Winter 2001 p. 4

The Power of Thought Arm Exercise

by Patricia Hawkridge, Salve Regina University

It has always been my belief that the voice is profoundly connected to the rest of self and that the way we view/feel about ourselves has direct impact on how we speak or how we express ourselves. Therefore, when working with people on any form of vocal work, I have found it necessary to find ways to go below the surface ­ deeper than ‘technique cures’ ­ so that eventually the techniques can really have an effect. What is this individual still experiencing that is affecting their approach to vocal production? What active steps can be taken to allow this individual to release some of their barriers and therefore experience a new vocal approach?

During this work, I have discovered how important our ‘inner voice’ is to the process of vocal production. I have discovered that we are indeed shaped by what we think. As we discover what old thought patterns still exist and change them, we make room for a more positive, constructive inner voice.

Ultimately, we are able to find our true voice, and as Patsy Rodenburg states, “take back our right to speak.” This has been my work. So much is learned by listening and revealed by speaking.

The Power of Thought Arm Exercise
Goal: To illustrate the power of thought and how it directly affects our means of communication: vocal and physical.

Steps:

1. Ask for a volunteer. Try to encourage someone whom you sense might need the experience of positive thinking.
2. Ask the volunteer to stand facing the class with hands by their side, eyes closed.
3. Have the volunteer extend their right arm (or left, if they are left handed] out to their side, waist high. Tell them that you are going to press down on their arm with both your hands. Ask them to resist with their extended arm. (My experience has been that they are able to do this quite easily, I often comment on their strength.)
4. Have the volunteer to release their arm and place it by their side. Ask them now to think what I refer to as negative thoughts (i.e.: “I can’t do it;” “I’m not good enough;” “I have lots of luck, all bad”). These thoughts should not be spoken aloud. Ask the class to observe the person while they are thinking negative thoughts. Point out to the class how the person’s color in their face will appear drained; how their breathing will alter, often becoming more labored; how the corners of the mouth will turn downward.
5. When you sense the volunteer is ready, ask them to repeat Step #3 with you. They will not be able to resist you. You will be able to overpower them and push their arm down.
6. Have the volunteer release their arm and place it to their side. Ask them now to take all those negative thoughts and turn them into positive thoughts (“I can’t do it” might be changed to, “This will be a challenge for me, but I can handle it”). Once again these thoughts are not spoken aloud. As before, ask the class to observe the person while they are turning negative thinking into positive thinking. Point out to the class how the person’s color in their face will brighten; how their breathing will become calmer; how the corners of the mouth will turn upward. Ask the volunteer to repeat Step #3 with you one last time. Their strength will be restored, often stronger than before, and you will not be able to over-power them and push their arm down. Follow with a brief discussion of what was observed/felt.

This has been a powerful teaching tool for me over the years—as powerful for the observers as it is for the participant. It illustrates in a simple way just how much our thoughts really do affect us. This is a physical exercise. However, if it is true that the voice is profoundly connected to the rest of self, we can assume that how we approach the production of sound is directly related to how we see ourselves and how we talk to ourselves about ourselves on a moment to moment basis.

Patricia Hawkridge holds an MFA in dramatic arts with a concentration in Acting and Speech from George Washington University. She presently serves as Chair of the Theatre Department at Save Regina University in Newport, RI, Pat is an actress, director, teacher, and vocal specialist employing a holistic approach to vocal improvement and persuasive public speaking techniques. Her workshop, Breaking the Silence: A Public Speaking Workshop for Women has been offered in Universities and Corporations throughout New England.

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