PURPOSE: To investigate the occurrence of vocal complaints and symptoms among professional theatre actors, and its relationship with environmental aspects of this professional activity and with the history of specialized intervention. METHODS: Cross-sectional study with 48 professional actors who answered a questionnaire regarding vocal and extra-vocal complaints, as well as environmental aspects, habits and demands related to their professional activity in the theatre. A specific previously structured protocol (PROTEA) was used for this purpose. RESULTS: Previous history of acting vocal training was reported by 40 (83.3%) subjects. The most used resources were vocal warming, hydrating therapy, and alternative methods. Vocal difficulties in day-to-day demands were reported by 14 (35.0%) subjects, and eight (16.7%) of them noticed these difficulties since the beginning of their career. During performances, 14 (29.2%) reported difficulties coordinating breathing and speaking. All actors interviewed consider vocal health important for theatre acting. Most actors denied difficulties regarding vocal projection, breathing and/or articulation of words in scene. However, the Italian stage seems to be more related to difficulties coordinating breathing and speaking than the arena theater (p=0.00). CONCLUSION: In spite of professional actors who have a history of training and orientation regarding the use of professional voice, a significant portion of them have complaints related to professional voice use, especially associated to the environment conditions at work.
PURPOSE: To investigate the occurrence of vocal complaints and symptoms among professional theatre actors, and its relationship with environmental aspects of this professional activity and with the history of specialized intervention. METHODS: Cross-sectional study with 48 professional actors who answered a questionnaire regarding vocal and extra-vocal complaints, as well as environmental aspects, habits and demands related to their professional activity in the theatre. A specific previously structured protocol (PROTEA) was used for this purpose. RESULTS: Previous history of acting vocal training was reported by 40 (83.3%) subjects. The most used resources were vocal warming, hydrating therapy, and alternative methods. Vocal difficulties in day-to-day demands were reported by 14 (35.0%) subjects, and eight (16.7%) of them noticed these difficulties since the beginning of their career. During performances, 14 (29.2%) reported difficulties coordinating breathing and speaking. All actors interviewed consider vocal health important for theatre acting. Most actors denied difficulties regarding vocal projection, breathing and/or articulation of words in scene. However, the Italian stage seems to be more related to difficulties coordinating breathing and speaking than the arena theater (p=0.00). CONCLUSION: In spite of professional actors who have a history of training and orientation regarding the use of professional voice, a significant portion of them have complaints related to professional voice use, especially associated to the environment conditions at work.