MFA Cohort IV: Music with Saso Vollmaier

Recently, MFA Cohort IV concluded their studies in music with Saso Vollmaier. We asked Tristan Schaffer-Goldman, Ware Carlton-Ford, and Justine Hince to tell us more about their experience in the classroom with Saso, and how the tools they gained will apply to their work in the future:

TRISTAN- How does this course differ from any other Music course you have taken in the past?
Our music classes are so much more than just music; they’re a combination of the principles we explore in other classes, plus music. It ties in various types of improvisation (vocal, physical, contact), breathing exercises, and more theatrical elements such as character creation, dialect work, and scene-building. Beyond singing and maintaining rhythm, we identify and explore musical qualities in all aspects of life and performance. I consider it a vital part of our growth in the program so far.

How do you see yourself implementing this work in future projects?
Throughout these classes I have learned how to listen with more than just my ear. This newly developed understanding of musicality, especially my personal relation to it, has already begun to enrich my devising process. I now approach projects with special attention to details (i.e. the rhythm of a character’s speech), that I may have previously glossed over.

What is the one thing you would like to share from this course with other artists?
Honestly, the one thing I would like to share from this course with other artists is Saso. Beyond being a musical genius, he truly cares about everyone he works with, and exudes so much soul it’s infectious. Every aspiring artist deserves a teacher in their life this simultaneously caring and challenging.

WARE- What has proven the biggest challenge in the Music module so far?
Getting rid of my pre-conceived notions about my own voice. Maybe it sounds kind of silly, but the voice is so personal: it’s something that we’ve had our whole lives, something that we’ve spent many years using and (whether consciously or not) developing in certain ways. It’s such a unique identifier of who we are that it can be difficult to shed our ideas about what our voice sounds like – especially since it sounds different to us than to others – but that’s essential for anyone who wants to improve. Even if it’s something positive (like, say, you’re better at singing than you thought), you have to shed the idea that you’re not good at singing if you want to sing with confidence. You can’t fix what you aren’t aware of.

How do you see yourself implementing this work in future projects?
The value of our work with Saso is so clear to me – we’re all gaining more confidence, more vocal flexibility (in terms of both tone/quality and range) and Saso really has been pushing us to think of our voices as a creative tool, showing us how to create not only character from voice, but also atmosphere, story, choreography. It’s a really unique toolkit he’s giving us, this ability to see the voice as a source rather than an outlet.

What is the one thing you would like to share from this course with other artists?
If you mean one thing from the course that I wish I could give someone else to experience, it would be the opportunity to work with Saso. He’s absolutely integral to what makes this course so incredible and effective. But if you mean one thing to share in the sense of a piece of advice that I can include here, it would be this: when you sing, especially if you don’t feel confident, make sure you keep your eyes open and forward, keep a little smile on your mouth, and don’t cross your arms. You’ll be shocked at the difference it makes in both your voice and your mindset.

JUSTINE- How does this course differ from any other Music course you have taken in the past?
Coming from a choir and musical theatre background, I always felt this pressure to make my voice sound “pretty” and I never felt like I measured up. In Saso’s class, it’s completely different! He encourages the “ugly” sounds and loves to see where that loss of controlled technique can take you. I’ve discovered completely new sounds and qualities to my voice that I never knew were possible or existed. I’ve also noticed that my vocal range expanded a great deal through Saso’s exercises. It’s a completely creative environment that develops everyone individually without competition but also nurtures the whole.

How do you see yourself implementing this work in future projects?
I now have access to such a wider array of vocal work that I can pull from, whether it’s developing a voice based on physical posture or using my body to allow the sound to exhibit a particular quality. Saso’s classes gave me more confidence to take risks in creating new sounds. I can see that working well with Commedia coming up and some of the work we’re doing in Italian class where we’re performing scenes from Dario Fo’s Mistero Buffo.

What is the one thing you would like to share from this course with other artists?
One of the biggest things I learned from Saso’s classes is the art of listening – to what’s happening inside your body, to your own sounds, to the others in the room. Sometimes you have no idea what sound is going to come out when you open your mouth but you have to listen to it with your whole body to have an honest reaction. Sometimes silence is the right “sound” for the moment. Sometimes proposing a new idea or rhythm or finding an ending is the right thing. It all comes from listening!
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MFA Cohort IV: Devising

MFA Cohort IV is working away this semester. Though they have had some small performances in town and with the rest of the programs, the short, devised pieces remain an integral part of their formation as artist-creators. We took a few minutes with cohort members Tristan Schaffer-Goldman and Justine Hince to discuss their recent projects and their experience with self-generated work:

JUSTINE- Can you give us a brief synopsis of your most recent self-generated (devised) piece? Who did you collaborate with? What prompt was given by the faculty?
Our most recent devising centered on the idea of impulse with specific attention to resonance/silence, suspension/tension. We could only use text that was “tip of the iceberg” and no outside text or sound sources. I worked with Ricardo, Brittany, Aubrey, and Sean on this piece. We were asked not to brainstorm in the beginning but to find other ways to enter into the process. So, our first rehearsal was just us playing around for an hour and a half! We played with sticks, fabric, and chairs. It was a lot of fun but we had no idea where to go after that! During our second rehearsal we realized that in all of our playing we were missing silence and stillness as well a connection to each other in a physical manner. Since we were now in a larger group, we could do more with our bodies so we ended up creating a series of sculptures and tableaux that symbolized war. We presented this more as an exploration of an idea rather than attempting to create a polished performance-ready piece.

Did you have any experience with original, self-generated work before you began the Accademia’s MFA? If so, how have you grown as a creator and collaborator since you began the program?
I worked with a theatre company in San Diego where we did blacklight puppetry and we dabbled a bit in creating original work. I also took a course in undergrad while at the University of Birmingham in England where we created and performed a completely realized piece during the course of the semester. Though, this MFA program has by far been the most experience I’ve had with devising! I was quite intimidated at first but I’ve learned to love it. I’ve definitely taken more risks as each new devising comes – whether it’s moving out of my personal comfort zone as a performer, testing the boundaries of performer & audience, or working with touchy subject matter. Devising has really helped me to realize my style and aesthetic as a performer and also as an audience member.

How frequently have you devised or collaboratively created new work so far in the MFA program? What’s been the biggest challenge for you?
We have official devising prompts about every 2 weeks. However, I’d say that we experiment and develop new ideas for original work/characters at least once a week in classes. The student-run cabarets we have twice a semester also allow for a lot of opportunity to create new work, both with other MFAs and the undergraduates. I’d say the biggest challenge in the devising process is usually the time we have to create the pieces. We usually rehearse only 3 times between forming groups and presenting the pieces! I’m always amazed by how everything just falls into place but I know sometimes we wish there was a bit more time to fully develop an idea before presenting. In some cases though, groups have taken original pieces and worked them outside of class to present again in other settings and venues in town.

TRISTAN- Can you give us a brief synopsis of your most recent self-generated (devised) piece? Who did you collaborate with? What prompt was given by the faculty?
The prompt for the most recent devising had certain stipulations, such as minimal spoken language and no outside recorded sound, and included instructions to emphasize certain qualities such as suspended animation, silence, resonation in movement, impulse, and resolution. My group, which consisted of Colby, Ware, Nike, and myself, ended up doing a comical piece about a man (Ware) at a restaurant who is stood up by the girl who he is planning to propose to. Over the course of the piece, the wait staff (me, Colby, and Nike) try hard to please him but in fact only seem to make the situation worse.

Did you have any experience with original, self-generated work before you began the Accademia’s MFA? If so, how have you grown as a creator and collaborator since you began the program?
I had some experience in my undergraduate years with self-devised work, and as a comedian, I have self-devised and collaborated on several sketches. However, I would say this is the most I have ever self-devised and the hardest I have ever worked to do so. Throughout these devising processes I have learned a great deal about how to collaborate more effectively, which includes listening, giving productive feedback, problem-solving, and putting the best interests of the group before personal taste or ambitions. Most importantly, I have observed the same improvements in my fellow collaborators, and with that I feel more supported than ever with each new project.

How frequently have you devised or collaboratively created new work so far in the MFA program? What’s been the biggest challenge for you?
Between the devising prompts, the performance-based assignments of our individual classes, and extra-curricular shows, there’s rarely a time when we are not self-devising or collaborating on something. The biggest challenge, especially with the devising prompts, is to get enough rehearsal time in before showings. Between all of us booking time in the studio, it can be tricky putting together a decent schedule. Additionally, getting the most out of those rehearsals can be a challenge as just choosing a direction for a piece can take one or two rehearsals. My biggest personal challenge, however has been to let go of my own perfectionism and focus on the importance of process regardless of outcome. I mean, that’s what we’re really here for after all, right?