vowel sounds that depend on stress
133(1)
Exercise 3.6.4.1: Hearing vowels change with stressing
134(1)
3.6.5 Strong and weak forms
134(2)
Exercise 3.6.5.1: Strong or weak form?
134(2)
3.6.6 How do sounds affect each other?
136(4)
Exercise 3.6.6.1: "R" alterations
137(1)
Exercise 3.6.6.2: "R" alterations in sentences
138(1)
Exercise 3.6.6.3: Released and Unreleased "L"
139(1)
Exercise 3.6.6.4: Released and unreleased "L" in sentences
139(1)
3.7 Pronunciation
140(4)
Exercise 3.7.1: Pronunciation attitudes
141(1)
3.7.1 Speech tells who we are, where we are, and when we are
142(2)
3.8 Resources
144(1)
Terms To Remember
145(1)
Summary
145(2)
Chapter 4 Expanding your voice 147(48)
4.1 Rediscovering your voices
149(1)
Exercise 4.1.1: Being a baby - getting what you want
149(1)
4.2 Rediscovering language
149(3)
Exercise 4.2.1: Battling theories
150(1)
Exercise 4.2.2: Word tasting - a return to the roots of language
151(1)
4.3 Expanding - tempo/rhythm
152(7)
4.3.1 Feeling the rhythms of words
152(7)
Exercise 4.3.1.1: Revealing rhythmic structure
152(1)
Exercise 4.3.1.2: Word tasting - finding the internal rhythms of words
152(3)
Exercise 4.3.1.3: Word tasting - finding internal rhythms of words in text
155(2)
Exercise 4.3.1.4: Rhythm - finding freedom within form
157(1)
Exercise 4.3.1.5: Tempo - racing effortlessly
158(1)
4.4 Expanding - pronunciation/articulation
159(8)
4.4.1 Bone prop/cork - the controversial helper
160(1)
4.4.2 Consonant action - finishing off a drill
161(2)
Exercise 4.4.2.1: Articulation - initiating with accuracy
161(1)
Exercise 4.4.2.2: Articulation - attacking the terminals
162(1)
Exercise 4.4.2.3: Articulation and breath control
163(1)
4.4.3 Interpreting through articulation
163(4)
Exercise 4.4.3.1: Word tasting - words to hurt or heal
164(1)
Exercise 4.4.3.2: Using A.A.C.O.
165(1)
Exercise 4.4.3.3: Hidden relationships
166(1)
4.5 Expanding - pitch
167(4)
4.5.1 Pitch prominence for stronger stressing
167(4)
Exercise 4.5.1.1: Pitch and parallelism
169(1)
Exercise 4.5.1.2: Singing the speech
170(1)
4.6 Expanding - volume
171(2)
4.6.1 Vocal weightlifting
171(2)
Exercise 4.6.1.1: Volume building
171(2)
4.6.2 Working with amplification
173(1)
4.7 Expanding - quality
173(2)
Exercise 4.7.1: Quality control
174(1)
4.8 Expanding - breath and emotion
175(7)
Exercise 4.8.1: Stepping out
176(1)
Exercise 4.8.2: Stepping into emotions with Effector Patterns
177(5)
4.9 Putting it all together
182(5)
Exercise 4.9.1: Giving meaning to the words
182(1)
Exercise 4.9.2: Jabberwocking
183(1)
Exercise 4.9.3: Masking and unmasking
184(2)
Exercise 4.9.4: Classical masking and unmasking
186(1)
4.10 The vocal gym - getting in shape
187(5)
4.10.1 Voice warm-up/workout checklist
189(1)
4.10.2 Warm-ups versus workouts
190(7)
Exercise 4.10.2.1: Voice awards - where are you now?
191(1)
Exercise 4.10.2.2: Where do we go from here?
191(1)
Terms To Remember
192(1)
Summary
192(3)
Chapter 5 Refining your voice 195(38)
5.1 Class acts
195(2)
5.2 Acrolects and hyperlects
197(5)
5.2.1 General American
198(1)
5.2.2 Elevated Standard
199(1)
5.2.3 British Received Pronunciation
200(1)
5.2.4 A Note on the Estuary Accent
201(1)
5.3 GA, ES, and RP in comparison
202(27)
5.3.1 Resonance and tune
203(1)
5.3.2 R coloration
203(4)
Exercise 5.3.2.1: Practice adding and dropping R-coloring
204(3)
Exercise 5.3.2.2: Practice R intrusion
207(1)
5.3.3 A mediations
207(6)
Exercise 5.3.3.1: Practice the flat intermediate and round A
213(1)
5.3.4 U liquidation
213(2)
Exercise 5.3.4.1: Practice dropping or adding the liquid U
214(1)
5.3.5 Back-vowel separation
215(3)
Exercise 5.3.5.1: Contrasting back vowels
216(1)
Exercise 5.3.5.2: Practice adjusting [ ] in GA and [ .r] in ES and RP
217(1)
5.3.6 Twang elimination
218(1)
Exercise 5.3.6.1: Practice removing or adding the right kind of twang
218(1)
5.3.7 Schwa elevation
219(2)
Exercise 5.3.7.1: Practice lowering or elevating the schwa
221(1)
5.3.8 Completions
221(1)
Exercise.5.3.8.1: Practice lovely completions
222(1)
5.3.9 T articulation
222(2)
Exercise 5.3.9.1: Practice T articulation
223(1)
5.3.10 W/WH distinction
224(1)
Exercise 5.3.10.1: Practice [ M,W] in contrast
225(1)
5.3.11 Precision - detail work
225(4)
Exercise 5.3.11.1: Elevating
227(1)
Exercise 5.3.11.2: Changing cultures
227(1)
Exercise 5.3.11.3: Finding ES
228(1)
Exercise 5.3.11.4: Transcribing for precision and accuracy
228(1)
5.4 Acting in an acrolect without sounding phony
229(1)
5.5 Regional/ethnic freedom - owning all language
229(1)
Exercise 5.5.1: Storytelling
230(1)
Terms To Remember
230(1)
Summary
230(3)
Chapter 6 Expressing your text 233(38)
6.1 Choosing your text
235(5)
Exercise 6.1.1: Choosing your translated or adapted text
239(1)
Exercise 6.1.2: Choosing your Shakespearean text
239(1)
6.2 Understanding the text
240(6)
6.3 Paraphrasing
246(1)
Exercise 6.3.1: Paraphrasing your text
246(1)
6.4 Finding the simple sentence
247(4)
Exercise 6.4.1: Heightening a simple sentence
247(1)
Exercise 6.4.2: Finding the simple sentence
248(2)
Exercise 6.4.3: Using the simple sentence
250(1)
6.5 Phrasing hierarchies
251(3)
Exercise 6.5.1: Acting the versions - phrasing hierarchies
253(1)
Exercise 6.5.2: Acting the versions - simple to complex
253(1)
6.6 Verse versus prose
254(6)
6.6.1 Scansion - scoring verse
257(1)
6.6.2 Stress release
258(1)
Exercise 6.6.2.1: Scanning
258(1)
Exercise 6.6.2.2: The mighty human iambic pentameter line
259(1)
6.6.3 Rhyming
259(1)
6.7 Classical speech hints A to Z - antithesis to zone
260(9)
Exercise 6.7.1: Classical speech A to Z
266(1)
Exercise 6.7.2: Refinement imitations
266(1)
Exercise 6.7.3: Verse imitation/conjecture
267(1)
6.7.4 Pulse beats - metre and meaning
267(5)
Exercise 6.7.4.1: Swinging the pendulum
267(2)
Terms To Remember
269(1)
Summary
269(2)
Chapter 7 Releasing your other voices 271(46)
7.1 Accents versus dialects
272(2)
7.1.1 Native versus second-language accents
273(2)
Exercise 7.1.1.1: Diving into an accent
273(1)
7.2 Opening your ear - releasing your tongue
274(1)
7.3 Organic/cultural accent base
275(2)
7.3.1 Images
275(1)
7.3.2 Values
275(1)
7.3.3 Influences
275(1)
7.3.4 Warm-ups
276(1)
7.3.5 Physical lives
276(2)
Exercise 7.3.5.1: Developing an accent character
276(1)
Exercise 7.3.5.2: United Nations of accents
277(1)
7.4 Technical accent base
277(1)
7.5 Researching the sounds
278(3)
7.5.1 Most important resources
278(1)
7.5.2 Online resources
279(1)
7.5.3 Print resources
280(1)
7.6 Geographic index of accent sources
281(4)
7.7 Hierarchies - individualizing the accent
285(3)
Exercise 7.7.1: Hierarchizing
285(1)
7.7.1 Thickening and thinning
285(3)
Exercise 7.7.1.1: Thin to thick to thin
286(1)
Exercise 7.7.1.2: Teaching the accent
287(1)
Exercise 7.7.1.3: Testing how it took
287(1)
7.8 Character voices
288(3)
7.8.1 The three Cs - characters, caricatures, cartoons
288(1)
7.8.2 Same text/different voices
288(3)
Exercise 7.8.2.1: Four voices
289(1)
Exercise 7.8.2.2: Four voices imitations
290(1)
7.9 Discovering all your voices
291(7)
7.9.1 Voice personas
291(1)
Exercise 7.9.1.1: Voice personas
292(1)
7.9.2 Voice attitudes
292(1)
7.9.3 Voice circumstances
293(2)
Exercise 7.9.3.1: Do it and change it
294(1)
Exercise 7.9.3.2: Voice du jour
295(1)
7.9.4 Voice constructing
295(3)
Exercise 7.9.4.1: Individual voice inventory
295(2)
Exercise 7.9.4.2: Character voice inventory
297(1)
7.10 Voiceover demos
298(8)
Exercise 7.10.1: Find your voiceover type
298(1)
7.10.1 Playing the microphone like an instrument
299(1)
7.10.2 Kinds of demo
299(1)
7.10.3 Commercial demo
300(1)
7.10.4 Non-broadcast demo
301(3)
7.10.5 Cartoon demo
304(1)
7.10.6 Other voiceover styles
305(1)
Exercise 7.10.6.1: Demo
306(1)
7.11 Taking voiceover direction
306(2)
Exercise 7.11.1: Directions: "What are they saying to me?"
307(1)
7.12 For further study
308(3)
7.13 Singing and speaking
311(3)
Exercise 7.13.1: Songs as monologues
312(1)
Exercise 7.13.2: Song/monologue with underscoring
312(1)
Exercise 7.13.3: Recitative - talking the song
312(1)
Exercise 7.13.4: Singing the monologue
312(2)
7.14 Checking back
314(1)
Terms To Remember
314(1)
Summary
314(3)
Chapter 8 Selecting your system 317(32)
8.1 Who are the most influential voice and speech teachers?
318(1)
8.2 A self-assessment
319(2)
Exercise 8.2.1: Discovering how you learn
319(2)
8.3 Edith Skinner
321(2)
8.4 Arthur Lessac
323(2)
8.5 Cicely Berry
325(2)
8.6 Kristin Linklater
327(2)
8.7 Patsy Rodenburg
329(2)
8.8 Comparing the systems
331(6)
8.8.1 Comparing the solutions
331(5)
8.8.2 Comparing the qualities
336(1)
8.9 Other sources
337(4)
Exercise 8.9.1: Dueling theories
341(1)
8.10 Advanced program checklist
341(1)
8.11 How are voice and speech experts trained, certified, and licensed?
342(1)
8.12 Physical relaxation, alignment, focus systems
342(3)
8.13 What promising new approaches are on the horizon?
345(1)
Terms To Remember
346(1)
Summary
346(3)
Chapter 9 Planning your voice future 349(24)
Exercise 9.1: An honest summary
351(1)
Exercise 9.2: A final performance imitation
352(1)
Exercise 9.3: A final vocal gift
353(1)
Exercise 9.4: Make a list, check it twice
354(1)
9.1 Owning
354(1)
9.1.1 Blocks and strategies
354(1)
9.1.2 Unfinished business
354(1)
9.1.3 Audiolization
355(1)
9.2 Healing
355(2)
9.2.1 The actual shrink
355(1)
9.2.2 Remedial work
356(1)
9.2.3 Behavior modification
356(1)
9.3 Mastering
357(1)
9.3.1 Transcription
357(1)
9.3.2 Memorization
357(1)
9.3.3 Categories
357(1)
9.4 Expanding
358(2)
9.4.1 Body to voice
358(1)
9.4.2 Alignment on
358(1)
9.4.3 Floor on upward
358(1)
9.4.4 Breath power
359(1)
9.4.5 Revolving variety
360(1)
9.5 Refining
360(2)
9.5.1 The sound of silence
360(1)
9.5.2 Coloring
361(1)
9.5.3 Three kinds of freedom
361(1)
9.5.4 Temporary affectation
361(1)
9.6 Expressing
362(2)
9.6.1 Steeping
362(1)
9.6.2 Hearing, and listening
362(1)
9.6.3 Researching
363(1)
9.6.4 Versing
363(1)
9.7 Releasing
364(2)
9.7.1 Accenting
364(1)
9.7.2 Character voicing
364(1)
9.7.3 Copy work
365(1)
9.7.4 Demos
366(1)
9.7.5 Songbird
366(1)
9.8 Selecting
366(2)
9.8.1 A better cave
366(1)
9.8.2 Expanded learning modes
367(1)
9.8.3 Systematizing
367(1)
9.8.4 Study
368(1)
9.9 Backing into your future - lifelong vocal work
368(3)
Summary
371(2)
Index 373
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, co-author of: Movement: Onstage and Off with Barbara Sellers-Young, Theatre in Your Life and Life Themes (both with Annie McGregor), and A Voice for the Theatre with Harry Hill. 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 Head of the Division for Acting, Arts Administration, Dance, Musical Theatre, Opera and Theatre Design & Production at the University of Cincinnatis College-Conservatory of Music, specializing in theatre voice and speech with particular interest in voice and emotion. He is co-author of Acting in Musical Theatre, 2nd ed. (with Joe Deer, Routledge, 2016), a columnist for Dramatics Magazine and Teaching Theatre, and founding editor of The Voice and Speech Review.