A Quote by Lia Ices
When I got back from London, I started with a new voice teacher in the experimental wing, who trained me to have my own artistry as opposed to forcing a technique upon me.
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If you ask me about vocal technique, I don't know anything. I could never be a teacher. I just know what my teacher told me: 'Always sing with a full voice. When they tell you, less sound, more piano - no.'
When I was a junior in college I moved to New York and went to this performance school the Experimental Theatre Wing. We had singing class and again, some of the other students would cry when I was singing, and I really didn't know why. I started to realize that there was something in the tone of my voice that was evocative for them.
As I aged and I got stronger artistically, I really started to value my voice in performance - my 'voice' meaning my body, my technique, and my style. Then I started to really feel that flower as well. That's when I started to feel like, 'Wow - now I understand what my beauty is.'
Although most informed balletomanes would place artistry above technique, artistry without a strong technique is a flaccid, bloodless thing indeed, whereas technique without much artistry can still dazzle us in the manner of the circus or sports arena translated to a higher plane. Though the perfect blend of the two elements is the consummation devoutly to be wished, the real enemy of good ballet is not the slight preponderance of one or the other but the prevalence of pantomime--the turning of dance into second-rate theater.
Do not believe in me or any other teacher, rather trust in your own inner voice. This is your guide, this is your teacher. Your teacher is within not without. Know yourself, not me!
I went back to Jamaica after living in New York and started to work on experimental stuff and basically I grew as a filmmaker. I went to film school; I was a PA on a lot of projects and I worked so hard, you know, you're young and I learned from different mentors. And luck put me in the position to work with amazing people. One of my mentors by the name of Little X, who took me under his wing after I came out of film school and moved to New York. I worked in videos for Jay-Z, Pharrell to Busta Rhymes and Wyclef. I quickly realized how much I wanted to make films instead of music videos.
My mom's a concert pianist, so she started teaching me when I was around seven. When I was eight, I started writing my own songs, and kinda started putting piano and singing together. But I'm trained classically, which is a big influence on me, I think.
I wanted to be Whitney Houston at first, and when I started taking voice lessons, my voice teacher kind of geared me more towards opera.
Singing was my first love and I never even considered it after I started acting, but now I'm bringing it back into my life. I trained from the ages of 11 to 17. When I moved to New York and got into serious acting, I just kind of abandoned the whole singing thing. But when I grew up in Pennsylvania I went to voice lessons once a week.
I've started late, I was 19 years old. I've trained with Victor Zilberman - he's a Russian-Jewish from Moldova. His son David who is coaching me represented Canada in the Olympic games. There were a lot of very good wrestlers there and they took me underneath their wing when I was young.
When I had my first voice lesson I was 15 years old. And I had a really good teacher. This is what made all the difference. A good teacher will teach you the technique, but also how to listen to your voice.
I was blessed throughout my entire career. I had people rooting for me. It started with my parents, but it extended to almost every teacher that I had. Even when I was a young lawyer, there were other women and men in the firm who took me under their wing.
Ever since I was first read to, then started reading to myself, there has never been a line read that I didn't hear. As my eyes followed the sentence, a voice was saying it silently to me. It isn't my mother's voice, or the voice of any person I can identify, certainly not my own. It is human, but inward, and it is inwardly that I listen to it. It is to me the voice of the story or the poem itself.
I put my energy, voice, and spirit into fighting for anybody who wants to speak their voice. I don't care what the right wing, the left wing, or the chicken wing has to say.
I was introduced to theater by a teacher that found me when I was in elementary school. She tested me for the Gifted and Talented program, started taking me to see the 'Nutcracker Ballet.' I got involved.
I started going back and forth, New York, London, New York, London. I wasn't looking back at all. I was doing tons of jobs. Working, working, working, working.
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