martes, 22 de mayo de 2018

La imagen acústica

Si bien el arrojo es fundamental para que el sonido se proyecte,es muy importante la claridad de la imagen acústica a proyectar. En el momento de la respiración se debería poder evocar la frase antes de emitirla...esto es lo que da seguridad y entonces afinación...Es parte de la calibración del instrumento...y es un acto de absoluta presencia que permite transmitir la emoción vigente en el acto de cantar.

viernes, 18 de mayo de 2018

lunes, 14 de mayo de 2018

Un instrumento que puede ser interpretado

La voz es vehículo de la palabra.Es la primera posibilidad de tocar a quien escucha...puede ser un instrumento según como la utilicemos. Instrumento de transmisión, irradiación y contacto. En el canto,ademas del valor de la palabra,la liberación del sonido delata una presencia que se funde y significa en quien la escucha. Es una tarea que continúa siempre,un ejercicio de vida. En el nivel que cada uno pueda entregarle, trabajar sobre este instrumento ayuda a transformar conductas que muchas veces impiden la comunicación. Seguir investigando y desarrollando en cada persona sus posibilidades sigue siendo revelador y mágico.

martes, 8 de mayo de 2018

Primera clase

Y llega después de meses o años de pensarlo,llega cuando lo siente,un alumno nuevo.Viene por que alguna vez le dije que había una voz a descubrir...Para mi se abre un camino y para él se abre una puerta sensible...Después de trabajar con vocalizaciones voy sintiendo y escuchando por qué lo invité a trabajar,entonces le pido una canción de la que me hablaba...Era una nana en alemán... que escuchaba a cantar a su mamá...Algunas palabras faltaban y se convertían en nanana...la emoción invadía el cuarto mientras la voz iniciaba su desprendimiento... De ésto se trata...la voz propia habita y trasmite emoción...sentido y presencia.

sábado, 28 de abril de 2018

Docencia / Teaching

Teaching Maria’s career as a teacher began when she was a teenager, as the assistant of Alicia Lurá, who gave classes of Introduction to Music for children. Her purpose was to help those who had difficulties to learn or to keep up with the rest of the group. Two years later, she started having her own students, who were boys and girls aged 5 to 12. She carried out this activity from 1980 until 1985. In 1983, she became the coordinator of a Workshop of introduction to aesthetics in the Museum of telecommunications in Buenos Aires for kids, where they worked with singing, art and speaking. From 1986 to late 1987, she created a workshop in her studio for children aged 10 to 12, where they could work with writing and illustration with language as a matrix to generate images, the introduction to poetry and introduction to music. She was also the coordinator of adult groups for Introduction to Singing and Singing for those who are out of tune. Between 1987 and 1988, she coordinated music groups for children in “La escuelita” Jorge Newbery 2909. In 1988 and 1989, she trained actors on vocal skills for the play “La mujer del abanico” (in English, “The woman with the fan”) by Yukio Mishima, directed by Mónica Viñao. From 1994 and until 1998, she gave seminars on vocals for actors, acting students, announcers and singers. In 1994 and 1998, she also gave seminars on vocal technique for actors in Calibán, the studio Norman Briski had at Mexico 1428, Buenos Aires. She has been giving singing and vocal technique classes since 1990 in her studio. Thanks to all these classes, she has put up shows with her students in different rooms and theatres, for example, Foro Gandhi, Centro Cultural Las Cañitas, Teatro Santa Maria and Colegio Nacional Buenos Aires. Since 2013, she has been organising and giving seminars of meeting with the voice in Italy, once a year, called “Incontro con la voce.”

sábado, 21 de abril de 2018

Vocal Technique Intensive Seminar

The voice is a part of the body that needs an available body to express itself and the vocal technique helps us find our voice, which is generally hidden within the behaviour we socially acquire. The voice is a channel of claim and expression at the same time through which we can recognise the mood of our loved ones: their anger, their love, their joy or their sadness. It is a direct channel of emotion. Working on this channel is vital for communicators, for example, teachers, actors, therapists. This is a space of self-discovery for those who are interested. The purpose of the seminar is to discover the possibilities and difficulties presented and to assess what is necessary for its development and healing. The task is carried out through vocalisations and exercises related to breathing, projection and diction. It is not necessary to be in tune nor to have “a good voice.” We work on texts and songs. The objective is to create a path towards a voice that could represent us. Such voice if often unknown to us. The minimum number of people is 6, and the maximum is 20. The duration shall depend on the number of people, between 2 and 2 hours per session. An intensive seminar may consist of 2, 3 or 4 sessions, according to the possibilities of the institution or the group’s needs.