In the workshop we are working on voice through the body – the body is an instrument of voice, body resonates when we sing and the body carries the voice.
»Voice has many bodies, body has many voices. So they are never in lack of each other. Height depends on how deep you stand, the depth depends on how high you imagination is jumping. Feeling of being in tune comes from feeling the other – the one who sings next to/in you – a feeling in between your ribs. A bit lower or a bit higher…it depends on which body you are in. It depends on which voice you sing in, in which one you hear… Or you just feel it in such a way as if you don’t feel anything…because you are no longer – you yourself is absent, but you are all in the singing – you are present… In the moment when you have forgotten the text, you knock on the door of improvisation, innovation and we might find many fancy names on iiii, but thanks to a music, we forgot about it. So just fallow the rhythm. And the rest will come.When you’re out of tune, you’re just out of tune. Or you could hear inside that a voice that is escaping from you and wants to play with you. If you have a text, but no melody, then you just need to sustain and stand the silence – you need to listen to it as long as it’s needed for a mumbling to become a rhythm, to become a melody, to seduce you and finally until it bites your body. To hear yourself you need to be brave. Eh, just open that door and start to voice yourself out!«
In the workshop we are working on voice through the body – the body is an instrument of voice, body resonates when we sing and the body carries the voice. Through the physical exercises, through connecting to the body and it’s movement we come also to the voice – seeing and hearing how the voice can be prolongation and continuation of physical action. With exercises of breathing and relaxing the body, we can resonate with voice and by opening an ear to it, we can come to our own rhythms and melodies which we organically carry. Experimenting with voice can bring us to different faces, stories that each voice has.
On the other hand taking the text and working with it as a composition, we can embody it and come to singing with it, or just speaking it to the space, sending it to space to resonate. By approaching it musically we can come to different text interpretations.
At the end singing is just singing – working with old songs, learning them and just singing them as simple as singing can be, learning about singing through them, can bring us to simple beauty of a song.
Irena Tomažin is a dancer and singer. Until now, she has created five performances and has collaborated with many Slovenian directors, choreographers and musicians. Her dance-theater and voice education she gathered in dance-theatre, in programs such as Laboratorij of EN-KNAP; the educational program Agon of EMANAT; in the contemporary performing arts seminars of Maska Ljubljana, as well as in many workshops and seminars in Slovenia and abroad. In 2004, she received a scholarship from the Dance Web program in the frame of the ImPulzTanz festival, and in 2007, she was selected by Atelier of workshops and creation in Wroclaw, organized by the Grotowski Institute. She has her own project for voice and dictaphones entitled iT, which she has performed at many festivals at home and abroad. She collaborated with Bast Kolektiv of Aldo Ivančič in the recording of the cd Retinal Circus, as well with many different musicians. She participates in the experimental improvised music workshops organized by Tomaž Grom and gives a voice workshop. For her performances Caprice and caprice (re)lapsed, she received the Golden Bird Award of the Liberal Arts Academy. She is also a postgraduate student of philosophy.