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Fitzmaurice Voicework & Vachika

Fri, 16 Aug 2019 10:00AM - Wed, 18 Sep 2019 6:00PM
Rs 8800
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WHEN: Aug 16-18 | 10 AM - 6 PM
FEE: INR 8800

Voice is an action. It has no location in the body except when it is in action, sounding. The essential physical structured diaphragm, intercostal, abdominal and back muscles; larynx; articulators; body form and cavities are in themselves virtually mute until with a particular use of the breath and vocal folds they all inter-relate as a power source, oscillator, and resonator to create sound. It is for optimal functioning of the breath energy, as a power source, that I have searched. Catherine Fitzmaurice.

Fitzmaurice Voicework® is a comprehensive, holistic approach to voice training, originally developed for actors, it's now used in many fields to help people with a wide range of needs.
Fitzmaurice Voicework® focuses on the whole human voice. It can support speaking for performance, public speaking, singing, voice with movement, vocal rehabilitation, developing greater presence, and so much more.
The word Vachika is drawn from the Natyashastra, where its meaning is indicated as cosmic sound or song.

Angikam Bhuvanam Yasya
Vachikam Sarva Vangmayam
Aaharyam Chandrataaradi TanNumaha
Satvikam Sivam

In voicework, Vachika is located in speech; where speech is seen as an arrangement of sound & rhythm a kind of song. Since sound is energy, Vachika is an investigation into the sensorial perception of this energy via impulse-breath and un-structured sound in the body to arrive at structured speech. The curiosity we harbor is: when spoken, does this energy have the power to impact the physical body of the listener?

Voice is our aural presence, as the body is our physical presence. We look at the voice in this workshop, in the service of communication and human connection.

This workshop will address practical needs specific to the participants. Deeper curiosities are invited and more than welcome!
The workshop will focus on these and other areas:

Vocal freedom, power, resonance, vocal health, muscular release, and vocal variation
Dealing with stress and anxiety
Presence, being seen and being heard
Integrating Body, Breath, and Voice to speak in an embodied way
Personal warm-ups that are effective for each individual student

Mallika Prasad Sinha
Actor | Director | Voice & Speech Coach | Ethnographic Filmmaker
MA Performance Making, University of London
PGD Acting, National School of Drama, Delhi
Founder & Artistic Director of Actors Ensemble India Forum (AEIF)
Member of Voice and Speech Trainers Association, USA (VASTA)
Certified Teacher of Fitzmaurice Voicework®, USA

Mallika is a multi-award-winning director and performer; she has produced a number of documentary films and starred in seminal films such as Devi Ahilya Bai (Hindi - 2002) and Kanooru Heggadathi (Kannada - 1999). She is a well-known personality in Kannada television, having been part of the creative teams of several prominent serials such as Mussanjaya Katha Prasanga, Garva, Guptagamini, as well as most recently playing the lead antagonist in the mega-serial Nagakannike. She has also lent her voice as the narrator, Cauvery for the prestigious Son et lumière Show at the Mysuru Palace.

Her documentary films have engaged with rural women's cooperatives in Rajasthan, as well as agricultural labor groups in Bihar. She has also documented the practice of gurus playing three rare Carnatic music instruments, as part of an initiative to preserve intangible cultural heritage. She has been involved in the making of several documentary and educational films to help school teachers and children with Spoken English across the country, including developing content for ISROs EDUSAT initiative.
Mallika founded Actors Ensemble India Forum (AEIF) in 2007. AEIF is a media production company committed to the creation of cutting-edge work that emerges from creative risk-taking and rigorous research. There is an active and sustained engagement with martial forms and physical practices and exploration of how physical vocabularies intersect with and inform body, voice, text, and sound.

She has directed theatre productions and taught acting and voice at the Sarojini Naidu School of Arts & Communication, Hyderabad University, the National School of Drama Bangalore and Sikkim, Sri Shivakumara Rangaprayoga Shale, and the NINASAM Theatre Institute, Karnataka.

Mallika has designed and developed a two-year Voice & Speech Curriculum for the intercultural performer and has taught at premiere theatre and performance institutes - ITI, LASALLE and NAFA in Singapore. She draws upon a variety of approaches to address vocal and speech needs. Students are introduced to exercises developed over two decades of working with actors, her own training as a voice coach, performer, and theatre-maker with master teachers from across the world. She has been taught by Khalid Tyabji, Veenapani Chawla, Lakshman Gurukkal, Sue Weston, Marie-Gabrielle Rotie, Steve Paxton and more recently, by Saul Kotzubei, Ilse Pfeifer, Cynthia Bassham, and Catherine Fitzmaurice. She combines practical exercises that are based on principles found in Yoga, Kalaripayattu, Alexander Technique, and Japanese Butoh.

Dr. Sadhana Nayak
Laryngologist | Vocal Medicine Specialist | Voice Coach
MS [Otolaryngology], D.O.R.L
Fellow 'Laryngology & Care of the Professional Voice',
Thomas Jefferson Univ. & 'Vocology' New York Univ. USA
Associate Teacher of Fitzmaurice Voicework®, USA

Dr. Sadhana Nayak is an internationally renowned vocal medicine specialist, voice coach, and communication & performance consultant, based in Mumbai, India. She specializes in training, therapy, clinical care and medical treatment of professional and artistic voice users. She is currently a consultant laryngologist and vocal arts medicine specialist at Nanavati Superspecialty Hospital, Mumbai. Combining her expertise as an E.N.T surgeon and laryngologist with her training in vocology, mind-body medicine, and Hindustani classical singing, Dr. Nayak brings unique insight, vast experience and a holistic approach to her work with clients in India and from around the world.

After her Master of Surgery in E. N.T, Dr. Nayak did a fellowship in Laryngology and Care of the Professional Voice at Thomas Jefferson University in Philadelphia, U.S.A. She is a certified teacher of Fitzmaurice Voicework, a vocal training methodology, taught in world-class performance training programs at the Yale School of Drama, Harvard University and other institutions in the U.S.A and Europe. She is an associate of Dr. Ann Utterback, broadcast voice coach in Washington D.C, for CNN, NBC and CBS. Dr. Nayak has been honored with prestigious national and international awards and fellowships, including the Fulbright and Commonwealth fellowships. She is on the editorial advisory board of Voice and Speech Review, a scholarly journal of VASTA, U.S.A.

Dr. Sadhana Nayak is recognized as a top voice doctor and coach for professional vocalists. She has a conservative approach to the rehabilitation and treatment of voice disorders. As a voice doctor, she helps vocal artistes and performers recover from a voice disorder through voice therapy and non-surgical adjunctive approaches. As a vocologist and voice coach, she goes beyond therapy and medical treatment and helps optimize the voice, to achieve peak performance levels for singing, acting and public speaking.

Dr. Nayak has trained corporate & business leaders, singers, newscasters, sports commentators, television anchors, voice-over artistes, actors, entrepreneurs, and professionals, helping them make an impact, every time they speak, sing or act. She has helped rehabilitate the voices of some of the leading vocal artists and performers of our time.
She has been invited as visiting faculty at drama, film & music departments, and educational institutions in India and the U.S.A. She has designed and implemented training programs for corporate organizations, television networks, theatre groups, and NGOs. She has been invited as a keynote and guest speaker to share her expertise on the benefits of collaboration between voice science and the vocal arts. She has written extensively in leading national publications, including The Times of India, Indian Express, Mid-Day, and Maharashtra Times.

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Map & Directions

Map & Directions
Shoonya - Centre for Art and Somatic Practices 4th Floor, Rear Wing, Brahmananda Court, #37 Lal Bagh Road (On the left side, before Lal Bagh Passport Office) Bangalore 560027 Bangalore India 560027
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Organizer Reviews 4.4 (9)
Reviews for Organizer 4.4

We all are half done, we all are incomplete. Mohan Rakesh's Aadhe Adhure is what true theatre is. It is pure drama written with a very nuanced and methodical understandings of human psyche. It repeatedly draws often the theme of our expectations and reality. Are we happy with what we have? Can we ever be happy? What is happiness?

In Aadhe Adhure, Mohan Rakesh takes an ordinary family where the family relationships are already crumbling. The wife is the only earning member in a family of 5, the husband has lost all his self-confidence. The elder daughter eloped and married but is still struggling to find happiness, her younger brother has reached of age but yet to find a job and the youngest teenager has coming of age problems coupled with a need to get attention. The wife is tired of taking care of everyone and has her own desires and ambitions.

Rakesh wastes no time in setting up the tension, but he never lets go off it. This is a story where everyone is at fault and yet no-one is. Rakesh unfolds the story brilliantly and his command over his audience is splendid.

TOYO - Theatre on your own, uses minimal props to render the story. At some points, it feels mere a dramatic reading of the play yet the actors render their roles with a gloom that stays with you even after the play gets over. There is also a minimal use of shadow effects yet it adds exponential flavoring.

Aadhe Adhure is a must watch play. You can take your parents to this one and it will be a discussion point for the way back home.

- by Arvind for TOYO(Theatre on your own) organized by Shoonya - Centre for Art and Somatic Practices .

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