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Voice and Soul

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Voice and Soul Linda Wise / VASTA Voice and Speek Review 2007 /// page 1 Voice and Soul–The Alfred Wolfsohn/Roy Hart Legacy By Linda Wise © Linda Wise / PANTHEATRE Reproduction and quotes by permission. The voice: a war-stricken heritage Without war, Alfred Wolfsohn might have become another man. He was only 18 when he was conscripted to the front line in 1914 and what has been called his “descent into hell” i. “ We are in a foreign country. Here in this foreign country are trenches, trenches are everywhere. I am living in these trenches. Every now and then the darkness of the night is lit up very light–strange stars made by man. Shells burst right and left. I throw myself to the ground, my hands are clawing the earth. Often someone next to me is hit. Each time I am astonished that I have been spared! Barrage all around me. The guns from which it is coming are manned by four or five Frenchmen. I don’t know where they come from, I don’t know who they are. They don’t even know they can easily kill me. It’s no good shouting: Jean Baptiste–Maurice– Pierre–I have done you no wrong, what do you want from me? I keep crawling. The hours pass. The fire is getting stronger and my peril greater. I pray to God but He doesn’t hear me. From somewhere I hear a voice shouting. ‘Comrade! Comrade!’ I close my eyes, shaking with terror, thinking: how can a human voice utter such a sound, a voice in extremis “ “ the year was 1917, we were entrenched somewhere at the front, we did not know where; under heavy bombardment. At long last came the relay. Heavy rain had turned the trenches into swamps of mud and in a short while I became trapped in it. I called for my comrades to help but no one heard and soon I was quite alone. Hour after hour, inch by inch I crawled back. After a while I heard a voice nearby moaning incessantly: Help, Help. I fought a terrible struggle with myself: should I try to crawl to him or not. I did not do it. After an agony of more than twenty hours I reached a reserve dugout. I do not remember what happened after that except that I learnt later that I had been hit and buried by a grenade and that I awoke the next morning in the cellar of a house in St Quentin, amongst a heap of corpses. ii “ Alfred Wolfsohn emerged from these war years suffering from shell-shock, post trauma syndrome, and plagued by aural hallucinations. One voice in particular echoed through his mind with an ever-increasing sense of guilt–that of the soldier he had failed to help. In spite of psychiatric help nothing would stop the cacophony of screaming and groaning soldiers. We do not know the exact chronology of events that lead Wolfsohn to want to sing, but, according to Sheila Braggins, one of the few remaining pupils of Wolfsohn, the desire was born during a journey to Italy after the war iii . He began to work with singing teachers and voice specialists; one worked in the line of primal screams, another worked with music and “vocalises”–but his voice did not improve and his symptoms remained. Whilst in hospital he had begun to read some of Freud’s writings and was convinced that if he were able to re-find and release the emotion of the sounds of those voices in himself he would cure his symptoms. He began to create what could be called his own ‘vocal exorcism’, studying literature, philosophy, ancient myths, the scriptures, psychology–anything to do with the human being—in an attempt to understand “the mystery behind the human voice” iv . He began to work with other singers–often singers who had problems–adopting the same approach as he had used for himself: “ It was not their voice that was suffering but their soul . “ The seeds of the idea that the voice is an audible vision of the soul were sown. A passionate lover of opera, Wolfsohn developed his method from a very musical basis, using the piano as a support for his vocalises and exercises. He began to imagine, in his inner ear, a voice that could sing all the parts of The Magic Flute –male and female. Linda Wise / VASTA Voice and Speek Review 2007 /// page 2 For a Jew, life in Berlin became too dangerous, and, in 1938, Wolfsohn fled to Britain. He was interned as an “enemy alien” but later volunteered for the Pioneer Corps which had a company for “aliens and other undesirables.” Around 1942, he was invalided out of the army and the following year was given permission by the British Home Office to give singing lessons. By this time he was reading Jung and the language of psychoanalysis filtered into the singing studio–animus and anima/ consciousness/psyche/ shadow/projection. These concepts helped to articulate his idea that “the voice is the muscle of the soul”, and gave another vocabulary to relate the evolution and revelation of the voice to the singer. The link between voice and soul was not new since as early as 1839 Longfellow wrote in Hyperion: “ O how wonder is the human voice! It is indeed the organ of the soul. “ What was new was the recognition that psyche plays an indissoluble role in the revelation of the voice in all its full register–from Bel Canto to Hell Canto v. The group of students grew, and many artists, philosophers, scientists came to visit the studio, now known as the Alfred Wolfsohn Research Centre. Alfred Wolfsohn died of tuberculosis in 1962. Written on his tomb in Golders Green are Nietzsche’s words: “ Lerne singen, O seele. “ (Learn to sing–O my soul!) He has been named “the Prophet of Song” vi but for me it is essential to see singing, the singer, and the song as a metaphor in order to begin to understand Wolfsohn’s work. He wrote: “ let me underline that when I speak of singing I do not see it only as an artistic exercise but as a possibility and a means to know oneself and to transform this knowledge into conscious life.” It is not important to speak about where he was born, where he lived, and how he died all that matters are his IDEAS. vii Not without some trepidation, he was fully aware that his ideas would be developed and changed, and he was also aware that Roy Hart, of all his pupils, would be the one who would have the widest impact. From war wounds to guru Roy Hart certainly took Wolfsohn’s ideas and developed them into an empirical, societal, living experience. He had abandoned a promising career in the theatre to dedicate himself completely to Wolfsohn’s work. A gifted actor with a strong natural voice, a leader with a lot of charisma, he was also driven by a passion to come to terms with what appeared to him to be contradictions in himself. Unlike Wolfsohn, he was not a prolific writer, and, in fact, the few pieces of writing that remain under his name were mostly written by his wife, Dorothy Hart. His early diaries reveal a sensitive, gifted but very lonely student. It is not surprising, therefore, that the one area where he shone–theatre–should become the basis of his philosophy, and that a great part of his life’s work was an attempt to bridge the separation between the artist and his private life. Life or Theatre–Wolfsohn’s ideas that we find in another form in the paintings of Charlotte Salomon. viii During the period from Wolfsohn’s death in 1962 to the creation of the Roy Hart Theatre in 1969, there was a definite shift in the structure of the work from the intense one-to-one teacher/pupil relationship to a more collective “group” experience guided by Roy Hart. The “singing lesson” ix was always present but expanded to group rehearsals, discussions, meetings, and public presentations. More and more people were attracted to the studio and, though Roy Hart would say that he never sought to be the leader of this group, it is obvious, in retrospect, that there was little place for a collective leadership. This too was a movement of the times–it was the sixties–people everywhere were looking for masters and for an alternative in living. Subtly, the language and the philosophy behind the work on the voice began to change: “ Most of these people were not naturally gregarious or prone to follow a leader: yet they chose to subject themselves to each other and (as some at first thought) to me, but in fact both they and I are subject to the creative research we do–to the principle of the eight octave voice. We find that any normal human voice, male or female, usually reckoned to have a range from two to two and a half octaves, may be extended, with training to six or more octaves, gaining in expressiveness and emotional content in the process. This cultural-philosophical system of voice training is an empirical lay activity. To my mind its most interesting Linda Wise / VASTA Voice and Speek Review 2007 /// page 3 aspect is the emergence of genuine family relationships and of a growing social awareness among those who adhere to the work. x “ To subject oneself to the principle of the “8 octave voice” was also to subject oneself to what became known within the hermetic circle as the “idea.” Like many groups at that time there was a strong hierarchical circle towards the centre, but Roy Hart was very consistent and he never excluded anyone who wished to work with him—so long as it was on his terms.
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