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VOICE 3
A free voice is not simply heard. It is experienced.
Voice III marks a profound shift in the actor's vocal development. Having established freedom, resonance, and expressive range through the Linklater progression in Voice I and Voice II, students now deepen their relationship to the voice through Fitzmaurice Voicework®—a rigorous, somatic approach that integrates the nervous system, breath, body, and imagination into one fully responsive instrument.
At Maggie Flanigan Studio, we believe the actor's voice must be capable of carrying the full complexity of human experience. Voice III develops that capacity by helping actors move beyond technique and into embodied, truthful expression.
Releasing the Whole Instrument
At the heart of Fitzmaurice Voicework® is the understanding that physical holding patterns, emotional conditioning, and chronic tension limit expressive freedom.
Rather than adding more technique, this work focuses on removing unnecessary obstacles.
Students learn to release habitual patterns that interfere with spontaneity, allowing the voice to emerge with greater honesty, vulnerability, and responsiveness.
The work is organized around four foundational principles:
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Presence
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Destructuring
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Restructuring
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Play
Together, these principles guide actors toward a more integrated relationship between body, breath, voice, and emotional life.
Trusting the Nervous System
One of the defining elements of Voice III is Tremoring, a core Fitzmaurice practice within the process of Destructuring.
Through carefully guided physical work, Tremoring helps release chronic muscular holding patterns while encouraging the nervous system to move toward greater openness and regulation. As physical tension dissolves, actors often discover increased emotional availability, deeper breath, and a greater capacity for truthful response.
The goal is never emotional performance. It is creating an instrument capable of genuine experience.
At Maggie Flanigan Studio, we believe truthful acting depends upon an actor whose body, breath, and voice are fully available to the demands of imaginary circumstances.
Strength Without Force
As the semester progresses, students move into the work of Restructuring, where vocal freedom is supported by conscious breath, efficient muscular engagement, and technical clarity.
Actors learn to generate vocal strength, flexibility, and resonance without sacrificing spontaneity or placing unnecessary strain on the voice.
The work continually explores the balance between discipline and surrender.
Between technique and freedom. Between intention and impulse.
VOICE 3
A free voice is not simply heard. It is experienced.
JOSH MOSER
Josh “J” Feliciano-Sanchez Moser is a voice and dialect specialist, educator, and Assistant Professor at Kean University, holding an MFA from the Savannah College of Art and Design. With certifications in Fitzmaurice Voicework® and Knight-Thompson Speechwork, they have taught at prestigious institutions like Yale and Brown, and are currently co-authoring a book on the accents of the Spanish-speaking diaspora while consulting for various clients, including The Billie Holiday Theatre and CNN's Harry Enten.
Voice in Service of Character
The semester culminates in the exploration of character-based text.
Students apply their developing vocal instrument to scenes and language that challenge them to integrate technique, imagination, emotional truth, and storytelling into one unified process.
Voice is never treated as performance. It is treated as behavior.
Actors begin to recognize how vocal choices emerge naturally from psychology, circumstance, and relationship, allowing language to become a living extension of the character rather than something imposed upon it.
The Courage to Sound True
Voice III asks a great deal of the actor.
It requires discipline, vulnerability, curiosity, and the willingness to let go of deeply ingrained habits.
The reward is not simply a stronger or more expressive voice. It is a voice capable of carrying the full depth of the actor's humanity.
At Maggie Flanigan Studio, we believe the voice is the bridge between the actor's inner life and the world of the play. When that bridge is free, grounded, and fully available, the actor can listen deeply, respond truthfully, and serve every story with clarity, courage, and emotional integrity.
Voice III is a twelve-week course consisting of twenty-four classes.
Prerequisites: Successful completion of Voice I and Voice II.
STUDENT TESTIMONIALS
“This class pushed me and pushed me to try new applications, specifically image work, that took my understanding of Shakespeare to a whole new level. I would take this class again. And again after that. Be warned: You’ll get out of it what you put into it.”
Maggie Belle Caplis
“I’ve never taken a voice class like this one before. By the end of the semester we were all able to live through highly emotional pieces, stay grounded and free in our bodies and still speak with the clarity and connection required for such heightened text.”
Cassie Stewart
“The Studio offers so many amazing classes and all teachers bring immense passion and care for their students. I took Voice III with Amanda Quaid, we worked on dialects. Especially for me as a non-native speaker, this topic freaks me out.”
Fabio Bernardis
ACTING STUDIO NEW YORK NY
The Maggie Flanigan Studio is the leading acting studio in New York City where professional actors train for long careers. The acting programs at the drama school are based on the Meisner Technique and the work of Sanford Meisner. The two year acting program includes acting classes, movement classes, voice and speech for actors, commercial acting classes, on camera classes, cold reading, monologue, playwriting, script analysis and the Meisner Summer Intensive.
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MIDORI NAKAMURA
As an actor, Midori has worked in film, TV, on Broadway and Off-Broadway. Midori was made a Designated Linklater Teacher in 2019. In addition to the Maggie Flanigan Studio, she teaches voice for the David Geffen School of Drama at Yale University, The Linklater Center in New York, and NYU Tisch at The Lee Strasberg Theater & Film Institute.
Midori also coaches private clients in both acting and voice.