Giving Voice Festival 2015

GIVING VOICE 13 April 10-18th 2015

2015 marks the 25 years since the conception of Giving Voice and CPR is working in collaboration with the Academy of Music and Theatre Arts, Falmouth University to present this special edition of the festival.

Listening mind, moving voice

This 25th anniversary edition of Giving Voice will focus on the voice in performance that is led by the listening ear and is on the move. It will bring together practitioners and scholars who work at the border between voice and movement: oral and aural; freedom and control; spoken and sung; tradition and innovation; emotion and thought; the brain and the breath; the ephemeral and the material. It is an opportunity to reflect on the past while listening for the future.

In 1990 CPR stood at the frontier of voice practice when, building on an initial ten years of research and exploratory meetings begun in 1980 under the heading Project Voice, it organized its first full-scale international gathering of voice teachers and researchers, actors and singers, meeting to share information about traditions, training and transferring skills to performance. Twenty-five years on, we stand at the frontier of new scientific understandings of the relationship of the human voice to listening, seeing and moving, emotion and memory: our project will reflect on what has changed and what this means for the future of the voice in performance, and training.

Through the careful curation of a week-long series of selected workshops, performances, talks and discussions CPR invites you to reflect on your own practice and interests within the theme of Listening Mind, Moving Voice and to engage with such questions as:

  • What do we know, understand, recognise and feel about the voice in performance that we did not in 1990?
  • What does the future hold, given the advances in neuro-scientific understanding and neuro-psychology: how is this changing voice training and practice?
  • How can traditional techniques resist the threat of extinction and enjoy renaissance, transformation and development?
  • From Odin to Zar, Robert Wilson to Christoph Marthaler: what demands do new performance works, which incorporate the singing voice and harmony as a key element, make on the actor, the rehearsal process and the training?
  • What effect does the technology that allows the ability to amplify, extend or even create ‘voices’ have on our practice and performances?
  • Will the current developing interest in the voice challenge the dominance of the visual and is this reflected in research areas?
  • How can young people be encouraged to inhabit and enjoy their voices in times when the text and screen dominate our lives?
  • Can being part of a choir improve your health?
  • How important is the creative potential of the voice in the politics of participation
  • How can we encourage the value of listening in the midst of a noisy world?