NIDA acknowledges the Traditional Owners and Custodians of the lands on which we learn and tell stories, the Bidjigal, Gadigal, Dharawal and Dharug peoples, and we pay our respects to all Aboriginal and Torres Strait Islander Elders past and present.
Lara has worked in a variety of sectors in communications-based roles. She completed her undergraduate degree in 2015 at the Australian National University in International Relations majoring in Political Science and minoring in Gender Studies, and the Asia Pacific Region.
Lara has always been attached to her personal life in the performing arts, visual arts, writing/literature and healing arts. In 2012, Lara auditioned for the role of ‘Paula’, in a university production of After Dinner by Andrew Bovell and it was here she regained her sense of exhilaration for the magic that is theatre. In 2014, she had the opportunity to create a Canberra-based production, choosing to recreate an interpretation of the Commedia Dell’Arte inspired political farce Can’t Pay, Won’t Pay by Dario Fo. Her roles were co-director, producer, set and costume designer. They enjoyed five sold-out nights of 100 seats. In this process, Lara found that she was most inspired by helping the actors find the voice of their characters within text, and through physicality.
In 2019 Lara completed her first teaching placement of voice at Sydney Theatre School in Chippendale. Lara hopes to develop her pedagogical philosophy of practice focusing on a ‘kinesensic’, experiential embodied approach.
Lara pursued her passion for teaching voice with an international placement to finalise her MFA in Wellington, and hopes one day to develop her repertoire in designation for Lessac, Fitzmaurice or Knight-Thompson Speechwork. She enjoys being open to flexibility across teaching actors for performance and film, accent/dialect coaching, voice for corporates, the healing arts or anyone so inclined.
Lara is intrigued by the potential of using voice training to find pathways into humanitarian and diplomatic area. She is committed to the creative process, supporting actors in the rehearsal room, in one-on-one tutoring and on set, including dialect training and exploring the vocal possibilities in the text.