Historically, voice training began in the theatre. A voice teacher’s job traditionally focused on helping actors develop their voices to a level where they could meet the demands of a professional performing career. Its roots can be traced back to ancient Greek drama, where actors’ voices needed to be heard and understood in large open-air amphitheatres. Because the actors wore masks, the emotional weight of the text was carried almost entirely by the voice, which needed to be capable of expressing a wide dramatic and emotional range.
When I meet a new group of acting students, I often begin by asking them why actors work on their voices and why most actor training courses include voice classes. Their suggestions are almost always logical and well-informed.
The ability to be heard and understood in a large theatre space is the one that usually comes up first, followed by the need to sustain the voice for long periods of time without tiring. An actor playing Hamlet, for example, has seven long speeches during the course of the play and more lines to speak than any other Shakespearean character. A West End run or a tour of a production could involve up to eight performances a week, so an actor’s voice needs to be strong and resilient.
Another answer I often get is the ability to express intense emotion in a way that does not cause strain or damage to the vocal apparatus. Learning how to shout, scream, or cry on stage without forcing the voice is a vital part of an actor’s vocal training.
The Responsibility to the Word
What the students don’t usually come up with, however, is the fact that an actor or professional speaker holds a huge responsibility to the writer. Until they are spoken and brought to life, the words of a script, speech, or presentation remain simply printed words on a page. Beyond ensuring the words are heard clearly, an actor must develop a deep awareness of the material, responding imaginatively to the emotional implications of what they are saying.
Fellner Voice 