How can actors bridge the gap between themselves and the text and action of a script, integrating fully their learned vocal skills? How do we make an imaginary world real, create the life of a role, and fully embody it vocally and physically so that voice and acting become one? Christina Gutekunst and John Gillett unite their depth of experience in voice training and acting to create an integrated and comprehensive approach informed by Stanislavski and his successors - the acting approach widely taught to actors in drama schools throughout the world.This updated edition contains: a new chapter on vocal embodiment of actions, new findings from neuroscience supporting the approach, more exercises, warm-up routines for training, rehearsal and performance, and a completely new glossary of terms.The authors create a step-by-step guide to explore how voice can:- Respond to our thoughts, senses, feelings, imagination and will- Fully express language in content and form- Communicate imaginary circumstances and human experience- Transform to adapt to different roles- Connect to a variety of audiences and spacesFeaturing 55 illustrations by German artist, Dany Heck, Voice into Acting is an essential manual for the actor seeking full vocal identity in characterization, and for the voice teacher open to new techniques or an alternative approach to harmonize with the actor's process.

What Practitioners Said about the First EditionIntroductionPart I: Laying the Foundations1. The Organic Acting Approach and the Voice2. The Organic Acting Approach and the BrainPart II: The Essential Vocal Six - And Integrating Acting into Voice3. Alignment: Backbone of the Action4. Breath: The Great Creative Connector5. Centred Onset of Sound: The Vocal Identity of the Actor6. Pitch Range: The Music of Meaning7. Resonance: Vibrating the Experience8. Articulation: Shaping Thought and ActionPart III: Integrating Voice into the Organic Acting Process9. Interval: Receiving and Responding10. Awareness, Ease and Focus11: The Action: Given Circumstances, Interaction and Objectives12. Vocal Embodiment of Actions13. Seeing, Sensing and Feeling14. Character and Voice15. The Actor in the SpacePart IV: Integrating Voice in Rehearsal and Performance: Putting It All Together16. Meeting the Play and the Character17. From Impulse to Action18. From Action to FormConclusionGlossarySelected Bibliography Index