Female archetypes in women satire emanate from Ancient Roman time and are still in use. Their purpose was to ridicule and/or categorise women. One typical example is the elderly, love sick woman. She occurs in early, Roman comedy, in operas by Mozart and in slapstick today. She can also be portrayed as a witch. An other one is the young woman, too young to know about love, but old enough to long for it. 

The partakers are invited to try out and play with various vocal technics which makes this paper an investigation in artistic methods as well as artistic pedagogy. How do the archetypes manifest physically and emotionally in the voice and the body? In addition the paper asks how unique an individual voice is. Do ancient female archetypes still lurk within the new liberal concept of the unique individual?