e-Book and 2 DVD package
Disc 1: The Active Centre - e-Book
Disc 2: Ultrasound demonstrations using selected exercises from The Active Centre
Disc 3: Profuge - adapted from Christopher Marlowe’s Dr Faustus, performed by Voice Theatre Lab, 2011
The exercises in The Active Centre encourages the actor to explore their unique response to dramatic contradiction by demonstrating a series of Pilates-based exercises with vocal integration. Lewis’ approach is to integrate voice and body in diverse ways. With contributions made by Joan Melton, PhD, ADVS, pioneer of singing techniques and voice/movement training for the actor, Marie-Louise Bird, PhD, Dip Ed, MAPA, physiotherapist, academic and Pilates instructor, and Sara Redman, mentor, coach, speaker and author, The Active Centre demonstrates the opposite tack to conventional voice practices to strengthen and sharpen the physic-vocal instrument.
'The Active Centre is not just one more book about voice. It is a guidebook for strengthening core relationships and for dealing with the inevitable conflict that is inherent in character development and in the actor’s ability to transform' (Joan Melton, PhD, ADVS).
Performing is not an easy feat. There are many things going on when performing: remembering dialogue, lyrics and moves while making them fresh performance after performance; being aware of the audience, but not making it obvious that you are aware of them; being aware of themselves in space and time, but making sure that the ‘ego’ is out of the way; and allowing that conscious mind to step aside during performance so that a more interesting unconscious presence emerges, but on the other hand, not loosing it all together, as it is necessary for monitoring the performance in order to gage its success (or failure). Take all that into account and then add a little bit of nerves.
The voice, whilst placed under a lot of external stress (performance pressures and of course, physical intensity), needs to sound as free as possible. This in itself is a contradiction. The exercises in this book explore some of these contradictions, particularly the notion that the voice must be clear and expressive even though the body is placed under a certain amount physical intensity.