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Traditionally, the actors voice-training arena in the United States has been based largely in a preponderance of European and American theories. Many of the most prevalent approaches to voice for the actor have been examined in this western insularity. But, increasingly, the influences of other cultural traditions are gaining tenancy in many western venues, including university dramatic art departments. These transactions, however, do not always occur without tensions, as diverse cultural disciplines seek balance between fluid intercourse and maintenance of traditional integrity. This study examines how one relatively undocumented approach, Fitzmaurice Voicework, addresses the tension of intercultural dialogue in dramatic art. The study will observe how Fitzmaurice Voicework provides theoretical and working interchange between Reichian therapy and bioenergetics from the West, along with yoga and shiatsu from the East. The theory that it purports has global and holistic possibility for the actor, giving a wide palette for play and vocal expressiveness.