For anyone who wants to investigate and investigate their own vocal limits and who wants to acquire tools that facilitate their freedom in any facet of their daily life. For anyone who wants to connect with their own body, with their own vibrations, with their sonority and who is also interested in being part of a process of collective creation.


The sung voice is a perfect instrument, capable of transmitting the deepest emotions. Singing is the artistic expression through the voice; it is the most beautiful and subtle means of communication that the human being possesses. The sung voice has different demands than the spoken voice. An efficient vocal technique facilitates artistic communication and vocal health.

It is necessary to know the “hidden instrument”; hidden because unlike other “musical instruments” such as the piano or the transverse flute that are external and that you can press, blow and sound out, the voice is not played, it requires an entire internal process. The technique cannot contradict physiology and physics. The body, relaxation, rest, healthy habits play an important role in developing this hidden instrument. For Grotowski, “chanting is the vehicle for moving from an everyday level to a more energetic level, more subtle or even high connection. Ancient chant is like a living being”. The human voice, the vocal function, is not essential for life, but it is an essential function for human communication. Through, for example, the voice, we can get to know a lot of information about the emitter from many points of view: emotional, physical, place of origin, emotional state, and so on.


Physics has established that for sound to exist three elements are required: a body that vibrates, a physical support through which it can be transmitted, and a resonance box that amplifies these vibrations, allowing them to be perceived by the ear. Our resonance box is our body, our soul. For this we have to prepare our instrument, so that it sounds and once it sounds, find all its possibilities…compose and create. We will work with dynamics coming from the scenic tradition and contemporary psychology.


“on the body, one finds the trace of past events, from it are born desires, faintness and errors […]” (Foucault)

“like the rings of the trees, the tone, inflection, intensity and other objective characteristics of the voice offer clear indications of each person’s life history. (Paul J. Moses)

The notion of the corporal scheme, its techniques and postular systems, the holistic knowledge, the taking of conscience body-mind, under the principle of Eugenio Barba, for which the voice is an extension of the body, can serve us for the encounter of the different voices that in a body inhabits in function of its static, corporeality.

The body will be a guide to travel with our voice through its different places and thus locate the different voices that emerge and their different functionalities. Our body is a universe in itself, so the sound journey is going to be mobilizing. We will pass through places that will generate sensations of all kinds, pleasant or not. We will try to locate them in order to become aware of the place we are passing through. We will travel through the skin, blood, muscles, lungs, kidneys, heart, spleen, liver, cells, voids, water, etc. and we will find the different sonorities that we can generate in each of these places. In each of these journeys forms, encounters, communions, rejections, etc. will be generated in conclusion: dialogues, small pieces that will compose the final score.


It is the one that will allow us to reach those inner places where the physical body cannot access. We will work on a healthy breathing (cost – diaphragmatic – abdominal) for our daily life and from there, we will provoke and force another type of breathing that will take us to other sonorities, to other places. We will work with the physical sensation of Hara, the center through which one enters life and is the center through which one dies and leaves life; the resonators, who will play an important role in the amplitude of the sung voice. The thorax, the paranasal sinuses (mask) and the skull will be the main parts of the resonance. We will work on the search for the body as a unique and diverse total resonator.


As the fisherman, we put our intention and we only have to wait. Waiting is a spiritual act, in which we sharpen our listening and empty ourselves, a moment in which the world around us begins to emerge giving us its being. It is an act of meditation, in which we do not differ from the flow of reality, in which everything is present, in which we abandon ourselves to receive everything that the world gives us at every moment and that in our daily life by the closure of our personalities we do not accept to receive. We will fish for smells, sensations, colours, sounds… and like fish in a river, they will pass through the body. For yours, for mine. We will “fish” sounds that are beyond the borders of our body. We will find ourselves with the other, with space, with time… with the other. To project it and place it in our body and establish games of communication and communion between what is outside and what is inside. The technique of fishing will allow us to be always present in the action. We will navigate through different spaces. We will take out the vocal work, beyond the four walls.


We will rescue tools to face our daily life from another, freer, healthier place. We will search, we will investigate, we will swim in our own vocal limits. In this way we will allow ourselves to be strengthened and therefore strengthen our voice for each different space and moment: for work, for public presentations, for music, for theatre. Let us uncover our structure. We will shape our body, we will soften it, to allow our structure to be able to let us express what we feel.

After walking, traveling through the different holes and hiding places of the body, we will create the choral score fruit of the result of the travelled journeys. Open to what happens, to the instant, to the present. We will create solos, duets, trios of body and voice. We will create a collective piece with its particularities: EXPRESS CANTATA OF COLLECTIVE CREATION IN FRÍAS

Here you can listen to some of the fragments created in other laboratories:

Fátima Cué

Santander, 1977. Scenic artist. Member of the collective Stabivo Artes Transescénicas. Degree in Geography from the University of Cantabria. Trained as an actress at the Escuela de Arte Dramático de Cantabria. She studied lyrical singing and flute at the Jesús de Monasterio Official Conservatory in Santander. She trained in different scenic fields with Simone Forti, Pere Sais, Joan La Barbara, Mónica Valenciano, Juan Loriente, Antonio Ramírez, among others. With his performance La flor del ajo (The Flower of Garlic), he begins to focus his work on the investigation of the body and the voice, delving into their origins, their ritual forms, the ancestral and primitive. Together with Antonio Sánchez he carries out the project of sound art and performance during the fishing season in Madeira, Portugal. Member of the band Pachita Band. He collaborates with other artists of the scene, among others with the dance company Sharon Fridman (Barro and Always), with Brandon Labelle and currently with the French photographer Sandrine Moukagni. She gives workshops of sound research and collective experimentation under the figures of the Cantatas in different spaces.

Translated with

• 3 April, 2017

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