Acting the song : integrating Stanislavsky’s techniques and the estill method into musical theatre training

Abstract

This dissertation studies how Stanislavsky’s techniques and the Estill Method, a voice training system focused on precise control of vocal structures for versatile and healthy vocal performance, can be integrated into the practice and training of Musical Theatre. The study aims to explore how performers can embody characters and express themselves through music, connecting their emotions with the essence of the song, a process that I refer to as ‘acting the song’. Using Practice as Research as the methodology, the study involves workshops with two performers to examine in practical terms the application of these techniques in Musical Theatre training. From Stanislavsky’s vast arsenal of techniques, the research focuses on Circles of Attention (First, Medium, and Large Circle), the Magic ‘If’, and Given Circumstances. These techniques are considered essential for allowing performers to engage with their characters, enhance their focus, and respond authentically to the imagined situations of the song. The application of Stanislavsky’s techniques in Musical Theatre will be considered as an instance of transmission, where acting practices are necessarily adapted once they migrate to different contexts. In the case of the Estill Method, the study will highlight its six vocal qualities, namely Speech, Sob, Belt, Falsetto, Twang, and Opera. These vocal qualities help performers to diversify their vocal expression and adapt their singing style to suit different emotional and situational contexts within a song. Mastering these qualities enables performers to convey a wide range of emotions and intentions, making their performance more dynamic and engaging. To support its argumentation, the dissertation includes interviews with two singers and vocal coaches, Ms Pamela Bezzina and Ms Rachel Fabri Camilleri. These interviews will provide insights into the benefits of the Estill Method and its application in Musical Theatre training. Other interviews were carried out with the participants of the workshops, which shed light on the practical use and advantages of combining Stanislavsky’s techniques and the Estill Method in Musical Theatre training. The dissertation therefore combines theoretical exploration, practical workshops, and interviews to shed light on how the field of Musical Theatre can benefit from the more holistic approach of acting, rather than simply, singing the song.