Kristin Lynn Mellian

Across the US and abroad, voice training for the actor is a mandatory study. The actor needs to learn proper breathing, articulation, projection, and at times, develop the tools for character dialects and regional accents. However, this training is traditionally considered secondary to the primary focus of acting. Nonetheless, during my studies in the MFA in Television, Film, Theatre/Performance Option at CSULA, through my initial vocal training courses (TVFT 543ABC Voice For Performers I, II, and III), coupled with my prior training and experience in singing (bel canto and musical theatre), I have become intrigued by the power of the human voice and immensity of information, tools and growth that can emerge from an in-depth study/training of the voice and its application and relationship to the tools, and process, of acting. The voice is not a separate entity of the actor. The voice is the physical, emotional and psychological articulation of the moment, and likewise, when all parts of the actor come together through breath, sound and movement, the impact on the audience is palpable. One of the latest approaches to emerge from prior techniques and methods for actors is the Fitzmaurice Voicework® Technique. The goal of this project report is to document and inspect the process of immersing myself in an in-depth training of Fitzmaurice Voicework® and apply this technique, in conjunction with newly developed acting tools, to a final performance. My thesis report will include the documentation of this investigation and a reflection on the results of my research, process and applications.