Body Dialogue for Performing Artists

Janice’s work is critical for performing artists. Her understanding of the body allows her to  identify physical tension patterns that restrict the sound and  resonance of the voice. Once these patterns of constriction are identified, Janice helps her student to inhibit them and develop new, more healthy patterns. Groundedness and fluidity in the body and breath allow the body to breathe with ease, and the voice will naturally find greater power and resonance. Without unnecessary tension, the body is a resonant instrument. Students will develop a greater sense of trust in the consistency of their technique and the reliability of their voice.

Drawing on the tools of the Alexander Technique, performers feel more confident on stage and are able to confront some of the fears that come with performing.

This talk is useful for anyone who has to speak publicly

The work that Janice does with singers is truly transformative. I have experienced it for myself, and seen (and heard!) it in other opera singers. She has shown me how important my entire body is when it comes to vocal production. Janice’s Body Dialogue work has helped me to eliminate tension and constriction, allowing me to use my breath to produce a powerful, resonant sound with almost no effort. Janice is a gifted teacher. She provides not only an intellectual explanation for how to use my body to sing, her hands-on work also allows me to feel the changes in my musculoskeletal system and my breathing. This gives me a fuller understanding of how the process works. This sensory aspect of the work also helps me to reproduce the feelings of stability and release when I am performing.

~John Wettach, Florida Opera Theatre

Janice Rous is a magician! Her intuitive sense of misplaced tensions in the singers and actors who are fortunate enough to work with her in our ‘Summer Opera Institute’ is remarkable. She understands the absolute necessity for singers to be free in their whole bodies to allow the entire instrument (breath, phonation, resonance, and imagination) to perform at its best. Best of all, she not only possesses the tools to identify the tensions, but she teaches students how they themselves can eradicate those tensions and constantly experience a renewed sense of release and efficiency in their singing and their acting.

~ Thomas Potter, Executive Director, University of Central Florida Opera

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