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Does anyone have suggestions for how I can help a student with her projection? I spend more time with her on this than anything else in the production we are doing now. I'm out of ways to describe and encourage proper vocal technique.  We stop, work on it, I get one or two good lines from her, and then back to normal conversational tones.  Anyone have ideas for new techniques or exercises I can try with her; maybe something different will click better for her.

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Josh Belk
Director of Theatre
Palmer Ridge High School
Monument, CO
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Josh, 
years ago I started using an exercise called 1-10, 10-1. It is a volume exercise. 

First, instruct students in a successful stage whisper. This will be volume 1. Then describe that everyday speaking voices are between 4 and 6. The final portion is working with their breathing to get them to work up to a successful full projection, a 10. In order to explain the process by which one uses the diaphragm, I equate it to a speaker. More power = more volume. But, if you try to get the speaker to work to hard it blows, like vocal chords that get strained from not using proper projection through controlling breathing.


In a circle, the cast/crew progresses from 1 (a stage whisper) to 10 (full projection). Then from 10 back to 1 saying the numbers 1 through 10 with each number being pronounced with the corresponding volume. 

This allows you and your students to communicate assigned numbers to their projection. I.e., " That was good, but it was only a '5' try it now at an '8'." 

I use use it as a standard warm up in class and before shows/rehearsals. Best of luck, if you use it, let me know how it works out!

Yours in Art,

Jason

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Jason Robert LeClair, MA
Artist/Arts Educator
Director, Thespian Troupe 7444
Beacon Charter High School for the Arts
Woonsocket, RI
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I have them stand on stage and place a student standing in the first row, one mid way and one in the last row of the house.  The student onstage recites their lines or says the lyrics of a song... whatever - they just need to speak continuously. They need to ficus on speaking to the first student.  When the student in the front row can hear clearly they sit down, the speaker then must step their voice up so the student in the middle of the house can hear them.  When they can hear them clearly they sit down, the speaker then must step their voice up so the student in the rear can hear clearly.  They only sit down when they can hear them clearly and it is sustained.   

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Leah Bramley
Doha
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Original Message:
Sent: 03-05-2017 08:30
From: Jason LeClair
Subject: Vocal projection

Josh, 
years ago I started using an exercise called 1-10, 10-1. It is a volume exercise. 

First, instruct students in a successful stage whisper. This will be volume 1. Then describe that everyday speaking voices are between 4 and 6. The final portion is working with their breathing to get them to work up to a successful full projection, a 10. In order to explain the process by which one uses the diaphragm, I equate it to a speaker. More power = more volume. But, if you try to get the speaker to work to hard it blows, like vocal chords that get strained from not using proper projection through controlling breathing.


In a circle, the cast/crew progresses from 1 (a stage whisper) to 10 (full projection). Then from 10 back to 1 saying the numbers 1 through 10 with each number being pronounced with the corresponding volume. 

This allows you and your students to communicate assigned numbers to their projection. I.e., " That was good, but it was only a '5' try it now at an '8'." 

I use use it as a standard warm up in class and before shows/rehearsals. Best of luck, if you use it, let me know how it works out!

Yours in Art,

Jason

------------------------------
Jason Robert LeClair, MA
Artist/Arts Educator
Director, Thespian Troupe 7444
Beacon Charter High School for the Arts
Woonsocket, RI
------------------------------

For students with projection issues, I use a simple exercise to help improve projection, pacing and articulation.  

For each word that they speak, I require the actor to point towards the audience with alternating arms.  This forces them to slow down and separate their words. As they do it I require full projection of each word.  It makes them feel silly, but fixes the problem.  Once they are in the habit of slowing down, projecting and articulating, I let them stop.  If they go back to their old habits a minute later, I just call them on it and have them begin the pointing again and proper technique is established.  Hope this helps!

Good Luck!

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John Whapham
Cincinnati OH
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You may also try an app called Sound Meter. I encourage my students to download it (it's free) and practice at home. I use it in conjunction with the number system (I am constantly telling my students, "Give me an 8!" We gradually move farther and farther away from the device while speaking out to achieve an 80 decibel level. 

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Sheryl Davis
Secondary Language Arts/Drama Director
Sanford NC
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Original Message:
Sent: 03-05-2017 16:55
From: John Whapham
Subject: Vocal projection

For students with projection issues, I use a simple exercise to help improve projection, pacing and articulation.  

For each word that they speak, I require the actor to point towards the audience with alternating arms.  This forces them to slow down and separate their words. As they do it I require full projection of each word.  It makes them feel silly, but fixes the problem.  Once they are in the habit of slowing down, projecting and articulating, I let them stop.  If they go back to their old habits a minute later, I just call them on it and have them begin the pointing again and proper technique is established.  Hope this helps!

Good Luck!

------------------------------
John Whapham
Cincinnati OH
------------------------------

I often find for many of my students who find themselves in this sort of pattern that objective, beat and tactic work helps a lot.  Finding the energy and motive in the line makes a difference in tone, rate and volume.  Asking simple questions in script analysis-- things like who i am talking to?  What do I want? etc -- that seems to help as well.

Some things that we do in rehearsal that also seems to help my young performers unlock their voices is to 1) rehearse in different spaces-- outside, the cafeteria, scene shop, hallway, outside.  They all have different acoustic properties and ask my student actors to work to accommodate those environments.  2) rehearse a scene just for fun in a western accent or in a different genre 3) set a different character in each scene as the lead voice-- everyone else matches their tone and energy 4) conduct a disaster rehearsal, where the cast has to move everything to a new space because of an improvised rain storm or other event.  5) play around with the line, emphasizing different words or actions.

I had a student a few years ago who struggled with "what" by overemphasizing the "wh" blend.  It just took some work, and I think, it is fun to try different sorts of rehearsal and performance techniques.  Keep on keeping on and you'll find the key that unlocks the discovery for her.


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Michael Johnson
Trinity NC
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So many good suggestions!

One thing I don't believe anyone has mentioned is that the quiet actor may live in a home where speaking loudly is viewed negatively, actively punished, or even the excuse for physical abuse.  When I have a student for whom nothing else seems to work, I speak privately with him or her to talk about what sort of speaking volume is customary in the home, then ask the actor to spend some time giving themselves permission to speak loudly on stage.  Then I ask the student to make the character objectives stronger, have him speak the lines forcefully to a wall to get used to the sound of his own loud voice, etc.

Learning to speak loudly can be tremendously liberating for some students.  It is one of the miracles our particular art form fosters.



 

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C. J. Breland
Asheville High School
Asheville NC
------------------------------

Original Message:
Sent: 03-05-2017 19:40
From: Michael Johnson
Subject: Vocal projection

I often find for many of my students who find themselves in this sort of pattern that objective, beat and tactic work helps a lot.  Finding the energy and motive in the line makes a difference in tone, rate and volume.  Asking simple questions in script analysis-- things like who i am talking to?  What do I want? etc -- that seems to help as well.

Some things that we do in rehearsal that also seems to help my young performers unlock their voices is to 1) rehearse in different spaces-- outside, the cafeteria, scene shop, hallway, outside.  They all have different acoustic properties and ask my student actors to work to accommodate those environments.  2) rehearse a scene just for fun in a western accent or in a different genre 3) set a different character in each scene as the lead voice-- everyone else matches their tone and energy 4) conduct a disaster rehearsal, where the cast has to move everything to a new space because of an improvised rain storm or other event.  5) play around with the line, emphasizing different words or actions.

I had a student a few years ago who struggled with "what" by overemphasizing the "wh" blend.  It just took some work, and I think, it is fun to try different sorts of rehearsal and performance techniques.  Keep on keeping on and you'll find the key that unlocks the discovery for her.


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Michael Johnson
Trinity NC
------------------------------

It's interesting that you mention that this particular student is successful in exercises when you work directly with them.  It sounds like on some level the projection needs to become a habit.  It's so hard as growing actors to remember everything: remember my line, cheat out, grab this prop, use this tactic, and project.  Sometimes if they are so busy focusing on recalling their lines or another aspect of their acting it blocks out that reminder of projection. What worked well for us in this situation was to have someone, even you as director, sit towards the back of the house during rehearsal.  If a line was said that was hard to hear or understand, we rang a hotel desk bell and whatever line was said had to be immediately repeated without breaking character (think similar to the improv game "ding").  This helped it become a habit, and you can even make it a competition to see who gets the fewest dings if you think that will help, too. 

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Jessica Harms
Theatre Director
Acton MA
------------------------------

Original Message:
Sent: 03-06-2017 08:51
From: C. J. Breland
Subject: Vocal projection

So many good suggestions!

One thing I don't believe anyone has mentioned is that the quiet actor may live in a home where speaking loudly is viewed negatively, actively punished, or even the excuse for physical abuse.  When I have a student for whom nothing else seems to work, I speak privately with him or her to talk about what sort of speaking volume is customary in the home, then ask the actor to spend some time giving themselves permission to speak loudly on stage.  Then I ask the student to make the character objectives stronger, have him speak the lines forcefully to a wall to get used to the sound of his own loud voice, etc.

Learning to speak loudly can be tremendously liberating for some students.  It is one of the miracles our particular art form fosters.



 

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C. J. Breland
Asheville High School
Asheville NC
------------------------------

I put music on the speaker on low and gradually turn it up. I tell them that I should still be able to hear them. It also forces them to be louder just to hear each other. Eventually it becomes habit.

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Heather Cribbs
Theatre Director
New Smyrna Beach High School
New Smyrna Beach, FL
------------------------------

Original Message:
Sent: 03-06-2017 09:25
From: Jessica Harms
Subject: Vocal projection

It's interesting that you mention that this particular student is successful in exercises when you work directly with them.  It sounds like on some level the projection needs to become a habit.  It's so hard as growing actors to remember everything: remember my line, cheat out, grab this prop, use this tactic, and project.  Sometimes if they are so busy focusing on recalling their lines or another aspect of their acting it blocks out that reminder of projection. What worked well for us in this situation was to have someone, even you as director, sit towards the back of the house during rehearsal.  If a line was said that was hard to hear or understand, we rang a hotel desk bell and whatever line was said had to be immediately repeated without breaking character (think similar to the improv game "ding").  This helped it become a habit, and you can even make it a competition to see who gets the fewest dings if you think that will help, too. 

------------------------------
Jessica Harms
Theatre Director
Acton MA
------------------------------


Original Message:
Sent: 03-06-2017 08:51
From: C. J. Breland
Subject: Vocal projection

So many good suggestions!

One thing I don't believe anyone has mentioned is that the quiet actor may live in a home where speaking loudly is viewed negatively, actively punished, or even the excuse for physical abuse.  When I have a student for whom nothing else seems to work, I speak privately with him or her to talk about what sort of speaking volume is customary in the home, then ask the actor to spend some time giving themselves permission to speak loudly on stage.  Then I ask the student to make the character objectives stronger, have him speak the lines forcefully to a wall to get used to the sound of his own loud voice, etc.

Learning to speak loudly can be tremendously liberating for some students.  It is one of the miracles our particular art form fosters.



 

------------------------------
C. J. Breland
Asheville High School
Asheville NC
------------------------------

Some great suggestions here. If all else fails, "SING OUT, LOUISE!!!"

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Garry Tiller
Theatre Arts Teaching Artist
Hawaii Independent Schools
Honolulu, HI
------------------------------

Original Message:
Sent: 03-06-2017 11:54
From: Heather Cribbs
Subject: Vocal projection

I put music on the speaker on low and gradually turn it up. I tell them that I should still be able to hear them. It also forces them to be louder just to hear each other. Eventually it becomes habit.

------------------------------
Heather Cribbs
Theatre Director
New Smyrna Beach High School
New Smyrna Beach, FL
------------------------------


Original Message:
Sent: 03-06-2017 09:25
From: Jessica Harms
Subject: Vocal projection

It's interesting that you mention that this particular student is successful in exercises when you work directly with them.  It sounds like on some level the projection needs to become a habit.  It's so hard as growing actors to remember everything: remember my line, cheat out, grab this prop, use this tactic, and project.  Sometimes if they are so busy focusing on recalling their lines or another aspect of their acting it blocks out that reminder of projection. What worked well for us in this situation was to have someone, even you as director, sit towards the back of the house during rehearsal.  If a line was said that was hard to hear or understand, we rang a hotel desk bell and whatever line was said had to be immediately repeated without breaking character (think similar to the improv game "ding").  This helped it become a habit, and you can even make it a competition to see who gets the fewest dings if you think that will help, too. 

------------------------------
Jessica Harms
Theatre Director
Acton MA
------------------------------

I have an exercise that I teach with Hamlet's "Oh that this too, too solid flesh..." speech (the one that ends with "To post with such dexterity to incestuous sheets...") where the actors go through the speech with three important variations: "Rattling the lights" (another way of thinking about "projecting"), "Making ugly faces" (i.e. "over-articulating the consonants") and "spitting" (letting go of all resistance and restraint). By the end, the actors often feel a wash of emotion, just through these three outward-focused exercises... at which point I reveal to them that they have been "projecting," "over-articulating" and "releasing their inhibitions."

(I describe this at some length in the book "Acting at the Speed of Life; Conquering Theatrical Style.")

Tim 

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Tim Mooney
www.timmooneyrep.com
www.moliere-in-english.com
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