Voice and Speech Trainers Association, Inc.

SPRING 2003 VOLUME 17, NUMBER 1

VASTA -- a non-prot organization and focus group of ATHE (Association for Theatre in Higher Education)

IN THIS ISSUE:
Structured Breathing
Page 1
Stemwerk
Page 4
VASTA Conference
Page 5
Using the Journal in the
Classroom
Page 6
Vocal Coaching in Broadcasting
Page 6
VASTA at ATHE
Page 9
Voice Guild of Great Britain
Page 18
Members News
Page 11

What is it?

STRUCTURED BREATHING
By Catherine Fitzmaurice

Structured breathing and the focus line are terms I coined

in the early 70s as part of a vocal technique (Destructuring/Restructuring) which combines appropriate choice with spontaneity as well
as focused attention. Structuring partially uses techniques taught as
bel canto in singing, and brought into the eld of speaking voice in
the late nineteenth century by Elsie Fogerty at the Central School of
Speech and Drama in London, England, where I learned it and later
taught it. Structured breathing modies the bel canto pattern in three
main ways:
1. Destructuring exercises reveal structuring as the preferred pattern of a free torso when speakers are engaged in speaking
from their own imagination. Through destructuring, awareness develops of the chemical and emotional needs of the body and mind to
a.) breathe varying amounts at varying times, and b.) express desire
and purpose. Structuring freely incorporates such requirements.
2. Structuring differentiates between the active exhalation
of the transversus abdominis (which lifts the ribcage) and that of the
rectus abdominis, the obliques, and inner intercostals (which squeeze
the ribcage).
3. Structuring involves awareness of an imaged focus line,
which assists with harmonic range and clear intentionality.
How does one do it?
(continued on page3)

Page 3
VASTA
Volume 17, No. 1
participate in two back-to-back conferences for the (Stuctured Breathing, contd from page 1)
The inhalation in autonomic (ANS) silent
cost of one plane fare, and to network even further
breathing is dependent on a raised level of carwith the European community.
This will be the rst step in an even larger bon dioxide in the blood to stimulate the phrenic
conceptual plan to rotate our VASTA conferences nerve in the diaphragm. This causes an active
between foreign shores, and piggy-backing with diaphragmatic downward contraction, and a pasmore than just ATHE here in the States. Which sive widening of the ribcage by the resulting slight
brings us to another of the questions answered enlargement of the diaphragms circumference,
by many of you regarding other conferences you thus expanding lung tissue three-dimensionally.
attend, and other organizations to which you be- The abdomen is moved passively a little outwards
by the viscera.
long.
The structured inhalation in intentional
As VASTA plans for the future of its
members and for those we hope to inspire and breathing for speaking is activated by the Central
inuence, it behooves us to reach out to some addi- Nervous System (CNS) and is primarily stimulated
tional groups that can enrich our understanding and by ideas formed in the mind, so that the regular
skills, and can benet from our expertise. There rhythm of respiration is altered to express the
are several organizations that desire our presence complex rhythms of thought. There is generally a
beyond just a few of us. I am currently exploring quick intake in preparation for a sustained outow
these possibilities, and will soon propose a viable which vibrates the vocal folds. In this inhalation
conference rotation to the Board that may evolve the CNS effects the active contraction of the exterinto a ve-year cycle of sorts, with ATHE still be- nal intercostals, lifting and widening the ribcage,
which pulls the now mostly passive diaphragm
ing a major and majority player.
Additionally, VASTA is beginning to re- wider and down, thus expanding the lungs. The
structure its budget a bit. Now that our Journal is seventh through twelfth ribs, where the lungs are
becoming a stable bi-annual presence, we are think- largest, are the most exible, because they are not
ing more and more how VASTA can nancially attached in front to the sternum but only jointed
contribute to the youth of our profession, and to the at the spine, so this inhalation focuses effort at the
further training of our own. Establishing a VASTA center of this tuxedo cutaway-like portion, but the
Endowment has been a prominent goal of our 2005 entire ribcage may be somewhat involved. (When
Initiative established at our retreat back in 1998. the intercostals are familiar with this action, I
As a result, we are taking major steps towards use an image of separating the kidneys.) As in
these ends which include the already established silent breathing, the abdomen follows by being
Kennedy Center/American College Festival (KC/ moved outwards, passively only, and not very far,
ACTF) VASTA Award for Excellence in Theatre as a result of compression of the contents of the
Voice. Initiated last April, we are giving this $500 stomach from above by the diaphragm, and not as
merit award to an Irene Ryan nalist at the Kennedy a reaching for air. It may dip inward a little rst,
Center on an annual basis. I believe this link with in a whiplash effect.
The exhalation in autonomic (ANS) silent
KC/ACTF to be an important one. And the Kennedy Center seems to concur. In the future, once breathing is simply a release, with the diaphragm
the formal endowment has been established, we and ribcage returning to a rest position.
The structured exhalation for speakhope to fund more opportunities for our members
and our youth, both of whom are the future of our ing follows the quick inhalation almost instantly.
profession. The above, along with our edgling The CNS effects an active quick contraction (and
Mentoring Program, an on-line bibliography, and resulting inwards movement) of the transversus abmore opportunities for our members to present dominis only, which holds this contraction steady
their work for all to see and hear are major VASTA throughout vocalization. Because of the relaxation
priorities to be further explored, contemplated, and and rise of the diaphragm the abdominal wall will
(continued on page 9)
move further inwards during phonation, but the
(continued next page)

Page 4

VASTA

(Structured Breathing, contd. from page 3)

initial action moves inwards immediately as far as

it comfortably can. (I use the image of a trapdoor,
hinged at the end of the sternum, drawing inwards
and upwards to create a oor for the thorax the
same action as when one tries to appear skinny if
standing sideways and looking in a mirror.) One
can see at the same time, in a whiplash effect, a
passive continued outward movement of the ribs,
if the inner intercostals and/or other abdominal
muscles are not unnecessarily bracing them in place
or starting a contraction to squeeze the ribcage
inwards. The outer layer of the abdominal wall
(the rectus abdominis) and the middle layer (the
obliques) remain uncontracted, soft, and passive,
but of course, as an integral part of the abdominal
wall, they move inwards together with the innermost layer, the transversus. As the vocal folds
adduct and partially engage and vibrate, the external intercostals oat down slowly, in a delayed
release, not a collapse, and not a squeeze. But the
focus is on the action of the transverse.
The focus line then extends, as a mental
image only, from the dynamic action at the abdomen down and around the pelvis and up the spine
into the head and out of the third eye, so the
attention is not on oneself, nor on the vocal tract,
but on the point(s) of communication.
If speaking is to continue, one can restart the entire cycle immediately with another
quick inhalation, or there can be a pause after the
out-breath. In either case breathing for speaking
is always activated by the CNS as the result of
thoughts one wants to express, and its size and
rhythm depend on the thoughts.
Why do it?
The above is a mechanical description of
highly organic and uid motion, which (once the
specic actions have been identied and practiced
sufciently) is always available as a choice when
there is need. Need may arise from physical effort, as, for example, when speaking with high
volume or unusual pitches, or dancing or ghting;
or in charged emotional speaking; or from stage
fright; or when sustaining long thought patterns
and complex sentence structures; or when the tone
(continued on page 7)

Volume 17, No. 1

STEMWERK
By Candice Brown
In the course of our lives we develop a social voice
which disconnects itself from its natural richness
in sound, the primitive voice. This physical voice
can be used as a tool for people with speaking
problems, or in personal development to loosen
blocks and to discover your own personality. In
theater and singing the primitive voice allows one
to discover all the possibilities for self-expression.
Jean-Rene Toussaint
Jean-Ren Toussaint and Anne-Marie Blink
are partners at Stitching Rondom Stemwerk
(Foundation Surrounding Voice Work.) Their foundation is located in Rotterdam, The Netherlands.
Stemwerk is a protected name for the unique
voice work, developed by Jean-Rene Toussaint.
Toussaint is a French actor, director, theatre
and voice teacher. He has been developing his
voice work for the past 20 years, and has served as
founder and director of Stitching Rondom Stemwerk since 1988. He has collaborated with many
artists such as Jerzy Grotowski, Robert Wilson,
Annick Nozati, and companies such as Festival
dAvignon, Theatre de Radeau, Theatre de Feu,
The Living Theatre, Bread and Puppet Theatre and
the Roy Hart Theatre to name a few.
Anne-Marie Blink is a Dutch singer, performer, and teacher. She gives about twenty performances a year as a singer. One of her more recent
performances, Tangos, was based on Argentina
(Carlos Gardell and Astor Piazzolla). She has also
created performances and a recording based on the
work of Edith Piaf and is currently the conductor
of the female-choir Elles. Blink has been busy
with her work surrounding the typical strength of
women and voice since 1997.
Toussaint has traveled through parts of Asia
and India studying diverse ancient vocal practices
from Afghan Su to Mongolian, Tibetan and
Japanese vocal traditions.
The roots of his approach to are found in
his extensive work with deaf children. Through
(continued on next page)

VASTA

Page 7

POST-ATHE WORKSHOP
(Sponsored by ATME)
Inner Sources for
Out-Write Expression
Suzan Zeder & Jim Hancock
For over fteen years Jim Hancock, and Suzan
Zeder, have developed a unique mind/body approach

to accessing creative awareness and expression

for writers, actors, choreographers, directors, and
teachers. Combining Hancocks extensive experience as a teacher of movement in professional actor
training with Zeders work with playwrights, they
have synthesized an innovative psycho-physical
approach to help artists get in touch with their own
inner resources for creative expression. They have
shared this Inner Source work with students and
professionals in summer institutes, teaching residencies, workshops, and master classes throughout
the United States.
In this post-conference, one-day workshop,
Zeder and Hancock will provide an introduction
to the Inner Source work though specic activities
and exercises designed to involve participants as
thinking, feeling, sensing, moving beings. To do
this they will work with bodies in motion, explore
memory, stimulate sensory awareness, and challenge participants to move beyond the surface of
their everyday perceptions into the deeper places
within themselves where truly original thought and
expression are possible. Writing exercises will be
explored as process rather than product. Self-use
approaches to movement will be used to free the
body and mind of inhibitions and tensions and to
allow for greater ease and economy of motion. In
a safe and intimate environment, participants will
learn ways to weave the threads of their own minds
and memories into new congurations. The day
will address the possibility for more open channels
of self awareness and will encourage participants
to nd the condence, courage and joy to express
themselves creatively. All participants should wear
clothes for movement and expect to MOVE!
The workshop will take place from noon
(continued on page 17)

Volume 17, No. 1

(Structured Breathing, contd. from page 4)

of the voice may be intentionally altered as a result of

physical tension for character work, for instance; or
the body may have chronic poor breathing habits. Or,
nally, the simple act of standing upright and speaking
can in some people cause so much tension in the back,
the shoulders, the chest, the neck, and/or the abdominal
wall that the breathing is compromised either held,
hindered, or helped in unhelpful ways such as gasping
or squeezing.
Structured breathing in constant interplay
with varying breath patterns arising from any such
situations is also useful when no extraordinary
demands are placed on the voice, as in speaking with
a microphone, or in small spaces, or quietly, or on the
telephone. The inhalation with the lower third of the external intercostals is simply the fastest and most efcient
way of taking in the appropriate amount of air needed
for vocalization, because it directly expands the lungs
where they are largest. The exhalation when speaking,
using the described abdominal action, engages the
speaker at the center and expresses authenticity, with
directed focus.
All of these actions are economical, become
automatic as a response to choice or need, and can
happily work together with individual breathing habits
and vocal requirements of all kinds.
(See my article Breathing is Meaning available at
<www.tzmauricevoice.com>)
(NB: my teachers, including Cicely Berry, used to refer
to the upper part of the abdominal wall as the diaphragm, and
the diaphragm proper as the internal diaphragm. The way they
described the bel canto version of this abdominal action as pulling
in the diaphragm to exhale would otherwise be impossible
to accomplish.)

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