THEATER 124A
Intermediate Voice and Speech: Vocal Energy in Classical Text
Description: Studio, three to four hours. Requisites: courses 24A and 24B, or 28A and 28B. Creation of warm-up and building of vocal energy through understanding ideas, thoughts, and beats. Examination of diaphragmatic connection and breath control to work on classical text and verse, including Shakespearean sonnet. Letter grading.
Units: 0.0
Units: 0.0
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Most Helpful Review
Fall 2019 - I think Paul is a pretty good teacher. I did learn some interesting things in voice and speech that did affect my ability to ground my work more easily. The most important thing I learned in this class was to take my time. Working with Paul was very good because he knew how to communicate with me, and he was very knowledgable about the exercises we were doing and about theater. I don't think my TFT class likes me very much, so I really appreciated that he made sure that no one clapped or chose favorites because that would add to my already psychological hardship I have in the program. So I'm thankful this course was just based on the work and helped me achieve at my own level since I was new to these techniques. I will definitely be using what I learned from this course in some of my upcoming films because the characters I'm playing require a grounded-ness in vocal support this course helped me achieve. But at the same time I feel like this isn't what I paid for. I hear about the training some of my friends are receiving at Cal Arts or NYU or USC, and I feel "meh" about TFT, especially since this class is just a overblown vocal exercise extended for ten weeks where you count to 40 or recite a sonnet. And don't let the statistics on Fall 2017 fool you, you're probably going to get an A- in this class for no useful reason. Check all the other years. I just feel like I haven't acted at all yet, and that I'm receiving yoga/meditation instruction instead. Granted, my vocal abilities have improved since the program is what you make of it, but where's all the on-camera work or stage-acting work? They treat us like we've never performed before. Overall this class is a breeze if you just show up, I'm just bored.
Fall 2019 - I think Paul is a pretty good teacher. I did learn some interesting things in voice and speech that did affect my ability to ground my work more easily. The most important thing I learned in this class was to take my time. Working with Paul was very good because he knew how to communicate with me, and he was very knowledgable about the exercises we were doing and about theater. I don't think my TFT class likes me very much, so I really appreciated that he made sure that no one clapped or chose favorites because that would add to my already psychological hardship I have in the program. So I'm thankful this course was just based on the work and helped me achieve at my own level since I was new to these techniques. I will definitely be using what I learned from this course in some of my upcoming films because the characters I'm playing require a grounded-ness in vocal support this course helped me achieve. But at the same time I feel like this isn't what I paid for. I hear about the training some of my friends are receiving at Cal Arts or NYU or USC, and I feel "meh" about TFT, especially since this class is just a overblown vocal exercise extended for ten weeks where you count to 40 or recite a sonnet. And don't let the statistics on Fall 2017 fool you, you're probably going to get an A- in this class for no useful reason. Check all the other years. I just feel like I haven't acted at all yet, and that I'm receiving yoga/meditation instruction instead. Granted, my vocal abilities have improved since the program is what you make of it, but where's all the on-camera work or stage-acting work? They treat us like we've never performed before. Overall this class is a breeze if you just show up, I'm just bored.
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