Word Tasting: towards a sensorial experience of language and thought in the actor's work

Starting from the metaphorical conception, the word is nutrient, we propose a series of four exercises as a word tasting to investigate the sensory aspects of language and thought in the actor's work. Through an exploration of the proximity between speaking and eating, the exercises seek to stimulate awareness of the way in which words reverberate through the entire body. The proposal aims to reduce the mechanical control of organic processes and the direct manipulation of the voice in accordance with preconceived aesthetic notions. At the same time, it proposes to provoke a deeper physical-intellectual-emotional-sociocultural experience of the text in the theatre.

Keywords:
Acting; Text; Voice; Body; Theatre Pedagogy

Authorship

Thomas William Holesgrove

Universidade de São Paulo - USP, São Paulo/SP, BrazilUniversidade de São PauloBrazilSão Paulo, SP, BrazilUniversidade de São Paulo - USP, São Paulo/SP, Brazil

Thomas William Holesgrove is a post-doctorate researcher in Performing Arts at the Universidade de São Paulo/Escola de Comunicações e Artes (USP/ECA). He received his Doctorate in Performing Arts from USP/ECA (2014) and his Masters in Performing Arts from USP/ECA (2009). E-mail: holesgrove@terra.com.br

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Universidade de São Paulo - USP, São Paulo/SP, BrazilUniversidade de São PauloBrazilSão Paulo, SP, BrazilUniversidade de São Paulo - USP, São Paulo/SP, Brazil

Figures

Figures (3)

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Script #1
Adaptation of Linklater's work with vowels (1992LINKLATER, Kristin. Freeing Shakepesare's Voice: the actors guide to talking the text. New York: Theatre Communications Group Inc., 1992. )

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Script #2
Adaptation of Linklater's work with consonants (1992LINKLATER, Kristin. Freeing Shakepesare's Voice: the actors guide to talking the text. New York: Theatre Communications Group Inc., 1992. )²¹ 21 For the purposes of this exercise, there is no significant difference between English consonants and Portuguese consonants, therefore no adaption of these sounds was made.

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Script #3
Vowel scale, adapted from Linklater's scale (1992LINKLATER, Kristin. Freeing Shakepesare's Voice: the actors guide to talking the text. New York: Theatre Communications Group Inc., 1992. )

Script #1 Adaptation of Linklater's work with vowels (1992LINKLATER, Kristin. Freeing Shakepesare's Voice: the actors guide to talking the text. New York: Theatre Communications Group Inc., 1992. )

*See notes ¹⁷ 17 Reference for the sounds in Brazilian Portuguese: (Cagliari, 2007). , ¹⁸ 18 Vowels in the English language have intrinsic lengths. For example, besides a slightly different opening, the vowel [ɩ] of "ship" and the vowel [i:] of "sheep", are differentiated principally through their intrinsic length. Linklater then, divides the exploratory work in this exercise between long vowels and short vowels. In Portuguese, vowels are not differentiated on the basis of intrinsic lengths, however, we can observe that there are other factors that can influence the duration of the vowel in speech, as, for example, nasal pronunciation, the position relative to other vowels and consonants, and the tonic or atonic position in a word or phrase (Cagliari, 2007). Observing this, we revised this exercise to explore the durational qualities of Portuguese vowel sounds through junctions with other vowels and consonants, forming syllables and words. , ¹⁹ 19 Linklater does not use phonetic notation and emphasizes that the objective of the exercise is not the perfect pronunciation of specific vocal sounds, but the stimulation of the sensibility to the manner in which the sound inhabits the body. She clarifies: "[...] the exact pronunciation... of these sounds is not very important - an awareness of their differentiation is the object" (Linklater, 1992, p. 18). Therefore, the indications of the original exercise may be understood and pronounced in different manners, depending on the accent and regional dialect of the reader. We use phonetic notation here to establish a relation between the sounds of Standard American English (where Linklater's book was first published) and the Brazilian, São Paulo accent, where the work of this article was developed. However, it is important to emphasize that this notation is used in this case to facilitate the adaption of the exercises for Portuguese and not with the intention of fixing in a definitive way a specific sound. The words should be freely explored to investigate the sensation of sounds pronounced in accordance with the regional dialect and the personal idiosyncrasies of the participant. e ²⁰ 20 It is important to repeat that, in the original exercise, Linklater does not use provocations related to food. In our adaptation, the choice of words was made in accordance with the theme of the current work. .

Script #2 Adaptation of Linklater's work with consonants (1992LINKLATER, Kristin. Freeing Shakepesare's Voice: the actors guide to talking the text. New York: Theatre Communications Group Inc., 1992. )²¹ 21 For the purposes of this exercise, there is no significant difference between English consonants and Portuguese consonants, therefore no adaption of these sounds was made.

*See note²² 22 Linklater (1992) makes a division between vocal and non-vocal consonants as well as between short and long consonants, that is, between plosives, on the one hand, and nasal and fricative consonants, on the other. We maintain Linklater's divisions and add suggestions as to patterns of movement related to the duration and vocalization of the sound. But one of Linklater's most important comments about this exercise is that the participant should become aware of the qualitative difference between vowels and consonants. .

Script #3 Vowel scale, adapted from Linklater's scale (1992LINKLATER, Kristin. Freeing Shakepesare's Voice: the actors guide to talking the text. New York: Theatre Communications Group Inc., 1992. )

*See notes ²³ 23 In this exercise Linklater suggests specific areas of the body to explore the different sounds. , ²⁴ 24 These movement suggestions are inspired by Linklater's suggestions, but do not reproduce them exactly. , ²⁵ 25 Linklater suggests that the participant should explore the sensation of this sound in the mouth without making reference to the facial mask. However, in Portuguese, this sound tends to become nasal when it is followed by the nasal consonant[m], and therefore, it is useful to explore the mask too. , ²⁶ 26 In Portuguese, this vowel tends to become nasal when it is followed by the nasal consonant [n], as in this case. This is an advantage in this exercise, because it provokes an increase in the intensity of vibrations in the facial mask and the nasal cavity, the area of resonance being explored in this part of the exercise. , ²⁷ 27 This sound is not part of Linklater's scale. It was added specially to focus vibrations in the back of the skull. e ²⁸ 28 With the last three sounds, we suggest that attention be paid to explore the exact place where the greatest intensity of vibrations are felt, in order to discover subtle variations of timbre. .

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Word Tasting: towards a sensorial experience of language and thought in the actor's work

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[1] Thomas William Holesgrove is a post-doctorate researcher in Performing Arts at the Universidade de São Paulo/Escola de Comunicações e Artes (USP/ECA). He received his Doctorate in Performing Arts from USP/ECA (2014) and his Masters in Performing Arts from USP/ECA (2009). E-mail: holesgrove@terra.com.br