Practice-led Research Case Study
2022
Effective performance through developing an actor’s voice: A focus on resonance.–Thesis
An action research project exploring how resonance training can deepen an actor's capacity for authentic expression, vocal freedom, and human connection.
Focus Areas
Performance & Voice studies
Practice–based Research
Creative Methodologies
Embodiment
01 / Overview
Research Overview
This practice-based research assessed how the body, voice and imagination compliment one-another in creating an authentic theatrical performance experience for the actor and the audience. I examined how vocal freedom can deepen presence, expression and connection through the investigation of resonance training. These questions continue to inform my work as a writer, facilitator and cultural producer.
Research Question
How can resonance training help performers communicate with greater freedom, presence, and authenticity?
Why This Research Matters
Communication is central to how we connect, share stories, and make sense of the world around us. Yet many people are never taught how to fully access and support one of their most important instruments: the voice.
This research explored how resonance training can help performers communicate with greater freedom, presence, and authenticity. Although rooted in theatre, the findings speak to a broader question that continues to guide my work today: what enables people to express themselves fully and connect meaningfully with others?
By understanding the relationship between voice, body, and imagination, we can develop not only stronger performance skills but also a deeper capacity for communication, confidence, and human connection.
02 / Context
Resonance in the voice is when there is a rich full reverberating quality of sound to the voice. Resonance is what leads a voice to be full and vibrant. Resonance is accountable for strengthening the weak voice. It crucially establishes the nature of an individual’s voice. In other words, it establishes the inherent features and quality of the voice (Anderson: 1977: 112).
Achieving good resonance creates new possibilities for a performer that will increase their confidence and enhance their performance style in ways they never knew existed. An audience will not only be focused on what the actor is doing, resonance has the power to draw an audience into the actor’s words, mesmerising the audience through the voice.
This can be achieved through gaining understanding of and knowledge about resonance from the great voice trainers that came before us; practitioners who spent decades on research in voice through their practice and work with actors’ voices.
The research focuses on two of the most notable, seminal trainers in the world of contemporary western theatre voice: Cicely Berry and Kristen Linklater. The basis of the research is a comparison of their work with vocal resonance as well as an introduction to how and where resonance is created in the body. The texts include Cicley Berry’s Book The Voice and the Actor (1973) and Kristen Linklater’s book Freeing the Natural Voice (1976). Anderson’s Training the Speaking Voice will be highlighted for a more scientific description of the operation of resonance in the human voice.
03 / Process
Research Process
M01
Literature review
Knowing where and how resonance occurs in the body is an important step in achieving resonance.
M02
Action research
Through the continuous process of data collection, reflection, analysis, interpretation, action, and evaluation the validity of the action research can be tested (Somekh: 1995: 339-355)
M03
Comparative Analysis
The first is a comparison of Berry and Linklater’s approaches to resonance. The second is an application to my voice for an upcoming perforance with vocal practice exercises, assessment and findings.
M04
Practice-based research
I completed a voice progression tool which, a table of questions in which I evaluated the conditions of my voice over the course of two months.
04 / Timeline
Research Timeline
A phased structure showing how enquiry moved from context gathering toward synthesis and application.
Phase 01
Research & Literature Review
Defined where and how resonance occurs in the body and the importance of allowing actors to take responsibility for their progress and the ability to understand vocal practitioner terminology and how to embody said terminology as daily practice
Phase 02
Practice-based research / Data Collection
I completed a voice progression tool which, a table of questions in which I evaluated the conditions of my voice over the course of two months.
Phase 03
Analysis & Reflection
After two weeks of vocal training, my voice has reached new bandwith of resonance. My breath is able to be sustained for much longer than it could, I am able to root breath in my diaphragm and my breath has more ease.
Phase 04
Findings & Conclusions
Through the exercises, I found that through free ing the voice, one can in turn free the mind. What I have come to like about my voice is its clarity and ease of assertion which I previously lacked
05 / Findings
Key Findings
01
Breath support is fundamental to expressive communication.
Effective communication begins with breath. Breath support not only strengthens vocal performance but also creates a sense of ease, stability, and presence that allows performers to communicate more authentically.
02
Voice development requires both technique and imagination.
Voice training is not purely mechanical. The study suggested that imagination, emotional engagement, and mental focus play a significant role in freeing the voice and developing expressive communication. This reinforced the idea that communication is shaped by the relationship between body, mind, and imagination.
03
Releasing tension improved vocal freedom.
The quality of a voice is influenced not only by vocal technique but also by physical habits and bodily tension. Greater vocal freedom emerged when physical restrictions were reduced rather than when more effort was applied.
06 / Insights
Linklater states the natural voice is mostly blocked and distorted by physical tension, but also from emotional blocks, intellectual blocks, aural blocks, and spiritual blocks. Once they are removed the voice can communicate fully with human emotion and nuances of thought. “Its limits lie only in the possible limits of talent, imagination or life experience”
Observation from synthesis notes
Observations
It is often found that more than one aspect is involved concerning vocal problems. Individuals should teach themselves to listen separately to all the dimensions of their voice including loudness, pitch, and quality. It is necessary for vocal improvement to break down the voice into several components because individual attention may need to be given to specific problems.
In the production of good vocal quality spontaneous relaxation of the spine, larynx, mouth and tongue is of primary importance
Kristen Linklater's Approach
Linklater states that a general rule for freeing the voice is that the higher you go the deeper you sigh. This allows the individual to not follow the physical reaction of working too hard when going up in pitch. By sighing as you go higher you firstly undo tensions that assault the breathing muscles, because you cannot sigh tensely. Secondly, you support the pitch by delivering a greater amount of breath. Lastly, you undermine the hard work of pushing out the sound with a sensation of relief which is pleasurable. She states through this you will generate a large number of energy qualities of breath and you will produce higher notes at an easier rate and flow
Cicely Berry's Approach
Berry highlights how unlearning what is comfortable such as using too much energy, is necessary to get to the next stage of vocal development. Becoming aware of the separateness of muscles and finding the energy within them will allow the actor to not have to push it out when performing because it will release itself.
The third stage is getting the best out of the actors’ voice: “the aim is always clarity” Berry states. This stage is about trusting their voice to get the best out of it. It involves having a balance between technique and imagination.A limitation that can come about is if the actor is not fully committed and mentally focused it can make the imagination exercises ineffective.A limitation that can come about is if the actor is not fully committed and mentally focused it can make the imagination exercises ineffective.
How can these findings be applied?
Performance in the context of theatre and screen acting
Facilitation and community practices
Education
Policy and research
Personal Reflection
The experience of vocal liberation led to my fascination in voice work, and later led me to this research. It has been enlightening to look into the world of voice and explore the knowledge and passion behind vocal practice. Practitioners like Cicley Berry and Kristen Linklater’s perception is truly captivating. At first reading their work felt foreign and daunting, but that soon became deep interest. What stood out most was how vocal work is largely about our mind set and intention.
Skills Demonstrated
Qualitative research
Research writing
Literature review
Data collection and analysis
Critical thinking
Project design
Practice based research
07 / Related Work
Related Work
Writing
Essays and cultural reflections
Public-facing writing that translates cultural and social questions into accessible language.
Projects
Documentary storytelling
Project work showing production, collaboration, documentation, and public engagement.
Facilitation
Facilitation and practice
Methods and reflective practice for group work, participation, and collective learning.