ONE VOICE Centre for Integrative Studies

Communicating across boundaries, through research, integrative pedagogies, and practical training

To book courses in the US and abroad, please contact Joan Melton at joan.melton@joanmelton.com.

Founders

Joan Melton, Voice/Movement Research and Training, Director of Programs

Jennie Morton, Anatomy/Physiology, Voice and Dance Technique Integration 

Guest Artists

Irene Bartlett, Jazz/Contemporary Pedagogy

Janet Feindel, Voice/Dialects and Alexander Technique

Wendy LeBorgne, Professional Voice Care

William Lett, Tap/Voice for Musical Theatre

Marya Lowry, Roy Hart/Ecstatic Voice/Lamentation

Michael Lugering, Expressive Actor Training

Patricia Prunty, Classical Singing Techniques

Mimi Quillin, Dance Techniques, Jazz

Mary Saunders-Barton, Singing in Musical Theatre

Neil Semer, Vocal Technique and Performance Practice

Kenneth Tom, Vocal Anatomy/Physiology

Pat Wilson, Studio Work/Mic Technique

Faculty Bios

 

Practitioners

Julio Agustin (Hons), US

Zac Bradford (Hons), Australia/US

I Putu Budiawan (Hons), Australia

Sammi Grant, (Hons), US

James Harrison (Hons), Australia

Robert Lewis (Hons), Australia

Maggie Marino-Pitts (Hons), US

Amanda Wansa Morgan, US

Erica Northcott, Canada

Sara Paar, US 

Elizabeth Smith, US

Jennifer Spencer (Hons), Canada

Caitlyn Stirling, Australia

Janet Van Wess, US

Jack Wallace (Hons), England/US

Practitioner Bios

 

FEATURED PRACTITIONER

CAITLYN STIRLING, Actor, Technical Theatre Specialist and Arts Teacher


Caitlyn Stirling is currently working in the disability community in Tasmania while taking a break from university studies. She has been enjoying giving back to her community by mentoring art and drama in disability groups in Launceston.

Caitlyn is mentoring at Interweave Arts, holding workshops in theatre, sewing, and art performance. She has just wrapped up the annual REMADE Fashion show with Interweave, focusing on outfits made of wearable art and objects by Tasmanian designers and artists featuring recycled materials. In September, she will stage manage RE-EMBODY at Junction Arts Festival, a community-based project bringing local artists together to create a sensorial experience through light and shadows.

In August, Caitlyn set her foot back on stage with Anatomy of a Suicide, by Alice Birch. Caitlyn was thrilled to be cast in this show with a new professional company, IO Performance. The play tackles depression, post-natal depression, and the generational impact of trauma. There are three timelines running concurrently on both the stage and a projected screen, for two hours without intermission. The script is beautifully written, with sub scenes running throughout. However the director wisely broke down the rehearsal process so it was easier for the actors, then finally brought it all together as this spectacular performance unfolded. Caitlyn played multiple characters with quick changes. She especially enjoyed Emma and Daisy, a mother/daughter duo who interacted with the three female leads.

Caitlyn will be returning to university next year for a Masters in Speech Pathology at the University of Canberra. She is looking forward to that new adventure, starting in 2020!


 

Perspective – excerpts from “Integrative Links,” by Joan Melton

Voice & Speech Review 2013

Even in integrated programs, there is seldom the opportunity or incentive to really listen to experts outside our own respective field(s). The only people who must listen across disciplines are our students, who regularly take classes in dance (e.g., ballet, tap, modern, jazz), voice/movement for the actor, singing (e.g., classical, musical theatre, jazz, pop, rock) and acting. And the potential for conflict in all of that is enormous!

At the most basic level, what seems to separate us clearly in the training process is our concept of anatomy and physiology…Acting curricula probably come nearer to putting it all together than either singing or dance. Yet, even from actor training, students more often than not emerge thinking the diaphragm is something in their belly that they’re supposed to use—consciously—somehow.

Jennie Morton said, “A better anatomical understanding amongst both performers and teachers can ultimately give them better tools to work with…” 

In addition, it takes getting out of our own little corner to see the links from one discipline to another. Long-held views can change—and that’s scary—and what is “true” today may be only partly true or transformed tomorrow. So we must be daring. We must actually listen to colleagues, address the information gaps, and follow threads we never before considered—because staying put is simply not an option.


Click here for information re ONE VOICE Training - for performance specialists in Theatre, Music and Dance