Richard Chappell

Christine Probst

Christine attended a Roy Hart voice workshop week in 2016

Describe the course you chose to attend

I attended a one week intensive course entitled “Giving Body to Voice, & Voice to Body” at the Centre Artistique Internation Roy Hart in Thoiras, France.

Has the course helped you to further develop your obvious love of voice work?

Yes. The course further developed my love of voice work by working through my own voice issues, discovering how big my range is, and solidifying my passion for the authentic connection of, body, voice, emotions, all supported on breath.

I learned and gleaned many new exercises and techniques for aiding in the discovery of these connections. It also fuelled my passion to learn more, experiment and explore more in depth the power of the physical, emotional and vocal connections. After the course, I am even more passionate about the necessity of these connections and the power which they give the actor, if they dare.

Was there anything surprising about the course?

I was surprised by the distance we, as participants, allowed ourselves to go; and the discoveries we found; each person’s bravery was exciting. I was surprised that of the 15 of us attending the course, only four of us were actors. There are courses specifically for actors and performers, but this was a huge mix of people from various backgrounds and every one of us tried everything and allowed the work to seep in and discover.

Would you recommend it?

Yes, and no. Yes, because it is very important work for the actor. The work of connecting one’s body, voice and breath to emotions is essential to finding the truth of the character, and oneself. However, the work is organic, very organic. So, no it is not for everyone; there is no place to hide. The teachers are sensitive, intuitive, genuine, and no-nonsense. They will take a participant to his/her limits, but they know when to stop and they don’t push. However, they also see BS a mile away, and they don’t put up with it. It is intense, emotional, physical work.  It is about the work and the student in the work. It is no place for egos.

The whole place oozes with the love of the work. The carefully laid stones in every building resonate with over 40 years of music, sound, emotion and intensity. Every building, every tree, every rock lives and breathes. I will be back again and again and again. 

Apart from financial support, what else has being part of NWTC meant to you?

NWTC has been my connection back to acting. When I left NYC in 2004, I thought I was leaving acting behind, and at that point in my life, I was okay with that decision. When I moved to the UK I was so far away from London that acting didn’t even seem a reasonable option, and then when I arrived in Luxembourg acting was a distant dream in a country where English was a pocket language, though quickly growing. I found NWTC and auditioned for Steel Magnolias, played the role of Annelle, and well, I was back. I started the Youth Theatre with Christine Mitchell and Angela Milne, and I became chair of NWTC Committee and I went to FEATS with an award winning play. NWTC members have helped me through some highs and lows here in Luxembourg. And, yes, I have reconnected to acting professionally, but New World Theatre Club is always there, strong and solid, filled with people who are passionate about theatre; about acting, about the work, and allow me to be crazy, energetic, quirky and passionate too.  Thank you, thank you all very much.