A Master Class by a Voice Guru

I didn't post anything on my blog in May, not because I didn't do any writing but because I was waiting for my writing to be published. Here is the link to my first piece, a review of Find Your Voice: A Definitive Guide for Stage Actors and Voice Professionals by P.C. Ramakrishna in The Book Review, 46(6).

Audiobooks and dubbing films for regional audiences in India are opening up a whole new market for people whose vocal cords are their raison d’etre. P.C. Ramakrishna’s book Find Your Voice: A Definitive Guide for Stage Actors and Voice Professionals could not have come at a better time for Voice artistes. The first of its kind in India, the book is an excellent mixture of the theory of Voice and how to cultivate and preserve it, as well nuggets on the features of the field of Voice. There are two distinct sections to the book. The first three-quarters of the book explicates the theory and practice of Voice production for primary stakeholders: stage actors, voiceover artistes, singers, animation voicers, radio jockeys and public speakers. Ramakrishna recognizes the differing needs of each of these professionals with regard to usage of vocal cords and production of sounds. For instance, voice projection for stage actors as against voice modulation for voiceover artistes. Every chapter has a wealth of exercises and relevant materials for each kind of voice professional. The last quarter of the book consolidates and expands these best practices and exercises for a cohesive approach to voice training. The practice material of words, sentences and dialogues in each chapter are classically relevant and appropriate, even if younger artistes may consider them dated.

He brings to the book the same deceptive casualness and insouciance that has been a feature of his Voice career. Adopting a conversational tone, he uses the pronoun ‘you’ rather than ‘s/he’ to address the reader but this apparent breeziness is belied by the specificity of his instructions such as the placement of a mike for clarity.

‘Voice Artiste’, the first chapter on the physics of voice is an anatomy lesson, describing the parts of our body involved in the production of speech. ‘Voice and the Actor on Stage’ lays out concepts of volume and throw. It is also a primer on phonetic features of sibilants, plosives and end consonants that contribute to clarity. All three concepts add up to audibility. ‘The Chemistry of Voice’ focuses on ‘colouring’ the Voice, adding emotion to it, for example on tone and sounds like shouting, screaming, wailing and laughing that convey feelings. Chapter 4 ‘Voiceover Artiste’ provides an overview of different sub-genres in voiceovers – newscaster, human interest story, the medicine industry, tourism, nature documentaries, children’s stories, ads, son et lumiere  - that target different emotions in viewers/listeners. For example, awe and wonder for nature documentaries, husky ‘come hither’ for perfume, and friendly and expressive for children. Two short chapters are devoted voicing animated films and a radio jockey, including crafting an interesting spiel for an RJ.

‘Singing Voice’ addresses subgenres such as the Carnatic or Hindustani vocalist, singing for classical dances and the choral voice. The explanations of chest and head voices for singers, the natural pitch classification in Western music, and the preferred range of two and a half octaves a singer should cultivate, are comprehensible even to a novice of music. ‘Stage Spaces and the Actor’s Voice’ is a practical extension of Chapter 2; Ramakrishna focuses on helping actors gauge voice throw and range required by different kinds of stages.

Training the Voice: Chapters 10 to 14 – ‘Nurture That Voice’, ‘Exercises’, ‘Do Workshops “Work”?’, ‘And… Here Come the “Spoilers”’, ‘Find Your Voice’ - unequivocally constitute a how-to section. Pulling together and extending tips, suggestions, processes and exercises, it is a time saver for professionals who can build a voice routine without wading through multiple chapters. Two chapters are devoted to nurturing and exercising the voice. Ramakrishna warns against Voice workshops not connected to a theatre space or a recording studio; don’t waste your time and money. The final chapter slips in an observation about learning from listening to other interlocutors, a skill which deserves more attention. Ramakrishna states explicitly, and often, that complete, thorough, detailed preparation is key to success, an idea promoted by every resource person. He then provides a roadated map specific to Voice artistes: read and reread the script; visualize the scene; identify the overall emotion and any varying emotions through the piece; check spellings; mark pauses, breath and intonation. Then … Practice pronunciation. Practice modulation. Practice breathing. Practice, practice, practice.

 Miscues: Two chapters do not fit smoothly into the theme of the book. ‘The Public Speaker’ expands the mnemonics ABCDEF of a good public speech rather than Voice features of an orator, a motivational speaker or a storyteller. ‘And Here … Come the “Spoilers”’, while interesting, is more directly related to acting and performing plays than to Voice.

Ramakrishna has overlooked another profession where voice is used every day and continually – teaching. Given the cacophonous ambient noises most teachers contend with, and that 90% of time in a classroom is teacher talk, it is not surprising that teachers constitute the bulk of an ENT specialist’s patients list. Learning not to rely on volume but to throw their voice to 60 students in less than ideal settings would be invaluable for teachers.

PC Ramakrishna knows whereof he speaks. He found his Voice and has capitalized on it for 50 years. An ‘early adopter’ in many fields related to Voice - actor with the oldest English theatre group in India; bass singer in the oldest Indian language choir; newscaster on Doordarshan Chennai - he is still the most sought after commentator for heritage and corporate films in India. He brings to the book the same deceptive casualness and insouciance that has been a feature of his Voice career. Adopting a conversational tone, he uses the pronoun ‘you’ rather than ‘s/he’ to address the reader but this apparent breeziness is belied by the specificity of his instructions such as the placement of a mike for clarity. The level of detail and the examples and exercises he provides make clear the kind of hard, sustained work necessary to maintain the high level of professionalism he has achieved in this field. An eminently readable and useful book gains in authenticity because of the personal experience and expertise the author brings to the subject.

The first of its kind in India, the book is an excellent mixture of the theory of Voice and how to cultivate and preserve it, as well nuggets on the features of the field of Voice. There are two distinct sections to the book. The first three-quarters of the book explicates the theory and practice of Voice production for primary stakeholders: stage actors, voiceover artistes, singers, animation voicers, radio jockeys and public speakers. Ramakrishna recognizes the differing needs of each of these professionals with regard to usage of vocal cords and production of sounds.