ABSTRACT
Tara McAllister-Viel’s contribution proceeds from the assumption that body, breath, sound and voice—as important dimensions of theatrical speech acts—must be understood as ideas emerging from worldviews that provide the foundation for the practical training of the voice within different traditions. Criticizing that intercultural exchange in performance has been examined mainly within specific performance projects, McAllister-Viel shifts the focus to pedagogy and examines carefully what key principles must be considered when interweaving Anglo-American voice pedagogy in the tradition(s) of K. Linklater, C. Berry and P. Rodenburg with the Korean traditional art form p’ansori . By placing Anglo-American voice praxis in a critical comparison with Korean p’ansori , McAllister-Viel puts in sharp relief culturally specific assumptions about the theatrical voice and its potentials, thus offering fascinating insights into divergent philosophies of the voice.
