I have studied voice and singing for nearly 22 years, that is, ever since I decided to persue an artistic career. Initially, I thought that traditional vocal classes, with the presence of a siging teacher, the piano and a sequence of vocal exercises could deal with the awareness of all the elements involved in the interpretation of a song. The scenic dialogue between musicians and singer, singer and public, the relation of my own body with the musical act, to sing truthfully and with the ‘soul’ (Andrada e Silva, 2005), the sound construction, the images that it suggests would spring from this relation worked on by two people. As time went by and brought no
answers, my curiosity and need to learn lead me to languages beyond music, in search for spaces and knowledge exchange that allowed the reflection about what it meant to be an interpreter, what drew this outline, and what this construction depended upon.

I comprehended that to address this concern was not synonimous to a beautiful timbre, notes in tune, a good execution of exercises and/or how precisely a certain sound could be reproduced.

Thus, at that moment, I looked for professionals in dance and the theater, body therapies, courses and workshops on movement awareness, and the speechtherapist (I am still doing it). I re-examined pre-fixed patterns. The voice or the building of a voice, took up way more space than the vocal set, therefore, the work of an interpreter could not be justified by the knowledge of anatomy and physiology of the vocal folds and the vocal tract and/or works within physicality. I started to yearn for an expressive and personal singing and for an idea that broke away from the voice x body x psyche logic.


Phoniatric doctor and dramatist Pedro Bloch stated that “the voice drains emotional tensions, and problems are reflected in the voice [...]. The voice presses, reveals and expresses the individual” (Bloch, 1998, p.2). The voice of an interpreter in the corporeality perspective began to emerge: the discovery of the body-voice as a fabric, as an open-plan house where everything is recorded in the physical, psychic, sound level, in a movement of action and reaction, dialoguing with the internal and external stimuli as well as social and cultural ones.


This has been Fabiana Cozza's approach in her meetings (workshops) called Corpo da Voz.