The Linklater Voice Technique
“Freeing the voice means freeing the person.” – Kristin Linklater

WHY?

This work is for anyone who:

** Experiences vocal strain or loss of voice
** Struggles with feeling/expressing big emotions on stage
** Feels their voice is small, withheld, or doesn’t represent them
** Wants to express themselves in a more open, clear, and satisfying way

HOW?

By tuning in to the body – the bones, diaphragm, pelvic floor – we can experience breath as the effortlessly infinite resource it is, and retrain the body and mind to share thoughts and feelings shamelessly – unabashedly!
We build awareness of habitual tension in places like the belly, throat, jaw, and even tongue. We give generous attention to our main resonating chambers, the chest, teeth, mouth, and skull. (Vibrations love attention.)
With anatomically precise exercises, we travel through simple, imaginative experiences that will help encourage greater natural resonance, drain unhelpful tension, and develop the openness necessary to be fully heard.

WHO?

About Me

I’ve spent my life in the study and practice of acting. I began working professionally at 17, and have since been lucky enough to work in NYC with theaters such as Roundabout, Classic Stage, and the Signature Theatre; and in Vermont with Burlington City Arts, Vermont Stage, Vermont Symphony Orchestra, Full Circle Cooperative, and Middlebury Acting Co. I earned my BFA in acting from the University of New Mexico, trained at the American Academy of Dramatic Arts in Hollywood, and achieved my MFA in acting at Columbia University, where I was lucky enough to be in the last group taught there by Kristin Linklater. I’m in the final months of my years long journey to become the first and only Designated Teacher of the Linklater Voice technique in Vermont. I began studying the technique when I was 19 and have practiced it for nearly 3,000 hours. The process of becoming a designated teacher involves (among other things): Previous professional experience as a performer, 50 hours of 1-on-1 study with a master teacher, multiple workshops, advanced classes, hours of observation, study groups, as well as two separate 3-week on-site teacher training intensives. I have one 3-week intensive to go before I am Designated in 2025.

I believe a performer’s job is to investigate themselves intimately and use what they find to electrify the story they are telling. I use a holistic approach to acting that relies on enlivening the actor’s mind, body, feelings, and imagination to be supple, reactive, & changeable. We all inherently know how to play make-believe and how to be vulnerable, but that doesn’t mean it’s easy. My job as a coach is to recognize what’s getting in your way, and give you the tools and confidence to breathe through it. I know that if you bring a grounded, spontaneous, feeling self to Stanislavski’s idea of living truthfully in imaginary circumstances, you will never leave your audience disappointed.

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