Using the qualitative methodology of grounded theory, this dissertation documents the development of an emergent theory based on how using specific symbolist vocal techniques influence an actor's performance. This study explores actor strategy when performing a symbolist vocal performance piece, voluntary research respondents' perspectives on actor affect, and actor strategy when learning to utilize specific vocal techniques in a symbolist production. Using vocal techniques based on Maurice Maeterlinck's writings and the author's own performance research, actor/respondents applied symbolist vocal techniques including silences, whispered echoing, choral song, shared lines, breathing sequences and liturgical chanting to the research production of Maeterlinck's The Blind. The emergent theory suggests that the pleasure of sound and a feeling of communion with other actors' voices influence an actor's process in the performance of a symbolist play. Actors note that staying within the “comfort-zones” of their typical approach to acting (including emotional honesty, play analysis and physical movement) hinders their performance in a symbolist play. Instead actors tend to alter their acting approach to a symbolist piece considering the work from a more group oriented and intuitive process, focusing only on the way sound affects the body and mind. In essence, the influence is not so much the symbolist vocal technique as it is the actor/respondent's willingness to find pleasure in a new performance style by focusing on the group rather than the individual, the aural rather than the visual or physical. Finally, this dissertation examines various directorial and vocal techniques that proved beneficial to the actor/respondents in their work with the symbolist vocal style. While discussing possible challenges actors face when working with the symbolist vocal style, this dissertation poses possible solutions to those problems both from a directorial and an acting standpoint.