Especialización en Voz Escénica

URI permanente para esta colecciónhttp://hdl.handle.net/11349/98390

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Por los patios de las casas ajenas
(Universidad Distrital Francisco José de Caldas) Martinez V., Carmiña; Bello, Gilberto
The presented work is conceived as an exploration into consciousness and cultural memory, understanding the voice as a fundamental system of communication and meaning-making within human societies. From the beginnings of cultures, the voice has constituted an expressive trace capable of revealing customs, ways of life, and identifying particularities. Under this premise, the author proposes an analytical approach to the vocal forms of a specific region of Colombia, recognizing that sounds, articulations, and even phonetic errors can be read as cultural manifestations. The monograph, conceived as a tribute to the voices of La Guajira, is initially presented as a sonic inquiry that could evolve into a theatrical work, and which in this phase is limited to a preliminary investigation aimed at describing the cultural and vocal environment of the region. The document is structured in two chapters: the first contextualizes the origin of the proposal, describes the environment from which the explored sounds originate, exposes basic concepts about the human voice, and presents the author's academic background. Furthermore, it introduces the conceptual core called "Singing-Sentiment," a fusion of everyday elements that allow for understanding the expressive unity of the voice in the Guajira region. The second chapter develops the theoretical and practical bases of the demonstration, combining conceptual reflection and performative exercise. Finally, the author explicitly states the project's intention as a result of her acting experience and offers it to other performers as an invitation to discover vocal typologies that allow for a deeper understanding of the voice, theater, movement, and the culture that sustains them.
La voz habla en el teatro: la expresión vocal en la práctica teatral para niños y jóvenes
(Universidad Distrital Francisco José de Caldas) Camargo Morales, Carlos Enrique; Bello, Gilberto; Jiménez, Livia Esther
The text proposes the development of theoretical frameworks and pedagogical practices that directly integrate the vocal and the corporeal, understanding both as interdependent dimensions of the human being. It posits that vocal education should not focus solely on technical acquisition but should begin with the student's personal history, self-knowledge, life experience, and an understanding of the voice as a natural, organic, and cultural phenomenon. From this perspective, an interdisciplinary approach is conceived that addresses the individual in their entirety and seeks to structure systematized content and practices that favor vocal and corporeal creativity and expressiveness within the theatrical field, contributing significantly to their comprehensive development. Furthermore, it argues that theater acts as a privileged medium for integrating intellectual, corporeal, vocal, emotional, sensory, and communicative dimensions in children and young people. Theater education, especially that with an emphasis on voice and speech, strengthens fundamental processes for human development, such as imagination, sensitivity, expression, and creativity. These processes are enhanced through theatrical play and dramatic expression, which allow students to explore their bodies and voices in an organic, authentic, and meaningful way.
La voz del movimiento: bases para el entrenamiento vocal del bailarín-actor
(Universidad Distrital Francisco José de Caldas) Niño Alemán, Martha Leticia; Benavides Nieves, Obelda; Bello, Gilberto
The text outlines the historical trajectory of the relationship between theater and dance, highlighting their common origin in the rituals of primitive communities and their subsequent development as unified stage practices in various traditions, particularly in the East. Based on Nicola Savarese, it notes that in theatrical forms such as kabuki or the Peking Opera, the performer maintained a comprehensive training that articulated acting, singing, and movement. However, in the West, this unity fractured starting in the 18th century with the professionalization of ballet, leading to a progressive separation between the training of the actor and the dancer. The conquest of America and the subsequent adoption of the European model reinforced this distancing, consolidating a pedagogy of dance focused on physical dexterity, technical virtuosity, and movement as the main means of expression. In this context, contemporary dance emerges as a critical return to the roots, questioning the norms inherited from ballet and modern dance, and promoting the incorporation of the voice as a stage resource, particularly in dance-theater. The text underlines, however, that many Colombian dancers present difficulties in integrating the voice organically due to insufficient training in vocal technique. Drawing on the contributions of Eugenio Barba, it posits that the voice constitutes a physiological phenomenon that involves the entire organism, configuring itself as an extension of the body in space. Therefore, the dissociation between voice and movement produces a perceptible rupture in stage expression, while their unified articulation is indispensable for achieving an authentic and coherent performative presence.
Estrategias articulatorias de los fonemas (B, C, D, R, S, T y CH) mediantes los trabalenguas
(Universidad Distrital Francisco José de Caldas) Padilla Bordón, Yazmín; Plata, Jorge
This monograph is aimed at anyone interested in improving or overcoming articulation difficulties, especially actors, who, due to the demands of their work, require precise and efficient voice control. With the purpose of understanding and strengthening the correct production of phonemes according to their point and manner of articulation, research was conducted based on the systematic use of tongue twisters as a vocal training tool. Throughout the work, the function of these literary forms in articulatory progress is examined, organizing the research into several chapters: from the initial diagnosis performed on the La Cantera theater group - in order to identify their main articulation problems and evaluate the effectiveness of tongue twisters - to the theoretical analysis of the results, the methodological proposal of exercises, and the presentation of general conclusions. To support the study, an extensive collection of information was carried out in bookstores, libraries, and institutions, as well as interviews that allowed gathering around 110 tongue twisters, including Spanish and Mexican versions, in order to rescue and value this practice that is falling into disuse. The investigative process, developed between February and June, included filmed and recorded sessions, the results of which were subsequently organized, compared with the theory, and converted into concrete proposals for vocal work. Finally, the contributions of teachers, institutions, family, and all the people who made the development of this research possible are recognized and appreciated, which seeks to enrich and strengthen articulation training strategies through tongue twisters.
Entrenamiento vocal para el actor que va a cantar
(Universidad Distrital Francisco José de Caldas) Garavito Salazar, Luz Marina; Alvarado, Carlos
This proposal stems from a reflection on the musical shortcomings, specifically in singing, identified in the training of most theater actors in Bogota, Colombia. The actors come from diverse backgrounds, some from theater schools, others from open courses or workshops, and there are also those with empirical experience, who have always been in theater groups and whose experience is linked to training proposed by the directors they have encountered throughout their work. Chapter I of this monograph contains conceptual references regarding the basic structure of the voice, viewed through the physiology of the organs involved. It specifically deals with what makes vocal performance possible, starting with the brain and the relationships between the two right and left hemispheres, followed by the ear and the parts involved in the reception and transmission of sound. The following parts are those directly involved in sound emission, such as the lips, tongue, teeth, pharynx, vocal folds or cords, and sound resonators or amplifiers. Finally, the main characteristics of the voice and the basic components of musical language are presented. The actual diagnosis, regarding the individual cultural process of the actors, was analyzed in Chapter II through fieldwork that consisted of direct observation and the application of a survey, to establish: the region they come from, musical customs in the family environment, musical learning at the school level, especially in singing, and the habits that influence their vocal performance, in short: their cultural environment.
Entrenamiento vocal básico para actores principiantes
(Universidad Distrital Francisco José de Caldas) Baquero C., Luz Mary; Jiménez, Livia Esther
This work is aimed at those who wish to find another way to approach vocal work in a pleasant and fun manner through play. The guidance of teachers who have been working on play as a basic tool of theatrical pedagogy has been truly important, starting with the "Primer of Improvisation and Theatrical Games" by Gina Patricia Agudelo and Fernando Arenas, a thesis work from the National School of Dramatic Art. For them as well as for us, it was the English teacher Clive Barker who enthused us with his charisma and joy to approach play as a fundamental resource in the research we undertook. The encounters we had attending his workshops and consulting his book were a guide to finding, based on his approaches to play as an important element in theatrical pedagogy, a basic starting point in the planning and application of the proposal we developed in this research. Some games were selected from Clive Barker and applied to the vocal work proposal we present.
El grito y otras voces: en busca de un método para el desarrollo y entrenamiento vocal del actor
(Universidad Distrital Francisco José de Caldas) Romero Chivata, Henry; Camacho, Beatriz
The thesis proposes a theoretical and practical approach to developing a vocal training method for actors, based on the profound relationship between body, voice, and emotion. The research was conducted over fifteen months with students from the University of Rosario's theater group, combining theoretical foundations with practical experiences and physical exercises. The objective was to awaken bodily awareness and achieve balance and harmony through ancient techniques from the East, West, and indigenous traditions. Exercises in tantric yoga, stretching, abdominal work, and weight training were applied, which strengthened the body and improved support and vocal projection. Although physical changes and discomfort occurred initially, participants gradually gained more energy, strength, and bodily control. The research explored extra-quotidian states of consciousness through deep breathing and hyperventilation, which allowed for the emission of new and expressive sounds. The scream became an essential tool for releasing the voice, generating a more vibrant, flexible, resilient voice with improved diction.
Voces de la tierra: investigación hacia un proceso creativo por el camino del biodrama
(Universidad Distrital Francisco José de Caldas) Jaramillo Mora,, Rosario; Beatriz, Camargo
When a culture is alive, it possesses identity and memory. That memory is expressed through voice and song, especially through sacred songs, which transmit the history, myths, customs, and worldview of a people. Myth is an essential part of memory, which in turn is linked to the soul and blood, because "memory is carried in the blood." Therefore, a living culture is memory made voice, expressed in narratives, songs, and myths. Living culture is in constant creation; it is a creative mother or "Mother Voice." In the Indian tradition, this idea is represented in the goddess Vac, goddess of voice and memory. In ancient cultures, word and song were considered sacred and carriers of the creative power of the universe. In the Popol Vuh, a sacred Mayan text, it is recounted that after the creation of the world, the voice was created, represented in man and woman, so that the spirit could recognize itself and celebrate its existence, giving rise to culture. Finally, the voice is seen as a divine breath or spirit, related to the Rose of the Winds, a symbol that links the voice, the body, and the emotions.
La voz del títere: conexión invisible y nómada
(Universidad Distrital Francisco José de Caldas) Guerrero González, Martha Isabel; Moure, Germán
The relationship between body - voice - puppet was studied, starting from the conceptualization of the voice as a fragment that, when deterritorialized from the respiratory system and the phonatory apparatus, opens itself to connections with other fragments of the body, with the text, with the puppet, with the imagination (internal vision). The puppet theater actor must keep open a channel of energy and vibration from alert postures (specific according to the type of manipulation) that allow him to be present in the absence by omitting himself and at the same time be the source (from his center) of the physical and vocal actions of the puppet on stage.
Entre la voz y la palabra, el texto y el personaje
(Universidad Distrital Francisco José de Caldas) Pautt Vega,, Fernando; Camacho, Ricardo
Fernando Pautt Vega's work examines the interaction between voice, word, and character in acting, emphasizing the need for actors to fully integrate their body and voice into the interpretative process. It is structured in three chapters: the first reflects on acting practice and the importance of corporality; the second proposes a simultaneous body and voice training approach using movement and breathing sequences; and the third offers conclusions and recommendations for actors seeking comprehensive training. Throughout the text, the tendency of actors to underutilize the richness of dramatic texts is criticized, and the 'neutral circle' method is introduced as a tool for exploring and developing character through voice and gesture. In summary, the author suggests that the journey towards understanding the text and effective interpretation is a prolonged and conscious process that enriches actors in their artistic development.
Del canto a la palabra hablada: entrenamiento vocal con el canto para la palabra hablada
(Universidad Distrital Francisco José de Caldas) González Reyes,, Nohra; Perea Arce,, Bárbara; Montes, Fernando
Working with song meant going to the source of human expression, long before words emerged. Song viewed not as a succession of notes but as the chaining of sounds that allow the birth of the word. It was more natural for human beings to sing than to speak, and only by expressing themselves through song were they able to conquer language. In this sense, song is born from a natural and organic process, and was the first source of human expression before the word. This investigation was a way to approach our profession and the nature of the actor. It implied overcoming limits, obstacles; it was a confrontation with others and with oneself; it was an act of searching, a search for harmony that could only be achieved with disciplined, systematic work, free of resistance. We were not looking for results, although we knew that these are what make a creative process objective, and therefore, to achieve them, we did not go in search of them. As Grotowski says, "if you don't think about the result, the result happens," we had to search but without thinking about the result because otherwise only the brain would work and the impulses of the body would not be given way to. To start the research process, we selected the songs that were most suitable due to their characteristics, and then we undertook daily practice with them based on trial and error.
De la memoria de la voz a la imagen de la palabra
(Universidad Distrital Francisco José de Caldas) Grisales Cardona, Jorge Iván; Jiménez, Livia Esther
The method "From Voice Memory to Word Image" is the result of an investigation I have been conducting for 14 years of practice as an actor, director, playwright, professor at the Escuela Popular de Arte de Medellín, and in recent years at the University of Antioquia. The specialization offered by the postgraduate program of the Escuela Nacional de Arte Dramático, Colcultura, and the Universidad Distrital Francisco José de Caldas has served as a catalyst for the knowledge that we have systematized in this graduation work. Due to the lack of a structured technique for managing the scenic voice in our environment and the evident separation between the complementary parts of body and voice, we propose the method "From Voice Memory to Word Image," based on theories and practices from other disciplines that employ breathing, meditation, concentration, and the expansion of the body, spirit, and voice. Through specific exercises, the method proposes developing a technique for opening the chakras - energy centers - that pertain to the voice, sound, visualization, and meditation, bridging the distance and becoming aware of the voice in the mind-body unity; connecting the voice from the interior to the exterior, differentiating the posture of the body and the extra-daily voice from the daily one. The need for a physical center of the voice and body to make the work of vocal technique easier and more precise when facing a theatrical text.
La interpretación vocal: análisis de elementos vocales en el sistema de actuación de actuación de Stanislavsky, a la luz de la teoría de las inteligencias multiples
(Universidad Distrital Francisco José de Caldas) Ramírez Triana, Camilo Andrés; Plata, Jorge
This research analyzes the actor's vocal interpretation within Stanislavski's acting "system" in light of the theory of Multiple Intelligences (M.I.). It seeks to locate and define the elements involved in the actor's vocal interpretation, as well as discover the relationships that are established between them. The analysis focuses on Stanislavski's assessments of the actor's voice, particularly in his book "Building a Character," where he dedicates several chapters to the voice, its qualities, technique, word management, and text interpretation. The work is divided into several levels, starting with reading and intuition. The accessible level of facts is studied, and the character's objectives are explored, asking what he wants to do in the given circumstances and how he relates to them. Stanislavski seeks to give life to the character's words through "subtext," which is a fabric of fictions elaborated by the actor in the creative process. Furthermore, the importance of declaring the context and cross-referencing information of historical and philosophical origin to enrich the interpretation is considered, always adjusting to the objectives and movements of the action.

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