Voice input for productions
Hortensia and the Museum of Dreams is one of the productions for which William has provided “William has made a major contribution to the Cherub Company’s artistic successes” … Michael Gieleta Voice input to Creative TeamsVoice input to creative teams is under-valued in the UK, but Andrew Visnevski writes: Collaborator and Enabler“When working with William Trotter I never cease to learn. He is a collaborator and an enabler, and his specialised voice teaching adds a new perspective to every production he is involved with. Vocal ExpressionHis work with the actors contributes to the overall impact of the performance and enhances the individual contribution of the performers. It also, most importantly, Language and IdiomWilliam Trotter energises, instructs, and motivates the performers through text and sound. He collaborates with the director on the development of characterisation by providing the right emphasis on the language and idiom of the role. He develops sensitivity to the demands of language and style, and enables us to fulfil the dramatic and stylistic demands made upon both director and performer, embodying the language and giving it physical expression.” ********* Ownership of accentsApart from RP, I don’t coach accents. But, obviously,I do work with accents. In Tena Stivicic’s “Fragile", most of the cast were playing Eastern European yet they were themselves English, Canadian and American. There was no accent coach; the cast did their own accent work. But I worked a lot with them on the ownership of the accents, on relating them precisely to the rhythms of the text, and on making them dramatically active. Jeremy Kingston in The Times described the performances as “exceptionally convincing”. |
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