The Unique Qualities of an Actor - The Voice

Perhaps the most important tool in your toolbox is your voice. Nothing effects an audience to the extent of the actor’s voice. You can thrill or irritate, frighten them or make them fall in love with you. The voice is powerful in our business, so much so that many actors are able to make an very fine living as “voice over artists”.

You will want a voice that is strong, flexible and versatile. Strong, because shoots, rehearsals and performances can be very rough and long, and hard on a voice. Many actors loose their voice by opening night. Their instrument can’t handle the work or the stress, or both. Flexible, so that as an actor, you can reach your entire vocal “range”…your upper, higher voice, and your lower voice. Each part of your range will serve you for a different type of role. A bad guy might have a low, throaty voice, or a high, reedy, scary voice. A femme fatal might be breathy and low in her range. Versatile, so you can play many kinds of roles.

You should study singing if possible. Again, this is a discipline an actor can really benefit by. One of the advantages of working with a GOOD voice teacher is that they will show you how to use your diaphragm to breathe, and not just your lungs. This is critical to an actor who wants to be heard by the audience past the third row, or who needs to carry those loooooooooooooooooong Shakespearian lines without a breath, so as not to break up the thought Shakespeare (or any writer) is trying to express, with a disruptive breath. And of course, there are always musicals to audition for.

I’ve also taught voice for over 30 years, so I know better than to try and teach you voice via a book. This really can’t be done. Find yourself a good teacher. If their technique hurts your voice for any longer than the first three weeks, walk away and find another teacher. You should see regular progress in your control over your voice, and its strength and range.
_______________

EXERCISE: Use a tape recorder, ideally a decent one. Get a novel or newspaper to read from. Start reading, recording. Speak into it using your normal voice for a few minutes. Then slowly work your voice into your upper range, as high as you can work it, stretching upwards gradually into Mickey Mouse range. Then work your way down to normal. Keep slowly working down until you’re as close to Isaac Hayes/Barry White range as possible. Then work your way back up to normal. Repeat this over a three day period, once each day, and keep your recordings so you can compare. Work to increase your vocal range. Keep this simple! Stop if it in any way hurts your voice!!!
__________________

As to accents. The more accents you know and can expertly execute, the more castable you are. If you can do a good Texas accent, you can put yourself up for a Texas cowboy. If you’re from New York and your Texas accents stinks, you’re probably not going to get the cowboy role. The more accents you can master the better. This can be done on the cheap, and on your own time. I’m sure you watch movies. Stop just watching and start studying. When you find a film where someone is doing a particular accent very well, stop the DVD and repeat their dialogue. Imitate the accent. Train your ear to hear it. Train your instrument to create a comparable sound. You can do the same sort of thing with acquaintances, but they may not want to hang around while you imitate them. Film is safer, you’re less likely to get slapped.

There are certain accents that seem to come up more often than others in English language pieces. Here’s a brief list you might want to try to master; New York (Bronx); Southern; Texas; Upper Class British; Cockney; Los Angeles (Valley Girl); Indian (from India); Inner City Latino; Urban Black. Needless to say, there are hundreds more.

Not everyone is good at accents, but anyone can improve through hard work and practice.
_______________

EXERCISE: If you’re not from New York, get the movie My Cousin Vinnie. Practice imitating the accents used by Joe Pesci and Marisa Tomei. If you are from New York, get a film like Fried Green Tomatoes, Miss Firecracker or Driving Miss Daisy. Work for 2-3 hours, imitating any line you hear with the accent you’re trying to master. Don’t stop until you’ve accomplished it. If you already have both these accents try Cockney and Upper Brit, use My Fair Lady. If you have all four of these accents, go for broke and try a Scottish accent, or Australian, they’re very hard!
__________________

One other note on voices and bodies before we move on…drugs are very bad news for a body. An actor MUST have control over his faculties, and drugs rob away control. Drinking swells the vocal chords for at least 24 hours, stealing away the upper register. Smoking is a vocal disaster. You’re going to make a living using your body and voice, so don’t abuse them and they will be there when you need them.

Tonight (Weds) is my workshop. I'll write about what we learned in my next blog, on Thursday.