Voice modifications of stage actors: Acoustic analyses

Abstract

Many s tage ac tors have voices that seem to r a voice quality that enables them to project ef fec t ively o v e r c rowd noise , s cene ry shifting, sounds of ba t t le , b a c k g r o u n d mus ic , and o the r acoustic competi t ion. Does this vocal quality have any acoustic similarities to the r ing in the opera singer's voice? Several studies (1-5) have investigated the acoust ic c o m p o n e n t s in trained opera singers' voices that enable them to be heard clearly over a full orchestra. No similar irtvestigations appear to have dealt specif ical ly with the acoust ic characteristics of trained stage actors ' vocal production. A pilot s tudy was conducted in which acoustic analyses we re made of a c t o r s ' vo ices . Spec t ra l compar i sons were m a d e be t ween two types of voice production: the c a l l technique as taught by Lessac (6) and a mode of phonat ion more like conversational speech. Any differences found between stage ac tors ' normal conversat ional voice and their vocal product ion for stage might be helpful in the teaching of voice product ion to stage actors more effectively. Lessac is a well-known teacher of voice, speech, and movemen t for actors. His technique of voice and speech training is best described in his text, The Use and Training of the Human Voice (6), a text p r e s e n t l y being used in a n u m b e r of ac to r training programs in this country. Ca l l is one of the techniques which the Lessac system uses to deve lop an easier, stronger, and more flexible stage voice. According to Lessac (6, pp. 110, 111, 114):