Next course: September 3 - 4, 2021
Download the course PDF here.
Our next Lessac Kinesensics seminar is September 3 - 4, 2021. This course is now offered as either an on-site seminar at:
or as an online webinar. Also, we have now discounted our price for both SLPs and non-SLPs:
$299 for SLPs
$299 for Actors, Singers, & non-SLPs
Note - If you plan to do the on-site seminar, you should plan to arrive Thursday since the course starts at 9:00am Friday.
This course provides basic training in Lessac Kinesensics for application to speech-language pathology. The course is designed for SLP clinicians and clinicians in training, and is an abbreviated version of longer, more intensive courses offered for those seeking recognition as Lessac teachers for expanded applications. The course will provide exposure to Lessac body, voice, and speech training with special attention to use for individuals with voice and possibly fluency disorders. Data will be provided on the acoustics and aerodynamics of Lessac body, voice, and speech “energies,” as well as on outcomes from clinical trials in LMRVT for individuals with phonogenic voice disorders.
Learning outcomes: At the conclusion of the course, participants will be able to:
- Demonstrate three Lessac body energies --“NRGs” and three voice/speech energies-- “NRGs.”
- Describe application of these “NRGs” to individuals with voice disorders of a variety of origins, in particular phonogenic origins, including findings from clinical trials.
- Describe acoustic and aerodynamic data associated with three body “NRGs” and three voice/speech “NRGs.”
Please scroll down for Presenter Bios, Daily Schedules, and Confirmation and Cancellation information.
This program is offered for 1.3 ASHA CEUs (Intermediate level, Professional area).
Lessac Kinesensics Registration Form
Nancy Krebs, Lessac Master Teacher
Education: B.A. in Theatre, University of Maryland, Baltimore County
Graduate Training: Dallas Theater Center (Trinity University)
Certification in the Lessac Voice & Body Training, 1993 (Master’s
Equivalent in Voice Training, Lessac Institute)
Master Teacher Certificate: Lessac Voice & Body Training, 2002
Member of AEA, SAG, AFTRA, VASTA, BMI
Nancy graduated in 1972 with a B.A. in Theatre from the University of Maryland, Baltimore County; and went on to graduate school at the Dallas Theater Center under the leadership of Paul Baker. She has been a professional actor/singer since 1975. Her acting credits include: TV series--Once Upon a Town (Emmy award), The Bloomin’ Place, One Life to Live; over 150 professional productions in regional theatres such as Alaska Repertory Theatre, Center Stage, Meadowbrook Theatre, summer stock as well as dinner theatres and Inter-Generational theatres in the Baltimore/Washington area; numerous voice over commercials and narrations as well.
As an author, Ms. Krebs has contributed to the texts: Voice and Speech Training in the New Millenium: Conversations with Master Teachers by Nancy Saklad, Collective Writings on the Lessac Voice and Body Work: A Festschrift by Marth Munro, Sean Turner, Allan Munro and Kathleen Campbell and Play with Purpose: Lessac Kinesensics in Action edited by Marth Munro, Sean Turner Allan Munro. She is currently co-authoring a new book using the Kinesensic strategies to teach non-English Speakers how to become more fluent and expressive in North American English speech.
She is also a singer/songwriter/musician and recording artist, having released seven albums of critically acclaimed original Christian meditational music: The Journey, Love makes Room, Come to the Stable, Simple Gifts, Songs from the Heart and Moved by God which receive air-play around the world.
She has been a Certified Lessac Master Teacher since 2002 and has served in many capacities for the Lessac Training & Research Institute since that year—as President, Board member, and Master Teacher Council representative. She received the Lessac Leadership Award in 2011 and continues to be a part of the Master Teacher Team. She has been the Director and Co-Director of Lessac Intensives both in the U.S. and abroad, served on the faculty of the Four Week Workshop, teaching with Arthur Lessac and Senior Master Teacher Sue Ann Park from 1995-2005; and has led and developed numerous shorter Kinesensic-based workshops throughout the years since 1995. She has worked as a vocal/dialect coach for over 150 professional and university productions in the Baltimore-Washington region since 1994. She taught a full four-year Lessac-based voice curriculum in the Theatre Department of the Baltimore School for the Arts from 1981-2019, and currently operates her own voice studio—The Voiceworks Studio.
Kittie Verdolini Abbott
Katherine Verdolini Abbott, PhD., CCC-SLP, M.Div., is Professor of Communication Sciences and Disorders at the University of Delaware. Prior academic appointments include the University of Iowa, Harvard Medical School, and the University of Pittsburgh. She received training in the Lessac approach to body, voice, and speech, working personally with the approach’s founder, Arthur Lessac. She developed Lessac-Madsen Resonant Voice Therapy (LMRVT), which is widely recognized as an important tool in voice therapy for a range of conditions affecting voice, and for which she has received funding for basic and applied science from the National Institutes of Health since 1997. Dr. Verdolini Abbott is a Fellow of the American Speech-Language-Hearing Association, from which she also received the highest Honors in 2009. She is, herself, a singer and actor, committed to the translation of both basic science and performing arts traditions to the practice of speech-language pathology. For Kittie's full bio, please visit our About page.
Marianna Rubino, MFA, MS, CCC-SLP, is a PhD student in Dr. Katherine Verdolini Abbott’s voice lab at the University of Delaware, an adjunct instructor in the Communication Sciences and Disorders graduate department at New York University, and a speech-language pathologist at Christiana Care Hospital in Newark, Delaware. Primary research interests include identity, adherence, and general psychology in relation to voice production, disorders, and rehabilitation as well as the use of actor voice training methods with speech-language pathology clients and patients. Marianna has presented regarding these various topics at national conventions including those hosted by the American Speech-Language-Hearing Association, the Voice Foundation, Fall Voice, and the Pan American Vocology Association. Additionally, Marianna is a classically trained actress and long form improv comedian with multiple Shakespeare and Chicago-based improv credits and a member of the Actors’ Equity Association.
A Taste of Lessac Kinesensics for Speech-Language Pathology:
A Dialogue and a Workshop
(SIDEBAR: MORE TOOLS FOR YOUR TOOLBOX)
Kittie Verdolini Abbott, PhD, CCC-SLP, MDiv and Lessac Master Teacher Nancy Krebs
Marianna Rubino, MFA, MS, CCC-SLP, PhD Student
DAY 1 (Participants experiences Lessac Kinesensic Training)
9:00-9:15 Introduction to the overall experience and relevance to SLP community
9:15-10:15 Introduction to the Lessac principles, inner vs. outer environment, Body Work comes first: posture/breathing, Body Pain Relievers/Relaxer-Energizers
10:30-12:00 Body Energies (NRGS*)
Experiments with these Body Energies (w/relevance to SLP clinical work)
*NRG--Neural Regenerative Growth and acronym for ‘Energy’
12:00-1:00 Lunch Break
1:00-1:30 Introduction to the Principles of Lessac Voice Training (w/relevance to SLP)
(Tuning fork, hearing vs. ‘feeling’, kinesensic learning,
Familiar events, organic instruction for voice, 3 Vocal NRGs)
1:30-2:15 Consonant NRG Introduction, covering some of the instruments (strings, drumbeats—the ‘small combo’)
2:30-2:40 Vocal Tune-up with Rounds using the strings./ shakeout re-energizing
2:40-3:00 Continuation of Consonant NRG adding Body NRG ‘support’
3:00-3:30 Introduction to Tonal NRG bridging from the Y French Horn (Y Buzz)
3:45-4:15 Tonal NRG (+Y and the Call) (posture check throughout)
4:15-4:45 Structural NRG introduction (Woo-Woe-War-Wah-Wow)
4:45-5:00 Q & A --assignment explanation
Assignment: Review what we’ve done today, use the poems to expand your sense of ‘kinesensic’ (the ‘feeling process’) understanding of Consonant NRG. Also include exploring them with a body NRG present--then change the body energy and explore the poem again--see what differences you might feel taking place.
Hand out one line explorations for tomorrow
DAY 2 (Participant experiences Lessac Kinesensic work, con’t)
8:30-8:45 Scat Bands and Vocal Tune-up (refresh posture and breathing)
8:45-9:15 Continuation of Structural NRG into the 4 Step progression
9:15-9:35 Neutral vowels as an extension of Structural and Consonant NRG
9:45-10:15 Exploration of Text (supported by a Body NRG) using handout of short lines
11:00-12:00 Intro to basic science
12:00-1:00 Lunch break
1:00-4:00 Basic Science & Clinical Journey with Lessac Kinesensics: Kittie Verdolini and Marianna Rubino
This training, as Dr. Kittie Verdolini Abbott has researched and developed, has been the subject of several small and large-scale studies funded by the National Institutes of Health. Results indicate that Lessac-Madsen Resonant Voice Therapy and its off-shoots are effective for many adults and possibly children with voice disorders from multiple etiologies including phonotrauma—so the more we do this training with our clients/patients, the more efficacious it appears to be:
What the Body Training can do for patients/clients –
Activity: take participants through a clinical model of using ‘smelling the flower’, and Body NRG introduction with a ‘patient’/client’
What the Voice Training can do for patients/clients
The Consonant Energy Orchestra: Fluent intelligibility without rote drill, Melodies, rhythms, and sustained tonal colors, Variety and Contrast, Interpretation
Activity: Begin with a hypothetical ‘problem’—lack of intelligibility on certain consonants—and take participants through a clinical model of implementing Consonant NRG to improve the outcome in a short session
Structural Energy: Optimal, flexible mouth space for all speech and singing sounds, Relaxed and energized jaw, tongue, lips, throat, larynx, Quality production and identification of non-regional vowels/diphthongs, increased sound-wave reflection for enhanced tonal quality
Activity: Create a scenario of a mock session with a patient/client, where the issue is tension in the jaw—using STR NRG, walk participants through how the introduction of this NRG can improve relaxation and reduction of tension
Tonal Energy: Bone conducted vocal resonance for quality vocal tone, Development of full dynamic pitch range, Control of projection for stage, microphone, and personal use—discovering power without pain, strength without strain
Activity: Once again, if the patient/client exhibits signs of vocal strain, dysphonia, polyps etc. create a short model to introduce how focusing of the voice can alleviate the issue, and begin the process of healing
Text Explorations: Connecting body and vocal energies to the emotional experiencing system—a new way to explore text (as it pertains to patient/client assistance)
Activity: using prepared material that relates to the patient/client, demonstrate how ‘rehearsing’ the skills learned in one of the scenarios above could bridge the introduction of material to application of skills in non-prepared/extemporaneous situations (i.e., real life)
4:00-4:30 Course evaluation
4:30-5:00 Final questions, improv, adjourn
Confirmations and Cancellations
Confirmation of registration will be sent by e-mail approximately one day in advance of course start date, along with links to download course handouts and knowledge assessment.
There are no cancellations for this course. No fees will be returned. We are not responsible for any adverse events relating to travel to the course. We reserve the right to cancel the course prior to the course date with full refund of course fee if registrations are insufficient to support the course. If we cancel or reschedule, we are not responsible for any travel expenses or penalty fees incurred by the registrant.