As a voice teacher, you're probably familiar with the fach system of voice classification from the classical tradition. What does this, along with other common language within our field have to do with trans singers and our gender binary? A lot, actually.
Along with the male/female gender binary society has created, we too have created this binary in our voice classification system. Soprano, alto, tenor, bass. Did you assume female, female, male, male? I did too. What about contralto or countertenor? In terms of range, these two voice types are almost identical, yet we still use a separate term for men and women.
"Can I have the women sing at m. 43?"
Let's look at the choral rehearsal room, where choir directors across the world are still referring to “men” and “women” when asking for soprano/alto or tenor/bass voices to sing, respectively. In ResonaTe, a transgender chorus in Chicago (read more about them here or visit their Facebook page), the voice parts are referred to rather as Part I, II, III, and IV. Singers sing the parts with the ranges they are most comfortable with, rather than choosing between two options based on gendered voice fachs.
Jackson Hearns and Kremer beg for a new classification system to be constructed, and ResonaTe’s choral work attempts to break the binary constructions of the choral art—there are men and women and non-binary individuals in every voice part. Concert dress is another related consideration, as we often see men in tuxes and women in gowns when performing, but imagine being a trans singer in a binary-typical choir. Say you are the only one that wishes to wear a dress in the bass section all wearing tuxedos—clearly the dress will make this person stick out on stage?
Solutions? Encourage uniform and genderless dress like choral robes or mix up the singers so section distinctions aren’t as evident on stage. Gender neutral clothing can make everyone on stage more comfortable, not just trans singers.
Another related challenge for trans singers pursuing a vocal career is casting availability and opportunity. It is rare that trans singers are specifically requested on casting calls, and determining what roles, shows, and ensembles to audition for can be terrifying and unnerving for a trans performer. Stage works can be filled with highly binary roles, and while it might seem logical to encourage trans singers—especially trans women—into a “pants role,” this may be exactly the wrong choice. Pants roles exploit a cross-dressing woman and can do much more harm than good for a trans women who has spent a lifetime trying not to be perceived as a man. Casting choices should be a collaborative choice with open communication between voice teacher and singer. Follow the students lead, find their comfort levels, and discussion available options as able.
What do I sing?
Repertoire is often a related challenge for trans singers. Art song is often a great space to start, as music in this realm is often genderless or works with ideas and emotions rather than gendered expressions. Musical theater and opera, among other forms, is where things can be more tricky with many gendered roles in these art forms, and it can be difficult for a trans singer to feel authentic singing a role that doesn’t reflect who they are. While the job of an actor and performer is to portray a character, gender can add a terrifying obstacle for a trans singer to figure out. If the performer can feel truthful and confident in a role, no matter what gender the role is, a transgender singer should be able to audition and play a role just like any cisgendered person. Be an advocate, and if you every find yourself on the other side of the audition table, check out how gender inclusive your casting really is.
Similar to pronouns (check out our article on this), adapting your language within voice classification and in the rehearsal space can be daunting and challenge habits created during a lifetime of teaching. Ask for "sopranos and altos" instead of "women." Look at fachs as vocal ranges rather than gendered labels. Start slow, be kind to yourself, and you'll be well on your way to creating trans-affirming spaces for your students.
Learn More
"The Unexpected Challenges of Musical Theatre for Trans Performers." by Olivia Clement on Playbill.
"Why Trans Representation in the Theater Industry Lags Behind Film and TV." by Kate Sosin on Them.us.
"15 Trans* Actors You Should Know." by Em Grosland on Backstage.
"Trans performers are finally making it to Broadway." by Raven Snook on Time Out.
"how to make your theatre production trans inclusive." by James Washburn, GLAAD Campus Ambassador in Amp by GLAAD.
Finding roles as trans and nonbinary actors in Chicago resembles a shuffle: one step forward, two back." by Nicole Blackwood in the Chicago Tribune.
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