Modern Society and Communication

Freeing the Voice Linklater's (2006) book 'Freeing the Natural Voice', and the introduction to the book, have the aim improving vocal communication. One thesis which may be extrapolated from in is that the natural voice may be seen as akin to a musical instrument capable of a wealth of expression, but the ability of individuals to fully express themselves with their natural voice has been constrained by blocks and inhibitions present in modern society.

Understanding this potential constraint, and how it may limit the use of vocal expression, Linklater presents a work that aims to help the reader develop their vocal skills. The introduction provides a basis for the thesis presented above. It provides information on the type of blocks are constraints which exist, and how they may be overcome. For example, Linklater (2006) argues that the first steps in overcoming limitations which lead speakers to stay with in speech patterns that are familiar, rather than natural, is physical awareness and relaxation.

However, for actors there is a paradox, as they need to train their voices for their roles, rather than simply freeing them to express emotional impulses. In this context, the voice is more than the communication of words, but the communication of imagination through depth and tone (Linklater, 2006).

Just as athletes may train their bodies, actors need to train their voices, and by freeing their voices from everyday constraints, there is a great ability to satisfy the demands of the roles they take on, enabling them to balance the different quartet of inputs into the role, which includes intellect, emotion, body, but is invariably expressed predominantly through the voice, guided by the imagination (Linklater, 26).

The introduction lays the foundation for the aims of the book, starting to open the mind of the reader to consider the voice not only the tool, but instrument which is part of a wider actor's orchestral ensemble. This can be seen by the subsequent sections.

The section "How the Voice Works" provides a basic physiological outline on the process of speaking, starting with the intention to speak beginning as an impulse in the motor cortex of the brain which stimulates the relevant biological actions where breath enters the leaves the body, making a sound creating oscillations through contact with the vocal folds (Linklater, 2006).

The type of noise which is created is the result of the brains control over the process, including timing, stress and tension in the vocal tract, positioning of lips, shape of mouth, and control of air pressure (Linklater, 2006). Understanding the anatomical influences, and the physiological aspects of voice creation empowers the individual to increase self-awareness regarding those elements in order to control the voice that is put out (Linklater, 2006).

In the context of the thesis, an individual may be able to help themselves overcome some of the constraints used in everyday speaking that result from the societal influences and familiar patterns. Increasing control, and using the voice as an instrument is presented by Linklater (2006) as a six stage process. However, while it is important to know how the voice works, it is also important to know how the voice does not work. Linklater (2006) provides a section on this topic.

While there are many elements related to voice at an individual control, there are also problems associated with primary impulses which have been conditioned since childhood creating instinctual responses (Linklater, 2006). Initial voice control starts the baby, where the baby's voice is used as a survival mechanism, to indicate hunger, discomfort etc. early lessons demonstrate the type of voice which is successful, and those which are not. These lessons become primary response mechanisms associated with specific outcomes.

This process continues throughout childhood, developing a strong set of psychophysical vocal responses, with a situation becomes complex when factors that constrain spontaneity arise. In this situation the voice cannot work effectively, with confusing messages that inhibit the natural voice. In some instances they may restrict ranging residents of the voice, while in others they may be leveraged by actors in order to create desired vocal output. The information helps to empower speakers to fully leverage the potential of their voice.

However, there are some issues which may benefit from further consideration. Even in this text it is recognised that there are some constraints which may not be overcome, these include issues such as conditioning, but also the physical limitations of the voice. If.