Entrenamiento vocal para el actor que va a cantar

Abstract

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.