Communicating across boundaries, through research, integrative pedagogies, and practical training
To book courses in the US and abroad, please contact Joan Melton at firstname.lastname@example.org.
Joan Melton, Voice/Movement Research and Training, Director of Programs
Jennie Morton, Anatomy/Physiology, Voice and Dance Technique Integration
Irene Bartlett, Jazz/Contemporary Pedagogy
Janet Feindel, Voice/Dialects and Alexander Technique
Wendy LeBorgne, Professional Voice Care
William Lett, Tap/Voice for Musical Theatre
Marya Lowry, Roy Hart/Ecstatic Voice/Lamentation
Michael Lugering, Expressive Actor Training
Patricia Prunty, Classical Singing Techniques
Mary Saunders-Barton, Singing in Musical Theatre
Neil Semer, Vocal Technique and Performance Practice
Kenneth Tom, Vocal Anatomy/Physiology
Pat Wilson, Studio Work/Mic Technique
Julio Agustin (Hons), US
Zac Bradford (Hons), Australia/US
I Putu Budiawan (Hons), Australia
Sammi Grant, (Hons), US
James Harrison (Hons), Australia
Robert Lewis (Hons), Australia
Maggie Marino-Pitts (Hons), US
Erica Northcott, Canada
Sara Paar, US
Elizabeth Smith, US
Jennifer Spencer (Hons), Canada
Caitlyn Stirling, Australia
Janet Van Wess, US
Jack Wallace (Hons), England/US
ROBERT LEWIS, Director/Voice and Movement Teacher
Robert Lewis is a Lecturer in Acting for Stage and Screen Charles Sturt University, Wagga Wagga, New South Wales. He previously lectured in the Theatre Program at the University of Tasmania (UTAS) from 2004 - 2016. He has studied theatre at UTAS, BA Honours at Monash University, Education at RMIT and completed a Graduate Diploma of Dramatic Art (Voice Studies) at NIDA. His PhD, which he completed in 2011 through UTAS, focused on intercultural performance training aesthetics.
He is a director, writer, theatre maker and voice and movement teacher who trained with Cicely Berry, Frankie Armstrong, Rowena Balos, Mike Alfreds, Joan Melton, Ozfrank Theatre, as well as Butoh with Yoshito Ohno in Japan, to name a few. Robert has published theatre performances and training films, including The Third Space through Contemporary Arts Media (Artfilms) and has also published various academic articles on the subject of voice and movement integration.
Lewis's approach is a cross-cultural hybrid of physiovocal elements and is heavily influenced by the Laban Movement System, the Suzuki Actor Training Method, the Nobbs Suzuki Praxis Performance Training, and Butoh dance. These physical approaches are blended with Lewis's extensive vocal training and practice. These elements merge to form a unique training aesthetic that allows performers to be aware of their physiovocal shape, space and imagination.
Robert is director of Persona Collective, a performance group focusing on integrative practice and research, in which he directed and adapted productions including Iam Nocte (adapted from Seneca's Oedipus), Profuge (adapted from Marlowe's Doctor Faustus), and directed the site-specific performance of Patricia Cornelius's Savages as part of Junction Arts Festival. Lewis is currently working on an immersive, site-specific performance of Alex Buzo's classic, watershed play, Norm and Ahmed, which will be performed at a skate park in March.
Perspective – excerpts from “Integrative Links,” by Joan Melton
Voice & Speech Review 2013
Even in integrated programs, there is seldom the opportunity or incentive to really listen to experts outside our own respective field(s). The only people who must listen across disciplines are our students, who regularly take classes in dance (e.g., ballet, tap, modern, jazz), voice/movement for the actor, singing (e.g., classical, musical theatre, jazz, pop, rock) and acting. And the potential for conflict in all of that is enormous!
At the most basic level, what seems to separate us clearly in the training process is our concept of anatomy and physiology…Acting curricula probably come nearer to putting it all together than either singing or dance. Yet, even from actor training, students more often than not emerge thinking the diaphragm is something in their belly that they’re supposed to use—consciously—somehow.
Jennie Morton said, “A better anatomical understanding amongst both performers and teachers can ultimately give them better tools to work with…”
In addition, it takes getting out of our own little corner to see the links from one discipline to another. Long-held views can change—and that’s scary—and what is “true” today may be only partly true or transformed tomorrow. So we must be daring. We must actually listen to colleagues, address the information gaps, and follow threads we never before considered—because staying put is simply not an option.
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