Insights

A clinical assessment of a performer can begin simply by observing how the artist stands. How do they distribute their weight? Do they consistently favor one side? How do they use their feet, ankles, knees, and hips? What happens when they pick up the microphone? And what changes when they start singing? It is particularly interesting to observe whether their body's organization changes as vocal demands increase. Some performers suddenly increase stiffness in their lower limb

When we watch a pop singer on stage, our attention naturally goes to the voice: pitch, vocal range, power, tone, control, and endurance. But for those of us who work clinically with performers, the voice is only the audible part of a much more complex system. Before I even ask myself, “How is this artist using their voice?”, I want to understand something else: How is their body organizing itself to produce that voice? A pop singer does not perform under static conditions. Th

The relationship between jaw tension and acting should not be reduced to the idea that emotions are simply “stored” inside a muscle. Human physiology is more complex than that. But emotional states unquestionably influence breathing, muscle tone, posture, facial behavior and vocal production. And those physical changes can, in turn, influence how freely a performer can respond. For the actress, therefore, jaw work is not simply about treating a temporomandibular joint. It can

One of the most underestimated moments in film performance is what happens after the director calls cut. The emotional scene may have ended. The muscular strategy sometimes has not. The jaw remains clenched. The tongue remains fixed. The shoulders remain elevated. The respiratory pattern remains altered. The nervous system is still behaving as though the scene were continuing. Over multiple takes, this residual activation can accumulate. For this reason, recovery does not nec

This distinction is particularly important when working with dramatic performers. If an actress needs anger, fear, grief or extreme emotional tension for a scene, eliminating every trace of muscular activation would make little sense. The goal is not: “Don't tense.” The goal is: “Don't use more tension than the performance requires.” An actress may need to scream. She may need to cry. She may need to whisper under extreme emotional pressure. She may need to repeat the same br

My clinical approach does not attempt to manufacture emotion or change an actress's interpretation. The artistic process belongs to the performer and the creative team. Clinical support has a different role: remove unnecessary physical obstacles so that the performer has more options available. Depending on the individual assessment, hands-on work may address: mandibular mobility masseter and temporalis tension suprahyoid tissues tongue–hyoid relationships anterior cervical t

Voice production depends on coordination rather than isolated strength. Respiration, phonation, articulation, resonance, cervical mobility and postural control constantly interact. If the jaw and anterior neck become excessively involved in stabilizing the system, the laryngeal environment may have to compensate. The performer may describe: "I can still do the scene, but the voice doesn't feel free." That distinction is important. A performer does not need to lose her voice b

Actors are often trained to access emotion. But emotional availability also requires physical availability. Imagine trying to deliver an emotionally exposed line while simultaneously clenching your teeth, fixing your tongue and contracting the muscles around your throat. The words can still come out. But they have to work against the body. This is one of the reasons jaw tension deserves particular attention in performers. The objective is not simply to create a “relaxed jaw.”

Under emotional pressure, many performers unconsciously begin to bite down. The masseter and temporalis increase their activity. The mandible becomes less mobile. The tongue may become less adaptable. Muscles around the hyoid and anterior neck can begin participating unnecessarily in stabilization. At the same time, breathing may become higher or more restricted. None of these responses necessarily represents pathology. They can simply be part of the body's attempt to create

An intense dramatic performance does not happen only in the mind. When an actress enters a highly demanding emotional scene, the entire body participates. Breathing changes. Muscle tone changes. Postural strategies change. The nervous system responds to emotional intensity as well as to the physical demands of repeatedly performing the same scene. And one of the places where this response often becomes visible is the jaw. Clenching the teeth, fixing the mandible or increasing

For many professional singers, gastroesophageal reflux and laryngeal irritation are a real risk—especially under conditions of stress, irregular schedules, and the intense pace of the Sanremo Festival. Proper nutritional management during Festival days can make the difference between a free, responsive voice and one that feels “tight,” irritated, thick, or vulnerable to performance drops. 1. Why reflux is so common during the Festival At Sanremo, several factors combine to in

A great voice alone is not enough: on the Ariston stage, the final result also depends on the microphone, monitoring system, sound quality, the relationship with the sound engineer, and in-ear management. A singer who masters these aspects steps on stage more confident, more stable, and delivers a technically flawless performance. For this reason, audio management is a fundamental part of professional preparation. 1. Choosing the Microphone: Why It Makes a Difference Every vo

Sanremo is not prepared only beforehand: it must also be managed during the Festival. During the Festival days, the main goal is to preserve the voice, prevent fatigue, support the body, and keep performance stable despite tight schedules and continuous demands. 1. Smart vocal conservation This does not mean “not speaking,” but rather: using a soft, conversational voice avoiding glottal strain when laughing, shouting, or speaking in noisy environments scheduling moments of re

Beyond technique, arrangements, and physical preparation, there is one decisive ingredient: emotion . Performing at Sanremo is extremely intense, and psychophysical management plays a fundamental role. Managing adrenaline: turning it into an ally Live television, cameras, the Ariston stage, and media attention all increase adrenaline levels. To keep it under control, singers work on: diaphragmatic slow breathing, grounding techniques, visualization of the performance moment,

Osteopathy applied to the voice is now one of the most powerful resources for professional singers. At Sanremo, where every detail can change the quality of a performance, osteopathic support becomes a strategic element. Why is osteopathy so useful for singers? The goal is not to “treat pain,” but to optimize body biomechanics so the voice can function as freely as possible. Osteopathy helps to: improve the mobility of laryngeal structures reduce tension in the hyoid and mand

Osteopathy helps singers by improving vocal quality and endurance while reducing the risk of vocal injuries through laryngeal and...

According to the literature, this disorder occurs in 80% of women and typically affects individuals who do not present structural...

This condition involves a reduction in the anteroposterior diameter of the larynx during phonation. This results in difficulty producing...

Also known as isometric laryngeal disorder, this is one of the most common voice disorders. Characterized by a generalized contraction of...

The first and most important strategy is achieving a good level of hydration combined with the development of correct vocal technique...