Body, Voice, and Interpretation: Exploring the Acting Process through Fitzmaurice Voicework; This master’s thesis explores the actor’s expression through the integration of body, voice, and the interpretation of dramatic texts using the Fitzmaurice Voicework method. The central premise is that authentic performance does not emerge solely from intellectual analysis and rational control, but primarily from physical experience, breathing, silence, and vulnerability. Classical monologues (Medea, Phaedra, Ophelia, Célimène, Arsinoé, and Lyubov Ranevskaya) were analyzed and performed as a research field for questioning personal limitations and shaping original interpretation. Particular attention was given to overcoming inner barriers, such as the fear of being “too much” in expression and the discomfort of silence, as well as recognizing the spectator as a co-creator. Fitzmaurice Voicework enabled a deep connection between bodily impulses and text, revealing new levels of interpretation and opening the space for authentic artistic expression. The thesis emphasizes that theatre is a living process in which theory and practice intertwine, and that an actor’s creativity emerges through vulnerability, presence, and dialogue with the audience.
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