ABSTRACT
An investigation into the role of breath in both training traditions led to questions about the role of "energy" and its perception as actor's "presence." The materials of training are not universally accessible and understood "human" experiences but are a part of a "lived body" experience, heavily influenced by the socio-cultural understandings of "self" and the place of body as "self" within practice. The benefit of training in two different traditions simultaneously means the student can call upon different training techniques depending on the performance task. The student can think and talk about the materials of training using different concepts and different vocabularies. By training in several traditions simultaneously, the student has the opportunity to (re)consider vocal form and aesthetic function in new and different combinations. A detailed analysis of technique, with comparisons between adapted p'ansori and adaptations of the "natural/free" voice approach, was the foundation from which to begin interweaving approaches in the voice studio.
