Communicating across boundaries, through research, integrative pedagogies, and practical training
To book courses in the US and abroad, please contact Joan Melton at email@example.com.
Joan Melton, Voice/Movement Research and Training, Director of Programs
Jennie Morton, Anatomy/Physiology, Voice and Dance Technique Integration
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
Julio Agustin (Hons), US
Zac Bradford (Hons), Australia/US
Kristen Calgaro (Hons), US
I Putu Budiawan (Hons), Australia
Sammi Grant, (Hons), US
Crystal Hanson (Hons), Canada
James Harrison (Hons), Australia
Robert Lewis (Hons), Australia
Maggie Marino-Pitts (Hons), US
Erica Northcott, Canada
Sara Paar, US
Nick Salamone (Hons), US
Noémi Sárog (Hons), Hungary/US
Elizabeth Smith, US
Jennifer Spencer (Hons), Canada
Caitlyn Stirling, Australia
Petra Valman (Hons), Sweden
Janet Van Wess, US
Jack Wallace (Hons), England/US
Colton Weiss (Hons), US
JENNIFER SPENCER, Actor, Director, Playwright
Jennifer Spencer is an Edmonton-based Actor, Director, Playwright, and Voice/Text Coach, and a multiple Sterling nominee for her work as actor, director and playwright. A graduate of the National Theatre School of Canada and the Theatre Arts Program of MacEwan University, she is the adaptor and director of the wildly successful Maggie-Now Cycle of Plays. Her most recent play, Enchanted Antlers, which celebrates All Ungulates Eve with Elk, Moose, Deer, Beaver and new friend Bear in The Wallow, received a 2019 Edmonton Community Foundation grant that allowed it to tour to elementary schools in the Northend of Edmonton—much to the delight of children and teachers in the schools! An online, interactive version of the play can be viewed here: https://www.youtube.com/watch?v=HJTF1vj19wQ
Jennifer holds Certificate Levels 1, 2 and 3, from the CCM Vocal Pedagogy Institute, Somatic VoiceworkTM, the LoVetri Method, and is a “serial repeater,” attending at least one workshop per summer! That and the training from One Voice Centre form the basis of what she teaches in her voice and text classes and with private clients.
Jennifer’s most recent credits include playing Holly in The Myth of the Ostrich for Praise Doris Productions, Agnes in One Polaroid for Vanhehir Productions, and Medea in Tom Paulin’s Medea at The Serca Festival of Irish Theatre and The Thousand Faces Festival of Mythic Theatre. Jennifer also wrote and directed, Finn McCool And The Salmon of Wisdom and Other Ticklish Tales, which played to sold-out houses at The Thousand Faces Festival of Mythic Theatre in 2016. And she directed Anthem of Life, a Traditional Zulu Creation story adapted by Tololwa Molele, which integrated Classical East Indian Dance and Music, for The 1000 Faces Festival of Mythic Theatre.
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.
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