Dramatic Arts Associate Professor Danielle Wilson’s interest in voice work began with her very first voice class when she began her theatre education. The actor quickly realized how her voice was tied to her identity, and how much power it could have.
Through her professional practice and creative research, Wilson now aims to broaden the definition of what voice work is and highlight its profound impact on theatre practice.
Wilson recently co-curated and co-edited a special edition of the Canadian Theatre Review (CTR) dedicated to voice work.
The special edition investigates voice work within a broad context expanding on the notion that voice work is solely a skills-based subject for performers.
“Many people may think that voice work is only about projecting your voice, enunciating, and performing accents. While those are fundamental elements, I wanted to look beyond the basics and explore what ‘voice work’ means in all its complexity. The work goes beyond what we sound like when we speak”, Wilson says.
There are eleven articles in the issue which delve into the ways that voice work intersects with other areas and disciplines such as social justice, cultural and gender identity, feminist philosophy, and performance practice.
Wilson found it fascinating, and at times challenging, to curate and edit an issue about a discipline so tied to sound and physical presence.
As part of the issue, Wilson interviewed three prominent voice coaches at the Stratford Festival — the only theatre company in Canada with a dedicated team of voice professionals — to illuminate what a voice coach does and help expand the common understanding of voice work.
Another contributor, Jane MacFarlane, explores how theatre-based vocal practice can help people support their gender identity. MacFarlane offers gender affirming voice classes through a transgender support organization in Calgary.
Peruvian-born scholar Nae Hanashiro Ávila discusses voice work and performance through a social justice lens and how it can provide a platform for women’s voices to be heard in the public sphere.
“At the root of voice work is self-expression by helping people embrace who they are. It’s not about developing a brand-new voice but about expanding and deepening your relationship with your voice and all that it can do”, Wilson says.
“One of my mentors, voice teacher Richard Armstrong, said, ‘If you work on your voice, you work on yourself’. That has always resonated with me.”
Wilson is also helping to organize and host the inaugural conference for the newly formed National Voice Association which will take place at the Marilyn I. Walker School of Fine and Performing Arts from June 8-9th.
The CTR special edition is now available on the Canadian Theatre Review website.