Publications & Performances
* - Publication was refereed/peer-reviewed
Espinosa, Micha (Editor). Monologues For Latino/a Actors: A Resource Guide to the Contemporary Latino/a Playwrights for Students and Teachers. Lyme, NH: Smith and Krause[i], 2014. Print.
*Espinosa, Micha. “Teaching in Cuba: A Voice Teacher’s Perceptions of Two Contrasting Learning Environments and the Effects of Commodification.” Voice and Speech Review [ii](Jan.2014, Under Review). Online and Print.
Espinosa, Micha. “Vital Voices: Gloria Anzaldua.” Spoken Word. June 2012. Performance in the Borderlands/Project Humanities - Arizona Latino Arts Council. Phoenix, AZ
*Espinosa, Micha. “A Call to Action: Embracing the Cultural Voice or Taming the Wild Tongue.” Voice and Speech Review, A World of Voice: Voice and Speech Across Culture, (2011): 75-86. Print.
Espinosa, Micha. “This is Not a Fashion Show”: Site Specific Performance, Spoken Word, and Photography Shoot. February 2013. Pocha Nostra Salon, Tucson, AZ.
Espinosa, Micha. Taming the Wild Tongue: Site Specific Performance, Video Installation, and Photography Shoot. Invited. August, 2012. Second Annual
Freedom and Focus Conference[iii], Vancouver, BC, Canada.
A parody and confrontational performance examining the implications of abandoning one’s cultural voice and the politics of domination within the voice and speech profession. Reviewed by Sue Klemp for Critical Stages, a critically acclaimed web journal created by International Association of Theatre Critics.
“Ms. Espinosa exploration of the methodology of “taming” to standardize speech patterns, pronunciations, and language usage powerfully demonstrated the potential damage that can be wrought upon the voice students who speaks with a non-standard dialect of English. Ms. Espinosa’s work in this area is breaking new ground in the voice community and beyond”. -Wounded Voice, Wounded Heart: The Suppression of the Natural Voice Examined - Sue Klemp, Critical Stages[iv], June, 2013.
Espinosa, Micha and Antonio Ocampo Guzman. “Identity Politics and The Training of Latino Actors.” The Politics of American Actor Training. Ed. Ellen Margolis andLissa Tyler Renaud. New York: Routledge, 2009. Print.
Chapter was developed and inspired by a series of bilingual workshops.
*Espinosa, Micha. “Insights into the Challenges Latino Students Face While Training in Theatre.” Voice and Speech Review, Shakespeare Around The Globe: Essays on Voice and Speech (2005): 129-143. Print.
Espinosa, Micha and Geoffrey Stephenson. “One Voice: Integrating Singing Technique and Theatre Voice Training.” Voice and Speech Review, Shakespeare Around The Globe: Essays on Voice and Speech (2005):388-390. Print.
*Espinosa, Micha. “Inner Voices and Tsunamis.” The Journal of Intergroup Relations, 32.1 (Spring 2005): 85-87. Print.
The journal of record for Intergroup Relations. Publishes articles to scholars and practitioners in the human rights causes worldwide.
[i] Smith and Kraus Publishers, founded in 1990, is the largest publisher of trade theater books in the United States.
[ii] Voice and Speech Review (VSR) is the scholarly journal of record for the voice and speech profession. VASTA is the only organization that publishes a journal for voice and speech professionals in the performing arts, and the VSR is the first journal of its kind. It features writing about cutting-edge theory and practice in the many aspects of voice and speech work. The VSR is the only scholarly journal that exclusively publishes work about voice and speech
training for stage, film, TV and radio.
[iii] Freedom and Focus International Conferences are devoted to practical explorations of Fitzmaurice Voicework by master and associate teachers. The second International Freedom and Focus Conference was held in Vancouver’s Simon Fraser University and attracted over 125 participants. The first Conference was held at the Institut del Teatre in Barcelona, Spain.
[iv] Critical Stages is a critically acclaimed on-line web journal created by International Association of Theatre Critics.
* - Publication was refereed/peer-reviewed
Espinosa, Micha (Editor). Monologues For Latino/a Actors: A Resource Guide to the Contemporary Latino/a Playwrights for Students and Teachers. Lyme, NH: Smith and Krause[i], 2014. Print.
*Espinosa, Micha. “Teaching in Cuba: A Voice Teacher’s Perceptions of Two Contrasting Learning Environments and the Effects of Commodification.” Voice and Speech Review [ii](Jan.2014, Under Review). Online and Print.
Espinosa, Micha. “Vital Voices: Gloria Anzaldua.” Spoken Word. June 2012. Performance in the Borderlands/Project Humanities - Arizona Latino Arts Council. Phoenix, AZ
*Espinosa, Micha. “A Call to Action: Embracing the Cultural Voice or Taming the Wild Tongue.” Voice and Speech Review, A World of Voice: Voice and Speech Across Culture, (2011): 75-86. Print.
Espinosa, Micha. “This is Not a Fashion Show”: Site Specific Performance, Spoken Word, and Photography Shoot. February 2013. Pocha Nostra Salon, Tucson, AZ.
Espinosa, Micha. Taming the Wild Tongue: Site Specific Performance, Video Installation, and Photography Shoot. Invited. August, 2012. Second Annual
Freedom and Focus Conference[iii], Vancouver, BC, Canada.
A parody and confrontational performance examining the implications of abandoning one’s cultural voice and the politics of domination within the voice and speech profession. Reviewed by Sue Klemp for Critical Stages, a critically acclaimed web journal created by International Association of Theatre Critics.
“Ms. Espinosa exploration of the methodology of “taming” to standardize speech patterns, pronunciations, and language usage powerfully demonstrated the potential damage that can be wrought upon the voice students who speaks with a non-standard dialect of English. Ms. Espinosa’s work in this area is breaking new ground in the voice community and beyond”. -Wounded Voice, Wounded Heart: The Suppression of the Natural Voice Examined - Sue Klemp, Critical Stages[iv], June, 2013.
Espinosa, Micha and Antonio Ocampo Guzman. “Identity Politics and The Training of Latino Actors.” The Politics of American Actor Training. Ed. Ellen Margolis andLissa Tyler Renaud. New York: Routledge, 2009. Print.
Chapter was developed and inspired by a series of bilingual workshops.
*Espinosa, Micha. “Insights into the Challenges Latino Students Face While Training in Theatre.” Voice and Speech Review, Shakespeare Around The Globe: Essays on Voice and Speech (2005): 129-143. Print.
Espinosa, Micha and Geoffrey Stephenson. “One Voice: Integrating Singing Technique and Theatre Voice Training.” Voice and Speech Review, Shakespeare Around The Globe: Essays on Voice and Speech (2005):388-390. Print.
*Espinosa, Micha. “Inner Voices and Tsunamis.” The Journal of Intergroup Relations, 32.1 (Spring 2005): 85-87. Print.
The journal of record for Intergroup Relations. Publishes articles to scholars and practitioners in the human rights causes worldwide.
[i] Smith and Kraus Publishers, founded in 1990, is the largest publisher of trade theater books in the United States.
[ii] Voice and Speech Review (VSR) is the scholarly journal of record for the voice and speech profession. VASTA is the only organization that publishes a journal for voice and speech professionals in the performing arts, and the VSR is the first journal of its kind. It features writing about cutting-edge theory and practice in the many aspects of voice and speech work. The VSR is the only scholarly journal that exclusively publishes work about voice and speech
training for stage, film, TV and radio.
[iii] Freedom and Focus International Conferences are devoted to practical explorations of Fitzmaurice Voicework by master and associate teachers. The second International Freedom and Focus Conference was held in Vancouver’s Simon Fraser University and attracted over 125 participants. The first Conference was held at the Institut del Teatre in Barcelona, Spain.
[iv] Critical Stages is a critically acclaimed on-line web journal created by International Association of Theatre Critics.