The Voiceworks Studio

Nancy Krebs--Master Lessac Teacher

Nancy's Bio:

Nancy Krebs has been teaching the Lessac Kinesensic Training  for over 25 years and attained Master Teacher status in 2002 from Arthur Lessac himself and Senior Master Teacher Sue Ann Park. She has been teaching the Lessac training as the Senior Voice Instructor and Vocal Coach for the Theatre Department at the Baltimore School for the Arts since 1981. She has been the Associate Director for the Lessac Intensive Summer Workshop from 2000-2004  where she instructed alongside Arthur Lessac, Sue Ann Park, Deb Kinghorn, Barry Kur, Kathleen Dunn, Kate Ingram, Mary Thomas-Sala and Yanci Bukovec.  Summer 2007, she will co-teach with Deb Kinghorn a one week Introduction to the Lessac Kinesensic Training at Mary Washington University in Fredericksburg, VA, and a two week Teacher Training Workshop with colleague Barry Kur at DePauw University.  She was one of three Master Teachers of different voice pedagogies featured at William and Mary College for the Voice Methods workshop  in June of 2005.   

 

Nancy has taught privately in her own studio since 1994, and has served as Dialect/Vocal coach on numerous professional productions, notably: Everyman's Theatre's My Children, My Africa ,Watch on the Rhine, Blues for an Alabama Sky, The Crucible, The Waverly Gallery, Red Herring, Slow Dance on the Killing Ground, Cripple of Inishmaan and Candida;  the Studio Theatre's production of Look Back in Anger and most recently for The Olney Theatre productions of Charlie's Aunt, Carousel, Blithe Spirit, Lend Me a Tenor, Morning's at Seven and Oliver!. As an actor, she has performed in regional theatres, summer stock, TV, film and radio.  She is a member of AEA, SAG, AFTRA, VASTA, NARAS, and BMI. As a singer-songwriter, she has 6 albums released of original meditational music--which you can visit in another part of this site.
 

Teaching Philosophy

I love this work. I wouldn't use any other approach to voice and body training. It has served me well as an actor and a singer since the first time I was introduced to it in Graduate school at the Dallas Theater Center. I have used it in my professional life as a performer, and I have taught it exclusively since 1981, and have never found any problem that couldn't be solved with this work. It is a gentle, self-teaching modality that (in the words of Arthur Lessac) feels good, sounds good, looks good, moves forward and communicates!

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Last updated: May 23, 2007