In observing Tadashi Suzuki’s company in training, rehearsals and performances, I was struck by the actors’ capacity for vocal transformation. Inspired by these experiences, I have been collaboratively investigating ways to facilitate vocal transformation within heightened forms in an Australian context. Utilising a phenomenological framework, this article reflects on three breath and imagery techniques created for application within the Suzuki Method’s ‘Standing Statues’ exercise. The first two techniques were developed within a workshop series exploring the integration of the Suzuki method with Linklater voice (co-facilitated with Rob Pensalfini). The third technique, an experiment with Eastern approaches to the breath, was developed during a workshop series co-facilitated with Jeremy Neideck and Ros Williams. This article will describe the techniques as situated within an intercultural framework in relation to other psychophysical approaches to voice and movement training. These experiments signify the value of imaginative visualisaions of the breath to facilitate vocal transformation within heightened forms. The hypothesis presented is that this transformation is supported by a two part process: firstly attuning to one’s own breath and inner images and secondly, connecting to the group and world.

在观看 Tadashi Suzuki 的训练、排练和表演时，我被演员们的声乐转化能力所震撼。受这些经验的启发，我一直在合作研究在澳大利亚背景下促进声音转换的方法。利用现象学框架，本文反映了为在铃木方法的“站立雕像”练习中应用而创建的三种呼吸和意象技术。前两种技术是在探索铃木方法与 Linklater 声音（与 Rob Pensalfini 共同促进）的集成的研讨会系列中开发的。第三种技术是东方方法呼吸的实验，是在与 Jeremy Neideck 和 Ros Williams 共同主持的一系列研讨会期间开发的。本文将描述位于跨文化框架内的技术，以及与声音和动作训练的其他心理物理学方法相关的技术。这些实验表明了富有想象力的呼吸可视化的价值，以促进在高度形式内的声音转换。提出的假设是，这种转变由两部分过程支持：首先与自己的呼吸和内在形象相协调，其次，与群体和世界联系起来。