Autobservación de mi voz durante el montaje de grado de la obra “Folía, fiesta de ahoritica”, desde el reconocimiento de los fundamentos para el habla de Cicely Berry

Abstract

This work constitutes a personal reflection on the acting voice and its relationship with the identity of the performer, based on significant experiences developed during my academic training in the performing arts, which are based on Cicely Berry's theoretical approaches to the natural voice, with special attention to the general aspects that comprise it, such as: environment, hearing, physical agility and personality. While the central focus of the analysis is the self-observation process of the undergraduate production of the play Folía, fiesta de ahoritica, it became clear that it was necessary to complement the study with two previous experiences in two key formative productions: La pasión de Pentesilea (Performance VII) and El maleficio de la mariposa (Verse production). The inclusion of these cases allowed for a broader understanding of the development of the acting voice in different contexts and performing styles; among the main findings is the role of internal dialogue as a tool for organizing thought and strengthening vocal self-awareness. Likewise, expressive blocks related to insecurity and silence were identified, which gradually diminished over time and with the recognition of one's own vocal potential. In this sense, the role of external validation was decisive in strengthening confidence and valuing one's own vocal abilities, which raises questions about the construction of security in acting practice. The methodology used combines the review of personal notes, self-observation of one of the live performances from the degree program, and a critical analysis of these experiences. Beyond a technical review of the voice, this work is presented as an exploration of the actor's expressive possibilities from a subjective and experiential perspective, with the aim of understanding its plasticity and verisimilitude. Based on the premise that the voice, far from being a neutral element, is deeply linked to the actor's history, body, emotions, and social environment.