"Deep Voice" is coming to The Acting Class

Just back from my trip to the States, I managed to sleep from 8 pm till 3.30 am, so here I am…

And I am inspired!  So much rich inspiration at the VASTA Conference in New York, catching up with the work of Kristen Linklater, Catherine Fitzmaurice and Patsy Rodenburg,(in workshops) and Arthur Lessac (4 weeks short of his 100th birthday) gave a totally wonderful, political and joyous Keynote speech. He actually danced down the aisle to receive his Lifetime Honorary Member plaque!

I collected my copy of the latest Voice and Speech Review, dedicated to “The Moving Voice”, and an article by Marya Lowry has reminded me just how far our voices will take us, inwards and outwardly, if we allow them the space and size of our imaginations. So –

Not only will be working on our Archetypal qualities, physical and vocal, but they will be HUGE. We will be playing with some of the lamentation work I did with Marya six years ago, Frankie Armstrong’s Voices of the Archetypes and the Roy Hart work I have done with many wonderful teachers and performers over the years.  There will be much laughter, and many adventurous explorations.

And in a day or two I will report on the performance of The Fall of June Bloom which I gave at the conference with my amazing co-actors, John Graham and Micha Espinosa.  Suffice it to say, for now, that it was very well received…

See you Sunday week!

June Bloom at VASTA

June Bloom at VASTA

Jerome (John Graham) and June (Flloyd Kennedy)Jerome (John Graham) and June (Flloyd Kennedy)
watching Shakespeare in the Parking Lot

watching Shakespeare in the Parking Lot

'How Plays Work'

David Edgar, the English playwright (http://www.doollee.com/PlaywrightsE/edgar-david.html) has a new book out, “How Plays Work” published by Nick Hern.  You can read a section here http://tinyurl.com/lo7ygc in the form of an article in the Guardian newspaper.  You can also listen to Edgar being interviewed about the book, and about his attitude to teaching playwrighting here http://tinyurl.com/ltqeqt.

As actors, we can be too precious about what we need to know about how plays are written, how they are structured (or not), and why. I do think it is important to understand how plays work, as long as we recognise that the craft of writing a play involves acquiring certain skills and techniques while the craft of performing in a play requires a different set of skills and techniques.  That said, I believe that playwrights and actors – in fact, all those involved in creating performance – benefit from the ability to analyse a play in a variety of ways.

It's all decided!

Yes, I’ve finally decided what I want to be when I grow up – nah, only joking.

I have decided, though, that the Acting Class Term 3 will run for 6 (that’s SIX) sessions, beginning on August 23 and finishing on September 27. We will work on a different Archetype each week, that means six Archetypes, with a good 3 hours each week to get them deeply experienced in the body, and deeply sounded in the voice. Boy, will we have Some Fun!

Hope to see you there…  if I can ever get RapidWeaver to publish the revised information. So, here is the deal:

Term 3

Sunday 23 August to Sunday 27 September
9.00 am to 12.30 pm
Metro Arts
109 Edward St, Brisbane, Qld, Australia
Cost: AU$315 (6 sessions)
Earlybird AU$280 (if paid by 1 August, 2009)
(Limited Places)
This term the emphasis will be on discovering characters, exploring a wide variety of physical and vocal qualities by working with six different Archetypes over six sessions.
Contact Being in Voice to enquire or to book your place.


allows you to playfully tap into the power of your inner life, learning how to release creative impulses safely, wholeheartedly, joyfully, as you discover a huge range of physical and vocal possibilities, and apply them to any text with specificity. Creating characters then comes naturally as you unlock the key to the treasure chest of your physical and vocal imagination.


is a physical and vocal training discipline that combines body, mind and spirit with voice.

Using exercises derived from mask work, we explore a range of physical and vocal qualities in order to access the Archetypes within us all*. When applied to performance of text, Archetypes offer a means of comprehending with body, heart and mind, and consequently being able to take advantage of the intrinsic instability, or paradox which is at the core of life, which the actor strives to embody in performance and which audiences recognize as ‘truthful’, ‘real’ and ‘spontaneous’.


Archetypes (Arche – original; type – pattern) are unique yet universal ideas of ways of being human, recognizable in myths and folk tales from all cultures throughout the known world and from our dreams. The Archetype is not a particular, living (or even one-time living) human being, but rather a familiar, yet heightened idea of a human being, from which we may categorize each other, our friends and enemies, dream figures and iconographic ideals. Unlike stereotypes, which can be defined as fixed, unvarying forms, embodying oversimplified conceptions of ways of being, Archetypes retain a quality of being somehow ultimately indefinable, while being instantly recognizable. It is this paradox of the Archetype that provides the actor with the ability to ‘be’ the character s/he is playing without ever ‘not being’ him or her true self.

* This work is based on the teachings of John Wright (“The Masks of the Archetypes”) and Frankie Armstrong (“The Voices of the Archetypes”). I have taken it further to incorporate working with text.

Email me at fkennedy@being-in-voice.com to book your place.

Change is a-foot

If you have visited the website lately, you will have noticed that the timetable for next term’s Acting Class keeps changing.  Well, it’s about to change again, because I have now been advised by Metro Arts that they have a room for us right through till the end of November.  So, I’m now thinking about whether we will have a break (those who decide to join the Class for both terms) or whether we won’t. In either case, we’ll be having a lot of fun.

I’m off to Seattle next week, then to New York for the VASTA conference, where the main presenters will be Catherine Fitzmaurice, Kristen Linklater and Patsy Rodenburg, with Arthur Lessac giving the Keynote Speech. Can you imagine a richer feast of Voices on Voice?

I will be presenting a performance of The Fall of June Bloom: A Modern Invocation. We (my fellow presenters and I) have been rehearsing online, it’s quite an adventure. Imagine, if you will, being real and imagined in real and virtual space and time, in three different time zones. Up till now it has always been the case that where my colleagues are rehearsing in the afternoon and evening, I am already in tomorrow morning.  But when I get to Seattle, I will be an hour behind John, who is two hours behind Judi and Micha. Weird. It shouldn’t matter. But it does.