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Kristin Linklater

Biographic Data

ID1708773
NAMEKristin Linklater
GIVEN NAMESKristin
FAMILY NAMELinklater
SIGNATURELINKLATER K
AFFILIATIONSKristin Linklater Voice Centre , Orkney, UK
VERIFIEDNo
TOTAL WORKS5
TOTAL CITATIONS2
WORKS AS AUTHOR5
WORKS AS EDITOR0
FIRST PUBLICATION YEAR1972
LATEST PUBLICATION YEAR2020
H-INDEX1
  • The Legacy of Kristin Linklater

    Joan Mills, Kristin Linklater•ARTICLE•Performance Research•2020

    A few weeks before her death, Kristin Linklater gave what was to be her final presentation, online because of the worldwide coronavirus pandemic, entitled: ‘Methods of Performing Arts and the Pioneer Practices in This Discipline’. In this speech presented at a Forum of Theatre, Film and TV at the Shanghai Theatre Academy on training young performers, she emphasizes the need to ‘train the person who will become the actor before we can train the ac…

  • Vocal Traditions

    Kristin Linklater•ARTICLE•Voice and Speech Review•2018•References: 1

    Vocal Traditions is a series in the Voice and Speech Review that highlights historically important voice teachers and schools of thought in the world of vocal pedagogy. In this essay, Linklater Voice Method offers its overview, history, process, exercises, and details on teacher training. Written by the founder of Linklater Voice Method, the article particularly highlights the background of the method and its relationship to artistry and text

  • Shakespeare, Feminism, and Voice

    Open Access•Cicely Berry, Patsy Rodenburg et al.•ARTICLE•New Theatre Quarterly•1997•Cited by: 1

    When I was asked if I would like to reply to Sarah Werner's article in the August issue of NTQ entitled ‘Performing Shakespeare: Voice Training and the Feminist Viewpoint’, my first reaction was that it was so unfounded in the reality of practical voice work that it was not worth the time needed to respond. But then, re-reading it, I became incensed at the notion that voice teachers, through the work of freeing the voice, are after some romantic …

  • The Right to Speak

    Dorothy Chansky, Patsy Rodenburg et al.•ARTICLE•Theatre Journal•1993•Cited by: 1

  • The Body Training of Moshe Feldenkrais

    Open Access•Kristin Linklater•ARTICLE•The Drama Review TDR•1972

    In October, 1971, Moshe Feldenkrais came to the United States to give seminars in body training at the Esalen Institute, at Carnegie Mellon, and at the School of the Arts at New York University. The interest shown in his work by these institutions reflects an important change of emphasis in the area of movement training for actors. The choice, put simply, is between training the body to perform skillfully as a well-exercised, aesthetically pleasi…

  • Shakespeare, Feminism, and Voice

    Open Access•Cicely Berry, Patsy Rodenburg et al.•ARTICLE•New Theatre Quarterly•1997•Cited by: 1

    When I was asked if I would like to reply to Sarah Werner's article in the August issue of NTQ entitled ‘Performing Shakespeare: Voice Training and the Feminist Viewpoint’, my first reaction was that it was so unfounded in the reality of practical voice work that it was not worth the time needed to respond. But then, re-reading it, I became incensed at the notion that voice teachers, through the work of freeing the voice, are after some romantic …

  • The Right to Speak

    Dorothy Chansky, Patsy Rodenburg et al.•ARTICLE•Theatre Journal•1993•Cited by: 1

  • The Body Training of Moshe Feldenkrais

    Open Access•Kristin Linklater•ARTICLE•The Drama Review TDR•1972

    In October, 1971, Moshe Feldenkrais came to the United States to give seminars in body training at the Esalen Institute, at Carnegie Mellon, and at the School of the Arts at New York University. The interest shown in his work by these institutions reflects an important change of emphasis in the area of movement training for actors. The choice, put simply, is between training the body to perform skillfully as a well-exercised, aesthetically pleasi…

  • The Right to Speak

    Dorothy Chansky, Patsy Rodenburg et al.•ARTICLE•Theatre Journal•1993•Cited by: 1

  • Shakespeare, Feminism, and Voice

    Open Access•Cicely Berry, Patsy Rodenburg et al.•ARTICLE•New Theatre Quarterly•1997•Cited by: 1

    When I was asked if I would like to reply to Sarah Werner's article in the August issue of NTQ entitled ‘Performing Shakespeare: Voice Training and the Feminist Viewpoint’, my first reaction was that it was so unfounded in the reality of practical voice work that it was not worth the time needed to respond. But then, re-reading it, I became incensed at the notion that voice teachers, through the work of freeing the voice, are after some romantic …

  • Vocal Traditions

    Kristin Linklater•ARTICLE•Voice and Speech Review•2018•References: 1

    Vocal Traditions is a series in the Voice and Speech Review that highlights historically important voice teachers and schools of thought in the world of vocal pedagogy. In this essay, Linklater Voice Method offers its overview, history, process, exercises, and details on teacher training. Written by the founder of Linklater Voice Method, the article particularly highlights the background of the method and its relationship to artistry and text

  • The Legacy of Kristin Linklater

    Joan Mills, Kristin Linklater•ARTICLE•Performance Research•2020

    A few weeks before her death, Kristin Linklater gave what was to be her final presentation, online because of the worldwide coronavirus pandemic, entitled: ‘Methods of Performing Arts and the Pioneer Practices in This Discipline’. In this speech presented at a Forum of Theatre, Film and TV at the Shanghai Theatre Academy on training young performers, she emphasizes the need to ‘train the person who will become the actor before we can train the ac…

Art (4 works) · Psychology (4 works) · Philosophy (3 works) · Sociology (3 works) · Aesthetics (2 works) · Audiology (2 works) · Communication (2 works) · Computer Science (2 works) · Diverse Musicological Studies (2 works) · Linguistics (2 works)

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