Using physicality in voiceover

Presented by Andia Winslow at the 2024 Euro VO Retreat in Barcelona, Spain

Attendees of the session as it ended (Andia is on the far left)

One of the things we learn as new voice actors is that even though the audience can’t see us, we are still actors, and the best actors, seen and unseen, use their bodies and facial expressions in their craft. (For me, it’s easier to perform VO when no one’s watching, even though I do public speaking fitness instructions with ZERO fear).

Andia started us off with her VO warm-up routine, which is a series of stretches. After her introduction explaining how each stretch helps us loosen up vocally and mentally, we took turns reading different scripts.

Andia called attention to my lack of physicality as I prepare to read for her

She took pictures of us as we were preparing to read, and we did not look loose and ready to go. We started by slating our names, then read the script specs and script flat. After that we re-read the script we chose and adjusted based on her directions. I chose to read a promo for the BET Awards, with a female rapper as a celebrity reference.

Slating

I’m not used to slating, as many auditions say not to slate. Andia said that often, casting doesn’t ask for a slate or want one, it’s because they often hear the same people over and over again, and don’t want to know who it is (even if they actually recognize your voice). But if they want a slate, be aware the slate is their first time hearing you, so you gotta make it right. And if you submit more than one take, put the best one first on the audio file. If it's strong enough, they'll listen to take two as well.

Getting out of your own way

I mentioned the thoughts I have when I see certain specs that I’m not strong in, like spoken word poetry. )The BET promo was written in that style.) When I see those specs in audition scripts, I delete the email and move on. Her response was very motivational (and true):

“Seriously, that's you're taking yourself out of the game before you even begin and then giving it to all your competition. Don't do that. Don't exempt yourself from opportunity because you think you don't fit. It's not your business. You don't get to decide your fit.

“I used to decide as a casting director. And if I liked the way you sound when you deliver it because you're anchored into intention. I'm going to hear that I don't care if you're just making sounds, but you're not connected. I'd rather that you connect to the copy, look and feel some authenticity than someone who's just doing this because that's the style.

“So right now, give yourself permission to fuck it up the way you want to fuck it up. And also, don't limit yourself, because you've already said and I can tell that you're nervous. You've already said ‘I can't do this. This is not for me.’ That's a lie. It's not true. You said that but you're not the boss. You're not the decider. See? I'm saying yeah, you can do this.” - Andia Winslow

So after she and the class gave their initial observations and that pep talk, she told me to read it again while jogging in place.

Andia directed me to jog in place as I read the script

There was a big difference in that read. She said I was better and read with more energy because I wasn’t in my head and focused on performing or insecurities while I was jogging. And then I read it once more without jogging or being stiff. I was relaxed and encouraged. Thanks Andia!

She ended the session by having us read a short dialogue while walking outside (we each took turns with Andia as our partner).