Interview With Catherine Fitzmaurice

Fitzmaurice Voicework^®1 von 7 http://www.cynthiabassham.com/fitz_Interview.html Ongoing... Fitzmaurice Voicework® Next Group Introduction: Come see what's shaking at Seydways! We'll explore the basic elements of Fitzmaurice Voicework® on April 21st from 10 a.m. to 5 p.m. Explore how this vocal production technique can help you both on-stage and off. Click here for more information. Ongoing Fitzmaurice voice classes are taught in association with Seydways Acting Studios (see below) in downtown San Francisco. Classes are held Fridays, from 10:00 a.m. to 12:00 p.m. Call 510-303-2701 for location and details. Seydways Acting Studios Seydways Acting Studio is a comprehensive lab committed to the art and craft of professional acting. The Seydways Acting Studio trains actors for the profession who are in engaged in developing themselves to their fullest potential. We believe the primary life journey of the actor is to explore and expand the range of their own being so they can experience and express the multifaceted nature of our shared humanity. Our purpose is to create an authentic, intimate, safe environment which will nurture this exploration. For more information, click here. Studio ACT Studio A.C.T. provides the highest quality professional actor training for adults with beginning to advanced levels of experience. Our instructional style is experiential and performance oriented. Our instructors are working theater artists who love to teach, and class size is kept to a comfortable Science majors studying voice? The demolition of all vocal “systems?” He Catherine Fitzmaurice, whose “Fitzmaurice Voicework®” has literally bee In our continuing series on The Actor’s Voice, internationally known vocal about obstacles to vocal freedom and her populist vision for the future of Catherine Fitzmaurice doesn’t feel well today. Her sonorous voice – which and she has to pause frequently to cough. This would seem like a less tha instructor quickly proves that nothing could be farther from the truth. Currently in Albuquerque, New Mexico, Ms. Fitzmaurice is presiding over her students explore the techniques of Fitzmaurice Voicework®, her appr actors, voice teachers, and the curious to experiment with many things, b series of exercises in which students place their bodies in challenging yog and the delivery of text. Secondly, the students learn a process called “R re-structure the ways in which they shape sounds by integrating a physica producing sound. Instructed at London’s Central School of Speech and Drama, Ms. Fitzmaur America in the late 1960’s. During this time, she began to develop the ap such as UCLA, Juilliard, The Yale School of Drama and New York Universit University of Delaware, while calling New York City her home base. Her V sought-after forms of vocal training, combining solid vocal practice with e the nation flock to her workshops and seminars, some to discover what al Fitzmaurice Voicework® instructors. I sat down with Ms. Fitzmaurice in an empty dance studio to discuss her p cold, she nevertheless discussed her work with great vigor and joy. Equal professor provided insights filled with progressive theory and astonishing often considered an ancillary wing of actor training. Ms. Fitzmaurice, how center of the actor’s work. BRILLIANT SELECTION: THE CATHERINE FITZMAURICE ACTING NOW: For those who are unfamiliar with what you do, what is Fit Destructuring? What is Restructuring? CATHERINE FITZMAURICE: I think that I’ve always intended to teach peo young actors in training at the Central School, where I’d been taught, but make the noises that I thought the text was capable of drawing out of the enough into what the text might imply. So, the two things that I wanted t 3/8/2015 05:09 PM com/fitz_Interview. http://www. Why do that? Because people’s breathings are so compromised. and habit. the pelv I teach breathing I point out that breathing is not only air coming in and o body. ACTING NOW: What are the obstacles to freedom of breath? CATHERINE FITZMAURICE: Muscle tension. So direction. So the body gets compromised. You’re encourag that forces them to break those patterns of tension? CATHERINE FITZMAURICE:Yes. it’s not allow simply is not done.T. so you can get what I call a “global breath” where you can perceive torso.html this weird name of “Destructuring. ACTING NOW: So a person. Studio A. the positions that I use are specifically d the body and. ACTING NOW: And "Restructuring" is not about removing that sense of fre 3/8/2015 05:09 PM . ACTING NOW: So "Destructuring" is encouraging the body to unite with th and freeing – CATHERINE FITZMAURICE: It’s allowing anything to happen. click here. which is chronic. one of the nation's most respected arts institutions. Anything tha into the forest of Arden. What bre inspiration is an idea and a breath. placement. and rhythm. One holds in order to impact not only the body but the breathing pattern. they probably also interrupt breath rhythm. for their whole life. in doing so.T. what do we CATHERINE FITZMAURICE: "Restructuring" is the management of a breath oxygen. the whole face and jaw. the throat. ACTING NOW: If we defined "Destructuring" as a way to encourage freedo positions and integrating breath and voice with that process.” So that.cynthiabassham.C. is a vital part of the thriving circle of artists that makes A. holds something in. but is an intended breath with the rhythm of thought. Most importantly.” which is taking away habit and patte would re-inform that with something that was both physically efficient an ACTING NOW: Someone first approaching the work of "Destructuring" wou you’re asking me to get into challenging physical positions while I may be happening? And how is this "Destructuring?" CATHERINE FITZMAURICE: Well. into the fingers and the toes and face. ACTING NOW: And what are the key positions? CATHERINE FITZMAURICE: Well. So when the breathing itself is compro the expression flowing. They between the ribs] muscles or maybe in their lower back. T very early on to restrict the amount of input from other people or the am ACTING NOW: Why? CATHERINE FITZMAURICE: Because it’s not social behavior.C. basically anything that impacts the brea and internal. the abdomen. The word breath and idea. instead of breathing in to oxygenate myself an that I want to express to you. For more information.Fitzmaurice Voicework^® 2 von 7 minimum. You me CATHERINE FITZMAURICE: Yes. so that you can have that freedom? CATHERINE FITZMAURICE: Exactly. too. because nobody was overseeing w somatic behaviors such as Alexander or Feldenkrais training. ACTING NOW: What do you mean? You say you use a simple touch. but rather “breath management. but the relax meditation. I don’t try to squeeze too much. I would see someone doing my work and changed. bouncing sou CATHERINE FITZMAURICE: Yes. 3/8/2015 05:09 PM . So it’s about choice. or they interested in variety. and the letting go of the need to be “right” bec working on the voice. like other people working with see stuff. because when you are just taught [Sh made]. as well as spontanei ACTING NOW: The freedom to have all of the emotions and feelings. I’ve been working a lot with energy. reintegration. There was a “Strong movement! Muscle! Look good! Do it right! Be powerful! Very act relaxation.. or decide how loud it needs to be.com/fitz_Interview. ACTING NOW: Is that why you had to put these techniques together? Beca manage it or else it would just be [Interviewer makes wild. yes – so that you’re not controlling. if I see the upper chest is ti little bit or try to open it up physically – wrench it apart. whic you’ve got a technique to manage it. CATHERINE FITZMAURICE: Well. We certainly worked with relaxation. if I’m [she sp intakes of air] kind of hysterical [she returns to her normal voice] but I ne have that breath pattern quite spontaneously.html rib-swing while all of that freedom is happening? CATHERINE FITZMAURICE: Yes. I would say the most fertile time was the Academy of Dramatic Art] in Michigan.” So. in the most extr add some energy.. it was exercising itself. perhaps. Keep going. I what was told to me.cynthiabassham. For instance. people injure themselves or they’re not audible or clear. with regards to challenge!” CATHERINE FITZMAURICE: Well. yes. it was energizing itself. you see.(She starts to giggle) I’m not sure that you really want to have ACTING NOW: This is JUST what I want. it would appear to me that this body was maybe giving off heat was heating up. but I’m also interested in brilliant selection. if I’m a really goo don’t hurt myself.Fitzmaurice Voicework^® 3 von 7 http://www. yes. The body brings its own energy to the place and that en ACTING NOW: Are you moving away from physical manipulation because those areas is enough? And what brought you to thinking about energy an CATHERINE FITZMAURICE: Well. or blow too much. I think the meditation things that I did were as importan ACTING NOW: What is pre-occupying your mind right now. Whe touch and an energy relationship. ACTING NOW: How long did it take for you to develop this process – whic develop these fundamental ideas? CATHERINE FITZMAURICE: Well. You can bring awareness into the body. yes. ACTING NOW: Why more gentle? CATHERINE FITZMAURICE: Because it’s less effort. It’s information which very few people hav know that breath is involved with voice! To answer your question. So I started listening to.html Now you know if you look at the hood of a car or a hot road. wh spaces – improve. but on breath and managing th ACTING NOW: Are we moving away. ACTING NOW: In your VASTA (Voice and Speech Trainers Association) bio. if there was a ratio of improvement from a voice. The body is too often objectified and I want to bring aware proprioception. I see [vocal pedagogy] as moving beyond theatre offer it as an alternative to yoga. why not work with an injured or almost dysfunctional voice and se bring it to normalcy? I’ve worked with people with spasmodic dysphonia. Alexander [Technique] has been accepted for a long time. and reading ab so much that I went to the Barbara Brennan School of Healing. as you look around. What does that mean? CATHERINE FITZMAURICE: [It means that I'm interested in] moving away bring what passed for a normal voice into a kind of creative brilliance.’s who may be Business m people as simply information. “You’v someplace else. CATHERINE FITZMAURICE: Yes. And it’s less invasive. from a “right way to CATHERINE FITZMAURICE: I hope we are. what do you find to be t thinking about the voice. ACTING NOW: But. Yes. I think that [Fitzmaurice Voicework®] really can and because of its focus not only on body. is that what you’re actually seein 3/8/2015 05:09 PM . which has but what they talk about. internally – even i trusts oneself. as an alternative to any of the bodywor in this century. is chakras and what they call “Leve and is entirely unusable by me as a theatre trainer. It’s disengaged. to B. your work. Yale School o bring this work into the liberal arts area.Fitzmaurice Voicework^® 4 von 7 http://www. So. But some of it was ve So there are certain intuitions or other knowings that I’m beginning to tru touching them gentler. So why not use these techniques? ACTING NOW: As you’re looking out at the field. of using the voice? Where are we going? CATHERINE FITZMAURICE: I think that it deserves to have much wider cu conservatories like the Central School of Speech and Drama. ACTING NOW: You start to trust your physical intuition. and teach. you’re working all the time with the “substance body” and saying. in your opinion. and the mind becomes free together with the body. you can see bodies. it can be the creative or intellectual person: the m divides them. and brought them to normal voice. But when you’re working with energy – t therefore bridging – through breath and energy – what the material body be the spiritual body.com/fitz_Interview.A.cynthiabassham. That interested me a lot. somatic disciplines now. literally. to know that they really with your work.Fitzmaurice Voicework^® 5 von 7 http://www. or ACTING NOW: I think that’s key for our readers. but I’m more inte letting the sound be the result.html CATHERINE FITZMAURICE: Yes it is what I’m seeing. It’s six hours. it does – in the same way that music comes from the piano. six and a half teachers who didn’t have the knowledge of my work. “What sound are you making? Make the Sound! Anoth they’re listening to sound and they have good intuition. teaching a voice workshop to adults – ACTING NOW: All day long. It takes a while for the group to get to know one anothe is a very specialized situation. 3/8/2015 05:09 PM . you see. excited intake of air]. right? It’s completely silent. To make sound is a physical. rather than an aud ACTING NOW: That’s important for your work. It definitely is. starts by thinking that the way. I’ve also got people who don’t have a clue wh place. where people are actually beginning to let go. in this wor years or more.cynthiabassham. as students. does it take someone to go from workshop like the one you’re teaching here at UNM – to the moment whe CATHERINE FITZMAURICE: It totally varies. CATHERINE FITZMAURICE: All day long. yes. yes. If you’re going always for results and you with. ACTING NOW: How long. yes. ACTING NOW: You have to be willing to experiment with the concept of b exciting the vibrations in your body. And the breath is also relate sudden.com/fitz_Interview. ACTING NOW: Why? CATHERINE FITZMAURICE: It takes a while to really believe that there is that permission. I am always been about. yes. I had people crying. "I’ve got something to tell you!" ACTING NOW: The inspiration? CATHERINE FITZMAURICE: The inspiration. in your opinion. CATHERINE FITZMAURICE: That’s right. you can injure people. or that they actually work with you. [We need to] do the necessary work with the b you develop a kinesthetic relationship with your voice. but they’ve come to kind of system. The person who has to climb inside mindset I have to change. But it do plays it. I think. It’s not just a way of know CATHERINE FITZMAURICE: You have to do it. CATHERINE FITZMAURICE: It has to be. You can’t write about it. so that they can get DOING. And. ACTING NOW: What are some of the biggest vocal challenges you hear fro work? CATHERINE FITZMAURICE: Everybody. in th what I’m talking about you have to be willing to do that. which is what other people are doing. the alway can go so mystical about it. I thin ACTING NOW: Conceptual ideas aside. vocal as well as physical. the vocal gesture. And we’re left with the sound of this person ACTING NOW: “Cannibalizing” the voice. You can share. You could be an actor but you didn’t have to have a v for is when the voice and the creative juices flow together.Fitzmaurice Voicework^® 6 von 7 http://www. but it’s also an extremely practical thing. but I would still like the focus of breath management to be current and common knowledge.com/fitz_Interview. It doesn’t matter if you don singing or speaking. to follow curiosity. b dismissive of voice. so I finally agreed to put my name on them legitimacy and coherence and a voice in the world: [She affects a v voice] I think all of these systems.html I hate the whole idea of systems. but they do it a different wa with me asked me to do the same. An you listen to me and I’m speaking to you. You can still sing or speak your joy. [Breath is] life – literally! If you inhib delicious to me.” “Hey. Curiosity is desire ACTING NOW: Would you say that the best advice is to get fascinated wit CATHERINE FITZMAURICE: Yes. wil world. 3/8/2015 05:09 PM . have different things so whatever works for them is fine by me. It’s an art objec they don’t really want to be bothered or take the time to learn the proce I think the process is interesting as a human development. Also. when you’re a good singer or speaker. avoid this pitfall. whether you’r self-empowerment or become a better actor. how about some practical stuff for day?” Or. have different bodies. and it is still so delicious to me that I will just seek out a ACTING NOW: Why has breath been ignored for so long? CATHERINE FITZMAURICE: People are fascinated by the result of the brea The sound makes you feel good. “Hey. which is why I resisted writing and why Voice. try this. it took me ten years to CATHERINE FITZMAURICE: I would say that they have to listen in to them themselves or force anything. ACTING NOW: Final thoughts or words to a young actor who might be rea get ignited about voice? CATHERINE FITZMAURICE: Well. within the next generation or two. so that an im that the vocal behavior.cynthiabassham. especially when you’re listening to it. is as important and interesting behavior on stages nowadays where people are working to “try to express they’re hurting themselves. We’re sharing the air. ACTING NOW: What’s your advice to a student who is just getting interes CATHERINE FITZMAURICE: Well. I don’t know whether it’s so anymore. ACTING NOW: Your fascination was with breath and with the body. [It know how to do it. I would advise them to touch base with a I think people have different needs. I’m as CATHERINE FITZMAURICE: I was totally fascinated by breath because I sa behaviors. Fitzmaurice is curre regarding this technique. Gene About the founder. and the Moscow Art Theatre. a real pleasure. including Speech and Drama. if they allowed themsel into sound turning into the expression of an idea.Fitzmaurice Voicework^® 7 von 7 http://www.com/fitz_Interview.html CATHERINE FITZMAURICE: Cannibalizing is a great word! Cannibalizing th easy and come from so deep and manifest so far. Catherine Fitzmaurice Catherine Fitzmaurice studied at the Central School of Speech and Drama and prizewinner. During the last thirty-five years. Now based in New York. (She giggles) It styles of language and so many different behaviors: psychological. It’s fun.cynthiabassham. physio It’s fun. she has adapted body-b combined with classical techniques to form Fitzmaurice Voicework®. ACTING NOW: Catherine Fitzmaurice. Cynthi Original Site by ess-eff 3/8/2015 05:09 PM . Ms. Other Class Information: Seydways Acting Studios | Studio ACT | Private Coaching home | resume | reviews | c Copyright © 2004-2007. please visit her website. CATHERINE FITZMAURICE: Thank you. she has taught voice all over the world.