La voz del movimiento: bases para el entrenamiento vocal del bailarín-actor

Abstract

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.