Keeping Busy

You may notice there are some changes here on the website.  That’s because I’m keeping myself busy with house-keeping admin stuff while I wait for my thesis dissertation to come back from my supervisors – hopefully for the last time.

Let me know if you have any suggestions for improving the design here, I’m always open to suggestion.

The image at the side is of MFA students at Arizona State Uni taking part in the Archetypes Workshop last year.  I wish I knew how to make the caption visible!

Early Morning Voice Warmup

Oxley at 6.30 am

Such a beautiful day, the autumn air here in Oxley on the south side of Brisbane is soft and cool.  The sky is totally blue from every angle, and the birds are taking turns at singing its praises.

So I thought, why not join in?  Here’s a podcast I created to share with you. I am doing my early morning vocal warmup, just to get some blood flowing to the larynx, warming up the vocal folds so that I can give them a bit of a gentle stretch.  It’s a fun way to bring your voice from that scratchy, croaking sound it tends to have first thing in the morning to a more full-bodied sound that you can take into your professional day.


Have a listen. Sigh, hum, brrr and aaahhh along with me (and the birds, planes and trains). Let me know how you find it. Too easy?  There’ll be more sustaining (and demanding) stuff to follow.

Doing it anyway, in the face of fear

Just watched a very disturbing Ted Talk, in which the speaker proposes that if we all lose our fear of failure we can change the world – and that’s all you have to do. She’s speaking from the position of working with one of the world’s best funded Defence research institutions, where the failure concerned doesn’t seem to have any personal consequences other than the odd night of disturbed sleep.

As for the rest of us, especially performers, fear of failure generally involves more than that. First and foremost there is the fear of looking like an idiot in front of an audience. There’s the financial cost, the time and energy lost as well as the disappointment that can be caused to friends, colleagues and loved ones when a project fails.

So let’s look at what ‘failure’ means, in the artistic sense. As a general rule, it means that the aim of the project was not realised. Either it was not well enough executed, or well enough promoted, or well enough realised in any way, shape or form to be well received, or well remunerated, or both. Maybe the originating idea was doomed from the start, being not well enough developed.

How can you tell, before you start, whether an idea is well enough developed?  The simple answer is, you can’t. So here I agree with Ms Dugan, that fear of failure is not a good enough reason to not go ahead with developing an idea. However, let us look at the underlying assumptions that she fails to mention. What factors are essential to have in place, to justify attempting some “impossible” task or dream:

1 the necessary skills and training to be able to understand why you have failed

2 the necessary resources to at least take the project far enough to be able to learn something useful from the attempt


And of course, it is No 3 that she is wanting to inspire in her listeners.

No disagreement there.  I speak as someone who has lived most of my life with fear of failure.  Then one day I found myself performing, just for a tiny fraction of a second, with TOTAL COMMITMENT. It was shocking, exhilarating and revelatory.  It took me another twenty years to learn how to have those moments with something approaching consistency, and I ain’t there yet!

So I agree, it is not failure that is the problem. As Ms Dugan proposes, fear of failure is the problem.  For a performer, holding back, just a tiny little bit, will almost inevitably ensure failure. And by failure, I don’t mean that you won’t get work, that you won’t create interesting work. I mean you won’t be working to your full potential, and you will miss out on the satisfaction and the thrill that goes along with it, and you’ll be short-changing your audiences.

David Mamet points out in his little book True and False : Heresy and Common Sense for the Actor. (1st ed. New York: Pantheon Books, 1997) that what audiences really respond to is the courage of the performer.  That doesn’t mean we should show them how brave we are. It is not our job to make them admire us.  Our job, as creative artists, is to share our innermost selves, in the act of communicating whatever text or action the production requires, with total honesty, and to allow the audience to make up their own minds about what we are sharing. If they don’t like it, or respond to it, that’s their prerogative.  Performing with skill, imagination, intelligence and TOTAL COMMITMENT is our job. When we succeed in doing that, there is no failure.

So fear of failure is pretty much a given in our line of work.  Doing it anyway is our job.


The Ending is just the Beginning

My thanks to The Living End for the headline above. I adore their latest cd, it keeps me bopping in the car (when I’m not listening to podcasts from the BBC World Service).

So, The Voice Class 2012 Term 1 has concluded.  This was quite a stunningly eclectic class, with students from very different walks of life, and different directions for their vocal needs.  Live theatre, voice overs, seminar presentation and choral singing – our common ground the unique and wonderful voice of each individual.

Preparation are now in hand for Term 2, which begins on April 16th.  As I explained to the students last night, we will return to basic principles, the foundational work for developing and caring for our voices.  Every time I do this, I learn something new about my voice, and my practice as a creative artist. Fab!

We will also take the time to explore our voices in the body of language. Phonemes, vowels, consonants, how they construct themselves into words, how we shape our unique voices into those words, and how to stay true to ourselves as our voices transform our thoughts into those sounds with clarity and free expression.

I can’t wait.  More details on the website, or just fill in the form here to express your interest, and get more information.

It’s hard work, so it had better be fun

The Voice Class has just passed the half-way mark.  We’ve established the basic principles of good posture, self-awareness as against self-consciousness, the physics of sound and the relationship between breath and voice.  We’ve learned the mini-vocal warmup, and begun the process of expanding it into the vocal maintenance program.

A week ago, I introduced the students to my full vocal warmup, the one that was originally developed in Scotland by the members of the Golden Age Theatre ensemble. And we really were an ensemble, sharing ideas, energies, skills, experience to make theatre together.  The warm up began as a purely physical warmup, but I have developed it over the years to be a total, all-in-one program that serves as training as well as a device to bring into focus the body, voice, brain, emotions, imagination and anything else that contributes to the YOU-ness of you.

We fudged some of the more challenging physical aspects of the warmup last week, but last night it was the full whammy. Hard work, but also fun. The fun part kicks in when you actually know what you are doing – as with anything – and you can begin to play with the different elements while respecting the integrity of the structure.

So today, I’m just a little bit sore. But my heart is full.