More workshops to come!

The Expressive Voice Workshop went down a treat last weekend. 8 participants from a great range of work and life experience joined in to fill the back room at 81 Renshaw with joyously wacky soundings, finding vibratory freedom in the Hungry Giant’s castle. Some feedback: “Flloyd’s Expressive Voice Workshops offer an informative and professional blend of theory and practice that will benefit performers and public speakers alike. I definitely benefited from attending this workshop” “I took away a tremendous  amount from your timely workshop (coming as it did, 4 days before my stand up set which was last night). Time went really quickly. My watch is unreliable and I didn’t realise the time had hurtled around to 3.45. I enjoyed …

The Mental Health for Actors Debate

Here’s a thought… When it comes to Warmup up and Warming down: Is it possible that a consistent training program that allows the performer to warm up to a state of readiness that is heightened but not hyper, could eventually allow that state to become habitual? Not to be habitually heightened, but to the extent that the performer is able to control and manage the degree of heightened-ness, and hence at the end of a performance they could manage the necessary readjustment – if any – to an acceptable ‘norm’. In other words, the performer is totally in control of their own inner state at all times, on stage and off. The training allows them to acquire this skill, the ability …

Voice of the Clown

Yes, clowns have voices and if you are a clown, and would like to explore some interesting ways to care for your voice, and to grow its potential, this is the workshop for you. But you don’t have to be a clown to take advantage of some of their training techniques. I’ve been training with master clown, Ira Seidenstein (Quantum Clown: Slapstick to Shakespeare, Cirque du Soleil, Slava Snow Show etc) for around 14 years now, and I’ve been experimenting lately with using some of his exercises to help acting students to use their voices more creatively, bringing the joy of spontaneity into the voice class. So I’m offering a short (3-hour) taster workshop in Liverpool to a small group …

Choreographing the Dance of the Tongue

Picture the scene. You’re at the theatre, in the best seats in the house in the middle of the front row of the grand circle. The curtain opens out from the centre, to reveal a cavernous, enclosed space in which a corps of dancers moves in glorious synchronization. The stage, walls and backdrop ebb and flow to the rhythm of the dancers, expanding as they spread themselves out, rebounding as they lift and flick their bodies against the walls or the ceiling. The dancers move as one body, changing shape and transforming the space in which they perform. The dancers leave the space, the light changes, and suddenly a group of acrobatic tumblers bounce in, tying themselves in knots, forming …

Interview with Cicely Berry

A wonderful interview, Jane Boston (Royal Central School of Speech and Drama) talks with Cicely Berry, legendary voice coach and human being. What do you do when you have different directors with different idealogical approaches to the work, for example Trevor Nunn, who looked for “depth of feeling within characters”, or Terry Hands who focussed on the story-telling aspect, calling for “faster and louder”, while John Bardon looked to “honouring the structure of the verse” “I had to find different strategies to help actors to find their own response, and yet honour what the director wanted” And so much more…Enjoy!