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Defining a Character Through Voice

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Defining a Character Through Voice DEFINING A CHARACTER THROUGH VOICE QUALITY: AN ANALYSIS OF THE CHARACTER “GEORGE” IN SONDHEIM AND LAPINE’S SUNDAY IN THE PARK WITH GEORGE USING THE ESTILL VOICE MODEL by MICHAEL DENTON SWICKARD B.F.A. Emporia State University, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts & Humanities at the University of Central Florida Orlando, Florida Spring Term 2007 © 2007 Michael Denton Swickard ii ABSTRACT This thesis explores the use of the Estill Voice Model, in particular six voice qualities (Speech, Twang, Falsetto, Cry/Sob, Belt and Opera) and their permutations, to define character, character traits and emotions. Traits and emotions that specific voice qualities can influence are, but are not limited to, location, age, background, socioeconomic status, genre, intelligence, nationality, class, culture, gender, promiscuity, disposition, pain and revelations. In particular, this thesis explores the use of voice qualities to show specific human qualities of the character “George” from Sondheim and Lapine’s Sunday in the Park with George and the people he imitates in his painting by letting the characters’ given circumstances (textual and subtextual), the way other actors portray the characters and the director’s and musical director’s input inform the choices in voice quality. By using the specific technical aspects of the Estill Voice Training System™ and combining them with the limitless aesthetic aspects of theatrical character, this thesis shows that this new structural analysis does not pigeonhole an actor, but rather it makes one more aware, accessible, adept and flexible to the needs of the character and the spontaneity of each new performance. This thesis provides a new paradigm of character analysis through voice. iii This thesis is dedicated to my fiancée, Alissa Fox, whose constant patience, support, and encouragement helped me succeed with this project. iv ACKNOWLEDGMENTS First and foremost, I need to thank my outstanding Thesis Chair, Dr. Steven R. Chicurel. His mentorship and friendship is something that I will cherish for my whole life. I also need to thank John Bell for his direction and guidance during the process, Earl Weaver for his careful eye, Justin Fischer for his meticulousness and perfectionism, Mark Brotherton for his willingness and assistance, and Kerrie Obert for the scientific perspective. This thesis could not have succeeded without each and every one of these remarkable people. v TABLE OF CONTENTS LIST OF FIGURES ........................................................................................................... ix LIST OF TABLES............................................................................................................ xii LIST OF MEDIA.............................................................................................................xiii LIST OF ACRONYMS AND ABBREVIATIONS ........................................................ xiv CHAPTER 1 - STATEMENT OF PURPOSE.................................................................... 1 CHAPTER 2 - RESEARCH AND ANALYSIS................................................................. 2 Georges Seurat................................................................................................................ 2 Early Life .................................................................................................................... 2 Works.......................................................................................................................... 5 Later Life .................................................................................................................. 23 Influences of Seurat .................................................................................................. 24 Sunday in the Park with George ................................................................................... 26 Original Production................................................................................................... 26 Author Process.......................................................................................................... 29 Critical Response ...................................................................................................... 35 Estill Voice Training System™ .................................................................................... 44 History....................................................................................................................... 44 Voice Qualities.......................................................................................................... 50 Comparison to Other Techniques ............................................................................. 56 CHAPTER 3 - STRUCTURAL ANALYSIS................................................................... 67 Dramatic Structure........................................................................................................ 68 Prologue .................................................................................................................... 68 Act I .......................................................................................................................... 69 Epilogue of Act I....................................................................................................... 86 Act II ......................................................................................................................... 89 Synthesis Epilogue.................................................................................................... 99 Classification............................................................................................................... 104 vi Musical Structure........................................................................................................ 107 CHAPTER 4 - ANALYSIS OF ROLES ........................................................................ 160 Character Analysis...................................................................................................... 160 Director’s Concept...................................................................................................... 172 CHAPTER 5 – DEFINING A CHARACTER THROUGH VOICE QUALITY........... 173 Introduction................................................................................................................. 173 Delsarte ....................................................................................................................... 174 The Voice and the Actor............................................................................................. 181 Creating a Character with EVTS™ ............................................................................ 185 Finding the “Right” Vocal Quality ............................................................................. 190 What is my gender? ................................................................................................ 191 How old am I?......................................................................................................... 191 In what time period do I live?................................................................................. 192 Where do I live?...................................................................................................... 192 Where did I grow up? ............................................................................................. 193 What is my level of education?............................................................................... 193 What is my nationality? .......................................................................................... 194 What is my socioeconomic status? ......................................................................... 194 What is the size of my family? ............................................................................... 195 What is my occupation?.......................................................................................... 195 How is my health? .................................................................................................. 196 Am I shy or outgoing? ............................................................................................ 197 Are my mannerisms masculine or feminine?.......................................................... 197 What is my cultural level? ...................................................................................... 197 How promiscuous am I? ......................................................................................... 198 What is my general disposition?............................................................................. 198 Do I have any great pains or stresses? If so, what are they?.................................. 199 Have I just discovered any important things?......................................................... 199 What genre is the play?........................................................................................... 199 Are there any other specific character traits that define me?.................................. 200 vii Translating into EVTS™ ............................................................................................ 201 EVTS™ in Application and Performance .................................................................. 206 Conclusion .................................................................................................................
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