3. Verbal action
Now let's look at what laws verbal action is subject to. We know that the word is an exponent of thought. However, in reality, a person never expresses his thoughts just to express them. In life there is no conversation to be had. Even when people have a “so-so” conversation, out of boredom, they have a task, a goal: to pass the time, have fun, have fun.
The word in life is always the means by which a person acts, striving to make one or another change in the consciousness of his interlocutor. In the theater on stage, actors often talk just for the sake of talking. If they want the words they speak to sound meaningful, deep, exciting (for themselves, for their partners and for the audience), let them learn to act with words.
The stage word must be strong-willed and effective. The actor must consider it as a means of struggle to achieve the goals by which this character lives. Active word always meaningful and multifaceted. With its various facets it affects different sides human psyche: intellect, imagination, feeling. The actor, pronouncing the words of his role, must know well which side of his partner’s consciousness he is predominantly on. in this case wants to act: whether he appeals mainly to the partner’s mind, or to his imagination, or to his feeling. If the actor (as an image) wants to act primarily on the mind of his partner, let him ensure that his speech is irresistible in its logic and persuasiveness. To do this, he must ideally parse the text of each piece of his role according to the logic of thought. He must understand what thought in a given piece of text, subordinate to one or another action (for example, to prove, explain, reassure, console, refute, etc.) is the main, main, leading thought of the piece; with the help of what judgments is this main idea proven; which of the arguments are main and which are secondary; what thoughts turn out to be distractions from the main topic and therefore should be taken into brackets; which phrases of the text express the main idea, and which serve to express secondary judgments, which word in each phrase is the most essential for expressing the thought of this phrase, etc., etc. To do this, the actor must know very well what exactly he is seeking from his partner - only under this condition his thoughts will not hang in the air, but will turn into purposeful verbal action, which in turn will awaken the actor’s temperament, ignite his feelings, and ignite passion. Thus, proceeding from the logic of thought, the actor, through action, will come to a feeling that will transform his speech from rational to emotional, from cold to passionate. But a person can address not only his partner’s mind, but also his imagination. When we utter certain words in real life, we somehow imagine what we are talking about, we see it more or less clearly in our imagination. With these figurative ideas, or, as K. S. Stanislavsky liked to put it, visions, we also try to infect our interlocutors. This is always done to achieve the goal for which we carry out this verbal action. Let's say I carry out the action expressed by the verb “threaten”. Why do I need this? For example, so that my partner, frightened by my threats, abandons some of his intentions that are very objectionable to me. Naturally, I want him to imagine very vividly all that I am going to bring down on his head if he persists. It is very important for me that he clearly and vividly sees these disastrous consequences for him in his imagination. Therefore, I will take all measures to evoke these visions in him. And in order to evoke them in my partner, I must first see them myself. The same can be said about any other action. When consoling a person, I will try to evoke in his imagination such visions that can console him. Deceiving - those that can mislead, begging - those that can pity him, etc. “Talking means acting. This activity gives us the task of introducing our visions into others.” “Nature,” writes K.S. Stanislavsky, - arranged it so that when we verbally communicate with others, we first see with our inner gaze (or as it is called “vision inner eye.") what we are talking about, and then we talk about what we saw. If we listen to others, then first we perceive with our ears what they tell us, and then we see with our eyes what we hear. Listening in our language means seeing what is being said, and speaking means drawing visual images. For an artist, a word is not just a sound, but a stimulator of images. Therefore, when communicating verbally on stage, speak not so much to the ear as to the eye.” So, verbal actions can be carried out, firstly, by influencing a person’s mind with the help of logical arguments and, secondly, by influencing the partner’s imagination by stimulating visual ideas (visions) in him. In practice, neither one nor the other type of verbal action occurs in pure form. The question of whether a verbal action belongs to one type or another in each special case is decided depending on the predominance of one or another method of influencing the consciousness of the partner. Therefore, the actor must carefully study any text both from its logical meaning and from its figurative content. Only then will he be able to use this text to act freely and confidently.
4. Study based on the painting: “The Princess’s Visit to the Convent”
Winter 1912. The royal carriage approaches the convent. A young princess, nanny, mother and sister emerge from it.
The princess pauses at the entrance to the monastery and slowly looks up at it. For a moment, the princess thinks, she is distracted by the creaking of the monastery doors. The princess crosses herself and enters the warm room. Candles are burning all around, and the hall is filled with the heavy aroma of incense; nuns pray at the altar. The nanny takes off the princess's outer clothing. The princess worships the icon of St. John and slowly crosses herself to the altar.
The nuns instantly disperse to both sides, making way for the young princess. The novices bow and the others line up behind her. They curiously look at the princess, and one of them proudly looked down.
The young princess does not pay attention to anyone, approaches the altar, kneels down and begins to read the Our Father. The notes in her voice sound quietly, then break off and rise higher and higher and dissolve with an echo everywhere, when suddenly... Silence falls and only the rustling of hemlines can be heard behind - the nuns are going about their business so as not to interfere with the princess being alone with God.
The princess raises her wet and teary eyes to the altar, feels an extraordinary lightness in her soul, and a smile appears on her face. God heard her prayers and forgave her all her sins.
The princess gets up, goes to the candlestick, puts candles for health, says something in a whisper, and approaches the exit. The nanny helps her get dressed. The princess crosses herself and goes out into the street, where the carriage is already waiting. She easily inhales the fresh, cold air, turns around, and crosses herself once again. He gets into the carriage and leaves with his gaze convent.
Bibliography:
● B.Zahava (The skill of an actor and director)
● K.S. Stanislavsky (Development of creativity)
Prose (lat. prfsa) - oral or written language without division into commensurate segments - poetry. In contrast to poetry, its rhythm is based on the approximate correlation of syntactic structures (periods, sentences, columns). Sometimes the term is used as a contrast fiction in general (poetry) scientific or journalistic literature, that is, not related to art.
In ancient Greek literature, any literary language was called poetry. However, the very concept of artistry in Greek culture was inextricably linked with rhythm, and, therefore, most of literary works had a poetic form. Later, rhythmically organized speech began to be called verse, as opposed to speech not associated with rhythm. The ancient Romans, successors of Greek culture, began to call it prose.
IN Ancient Greece Along with poetry, there was also artistic prose: myths, legends, fairy tales, comedies. These genres were not considered poetic, since myth for the ancient Greeks was not an artistic, but a religious phenomenon, legend - historical, fairy tale - everyday, comedy was considered too mundane.
Non-fiction prose included oratorical, political, and later scientific works. Thus, in the ancient world, Ancient Rome and then in medieval Europe prose was in the background, representing everyday or journalistic literature, as opposed to highly artistic poetry.
By the second half of the Middle Ages, the situation began to gradually change. Along with the decomposition of first ancient and then feudal society, the poem, tragedy, and ode gradually decompose. In connection with the development of the trading bourgeoisie, its cultural and ideological growth, prose genres are increasingly growing and developing on the basis of the culture of large cities. A story, a short story appear, and after them a novel develops. The old poetic genres, which played a major role in the literature of feudalism and slave-owning society, are gradually losing their main, leading significance, although they by no means disappear from literature. However, new genres, which play a major role first in bourgeois styles, and then in the entire literature of capitalist society, clearly gravitate toward prose. Literary prose begins to challenge poetry's leading place, stands next to it, and even later, by the era of the heyday of capitalism, even pushes it aside. TO 19th century prose writers, short story writers and novelists, become the most prominent figures in fiction, giving society those large typical generalizations that the creators of poems and tragedies gave in the era of the triumph of poetry.
Despite the fact that the concept of genre determines the content of a work, and not its form, most genres gravitate towards either poetic writing (poems, plays) or prose (novels, stories). Such a division, however, cannot be taken literally, since there are many examples when works of various genres were written in forms unusual for them. Examples of this are novels and short stories by Russian poets, written in poetic form: “Count Nulin”, “House in Kolomna”, “Eugene Onegin” by Pushkin, “Treasurer”, “Sashka” by Lermontov. In addition, there are genres that are equally often written both in prose and in poetry (fairy tale).
Literary genres traditionally classified as prose include:
A biography is an essay that sets out the history of the life and activities of a person. Description of a person's life; genre of historical, artistic and scientific prose. Modern biography (for example, the “Life of Remarkable People” series) reveals historical, national and social conditioning, psychological type personality, its cause-and-effect relationships with the sociocultural world.
A manifesto is a programmatic statement in prose form associated with the aesthetic principles of a certain literary direction, movements, schools, groups. The term became widespread in the 19th century and is quite broad in its meaning, as a result of which it is conditional and applicable to a whole range of literary phenomena - from detailed declarations to serious aesthetic treatises, articles, and prefaces. In some cases, the aesthetic statements of writers and literary critics have the character of literary manifestos, having a direct impact on the historical and literary process, despite the fact that some declarations in the form of a manifesto turn out to be short-lived and have little impact. Sometimes literary manifestos and the actual content of a literary school do not coincide. In general, manifestos represent one or another living result public life, reflecting both ideological and aesthetic searches and the process of formation of new literature. prose literary syntactic short story
A short story is a literary small narrative genre, comparable in volume to a short story (which sometimes gives rise to their identification), but differing from it in genesis, history and structure.
An essay is a type of small form of epic literature, different from its other form, the story, in the absence of a single, quickly resolved conflict and the great development of a descriptive image. Both differences depend on the specific issues of the essay. It touches not so much on the problems of developing the character of an individual in its conflicts with the established social environment, but rather on the problems of the civil and moral state of the “environment.” The essay can relate to both literature and journalism.
A story is a work of epic prose, close to a novel, gravitating towards a sequential presentation of the plot, limited to a minimum of plot lines. Depicts a separate episode from life; It differs from the novel in less completeness and breadth of pictures of everyday life and morals. It does not have a stable volume and occupies an intermediate place between the novel, on the one hand, and the story or short story, on the other. It gravitates toward a chronicle plot that reproduces the natural course of life. IN Ancient Rus'"story" meant any prose narrative, as opposed to poetic.
A parable is a short story in verse or prose in an allegorical, edifying form. The reality in the parable is revealed outside of chronological and territorial signs, without indicating the specific historical names of the characters. A parable must include an explanation of the allegory so that the meaning of the allegory is clear to the reader. Despite its similarity to a fable, the parable claims to be a universal generalization, sometimes not paying attention to particular issues.
A short story is a small epic genre form of fiction - small in terms of the volume of life phenomena depicted, and hence in terms of the volume of its text.
A novel is a large narrative work with a complex and developed plot.
An epic is an epic work of monumental form, distinguished by national issues. In historical and literary science since the 19th century, the term epic is often used in an expanded sense, covering any major work that has signs of an epic structure.
An essay is a prose composition of small volume and free composition, expressing individual impressions and considerations on a specific occasion or issue and obviously not claiming to be a definitive or exhaustive interpretation of the subject.
The difference between prose and poetry lies in the language itself. In poetry, the language is figurative, in prose it is abstract. The poetic word is more intense and carries a greater emotional load. The prosaic word is more reserved. He is characterized by a less strong moralistic pathos, pathos and lyricism. In addition, poetry has one of the most powerful means of influencing the reader - rhythm. This is not possible for a prose work. It is rhythmic organization that is an integral property of poetry. Based on this, we can conclude that the poetic word is more distant and sublime from everyday speech than prosaic language.
A literary text is called a secondary modeling system, since it combines a reflection of the objective world and the author’s fiction. The language of a literary text is only a building material. For a literary text there is a special sign system, uniform for different languages. This language is characterized by ambiguity of semantics and multiple interpretations. In a literary text they add up special relationship between three basic quantities - the world of reality, the world of concepts and the world of meanings. If for a text as a product of speech the formula “reality - meaning - text” is universal, then in a literary text, according to linguist G.V. Stepanov, this formula is modified into another triad: “reality - image - text”. This reflects such deep characteristics of a literary text as a combination of reflection of objective reality and fantasy, a combination of truth and fiction. Literary texts have their own typology, focused on gender-genre characteristics.
A literary text is constructed according to the laws of associative-figurative thinking. In an artistic text, life material is transformed into a kind of “small universe”, seen through the eyes of a given author, and behind the depicted pictures of life there is always a subtextual, interpretative functional plan, “secondary reality”. It has a communicative and aesthetic function. A literary text is based on the use of figurative and associative qualities of speech. The image here is the ultimate goal of creativity. In a literary text, the means of imagery are subordinated to the aesthetic ideal of the artist (fiction is a form of art)
It will be convenient to use the following definitions as the basis for the concept of text.
- 1. Expressiveness. The text is fixed in certain signs and in this sense is opposed to extra-textual structures. For fiction, this is primarily the expression of the text by signs of natural language. Expressiveness as opposed to inexpressiveness forces us to consider the text as the implementation of a certain system, its material embodiment. Text always has systemic and non-systemic elements. True, the combination of the principles of hierarchy and multiple intersections of structures leads to the fact that the non-systemic can turn out to be systemic from the point of view of another, and recoding the text into the language of artistic perception of the audience can transfer any element into the class of systemic ones.
- 2. Limited. The text is inherently limited. In this regard, the text opposes, on the one hand, all materially embodied signs that are not part of its composition, according to the principle of inclusion - non-inclusion. On the other hand, it opposes all structures with an undistinguished boundary feature - for example, both the structure of natural languages and the boundlessness (“openness”) of their speech texts. However, in the system of natural languages there are also constructions with a clearly defined category of limitation - this is the word and especially the sentence. It is no coincidence that they are especially important for constructing a literary text. Linguist A.A. once spoke about the isomorphism of a literary text to a word. Potebnya. The text has a single textual meaning and in this regard can be considered as an indivisible signal. The concept of a boundary is defined differently in texts of various types: it is the beginning and end of texts with a structure that unfolds over time. The limitation of constructive (artistic) space from non-constructive space becomes the main means of the language of sculpture and architecture. The hierarchical nature of the text, the fact that its system breaks up into a complex structure of subsystems, leads to the fact that a number of elements belonging to the internal structure turn out to be borderline in the subsystems different types(borders of chapters, stanzas, verses, hemistiches). The boundary, showing the reader that he is dealing with a text and evoking in his consciousness the entire system of corresponding artistic codes, is structurally in a strong position. Since some of the elements are signals of one boundary, and others - of several, coinciding in a common position in the text (the end of the chapter is also the end of the book), since the hierarchy of levels allows us to talk about the dominant position of certain boundaries (the boundaries of the chapter hierarchically dominate over the border of a stanza, the border of a novel is above the border of a chapter), the possibility of structural commensurability of the role of certain delimitation signals opens up. In parallel with this, the saturation of the text with internal boundaries (the presence of “hyphenations”, strophic or astrophic structure, division into chapters, etc.) and the markedness of external boundaries (the degree of markedness of external boundaries can be reduced to the point of simulating a mechanical break of the text) also create the basis for classification types of text construction.
- 3. Structure. The text is not a simple sequence of characters between two external borders. The text is characterized by an internal organization that transforms it at the syntagmatic level into a structural whole. Therefore, in order to recognize a certain set of natural language phrases as an artistic text, one must make sure that they form a certain structure of a secondary type at the level of artistic organization.
It should be noted that the structure and limitations of the text are related. In order to reveal the essence of a literary prose text as a communicative unit, it is necessary to first turn to such fundamental concepts as text, literary text and prose text.
Terminologically, the problem is complicated by the fact that the same concept of “text” covers different objects: text as a product of natural language (primary modeling system) and text as a work of artistic creativity (secondary modeling system). Natural language is called the primary modeling system, since with the help of language a person cognizes the world around us and gives names to phenomena and objects of reality.
Thus, for a literary text, the figurative-emotional, inevitably subjective essence of facts and phenomena is important. For an artistic text, the form itself is meaningful, it is exceptional and original, it contains the essence of artistry, since the “form of life-likeness” chosen by the author serves as material for expressing another, different content, for example, a description of a landscape may not be necessary in itself, it is only transfer form internal state author, characters. Due to this different, different content, a “secondary reality” is created. The internal figurative plane is transmitted through the external subject plane. This creates a two-dimensional and multi-dimensional text.
Literary prose is mainly presented in two types: classical and ornamental. Classical prose is based on a culture of semantic-logical connections, on maintaining consistency in the presentation of thoughts. Classical prose is predominantly epic and intellectual; unlike poetry, its rhythm is based on the approximate correlation of syntactic structures; This is speech without division into commensurate segments. Ornamental prose is based on an associative-metaphorical type of connection. This is “decorated” prose, prose with a “system of rich imagery”, with metaphorical beauties. Such prose often draws its visual resources from poetry. The authors of ornamental prose most often look like original experimenters of literary form: either an appeal to active word creation, or to excessive archaic syntax and vocabulary, or to the grotesqueness of the image, or to the imitation of a skaz form. In any case, this is an exaggerated sense of form when a word becomes the subject of a linguistic experiment. Ultimately, the system of linguistic capabilities itself is tested when prefixes and suffixes are used in combination with different roots, without taking into account existing normative word-formation models. The heightened imagery of ornamental prose, reaching the point of embellishment, creates the impression of super-figurative speech, speech that is highly picturesque, pictorial in the literal sense of the word. However, this is not just decoration, “packaging” of thought, rather it is a way of expressing the essence of artistic thinking, aesthetic modeling of reality.
Observing the creative path of the great actors of his time, Stanislavsky noted their ability to act with words. In life, this is a common quality of speech - we always speak with some purpose, with some intentions, and therefore our speech is convincing, it affects the interlocutor. On the stage, having the author’s text, the performer often simply “reports” it, pronounces it more or less expressively, but does not know how to influence the partner with the text. In addition, due to the frequent repetition of the text, the words become “chattered” and turn into meaningless sounds.
In life, when talking about something, we imagine this object, event, scene and people. Thanks to this, our speech acquires persuasiveness, specificity, we
let's “draw” with a word. Likewise, the actor is obliged to create mental representations throughout the course of the action; he must not only know about the past life of his hero, about the people around him in the play, but quite specifically, with the help of creative imagination, imagine all these people, all these circumstances. Only on this basis will his stage speech be filled with life and receive real content. This is how the concept of “vision” arose, the so-called. mental representations necessary for the organic performance of the text of the role.
The text of the role must be imbued with effectiveness - the desire to influence the partner with your understanding, your assessment and your ideas. To act with words means to influence your partner with your visions.]
While rehearsing “Woe from Wit,” K. S. Stanislavsky sought from the performer of the role of Chatsky a living, concrete representation of all those persons about whom he asks Sophia (French dance master Guillaumet, Praskovya Alekseevna, a rich tax farmer, etc.). He demanded from the actors the constant work of creative imagination, creating all the necessary visions.
(no less important technique In working on the word, the creation of “internal monologues” also begins. This term refers to a continuous train of thoughts passing through the mind of the actor at the moment when he listens to a partner or watches the scene of other actors.
And in this case, K. S. Stanislavsky proceeded from life practice; Usually we do not say out loud all the thoughts that pass through our minds. Between the text spoken out loud, there are still many thoughts “to oneself”. And what we are saying is the result of everything that has been thought out on this issue. In a person’s mind, the thought process goes on in a continuous stream, and on stage, actors sometimes limit themselves to only pronouncing out loud the lines of the role, between which there are “voids.” That is why such a performance sounds unconvincing - it does not influence the viewer, does not involve him in the course of the performance.
Ministry of Culture of the Russian Federation
Federal State Educational Institution
Higher professional education
"St. Petersburg State University
Culture and Arts"
Rostov branch
Subject: “Fundamentals of verbal action”
On the topic: “Fundamentals of verbal action and the skill of a leading director of cultural and leisure programs in the profession”
2nd year students
specialization: “Staging of control panel”
Zubko A. V.
Teacher:
Kazachek I. A.
Rostov-on-Don
1. Introduction.............................................. .....................................3
2.) History of the development of verbal action……...……………..5
3.) Sections of the subject: “Fundamentals of verbal action”
3.1. Classification…………………...……………….7
A.) Breathing. Breathing Types
B.) Diction. Types of diction violations
G.) Logic of speech. Sections of logical speech
4.) Anti-dictionary…………………………………………….....14
5.) Analysis of the fairy tale……………………………………………13
6.) Conclusion……………………………………………………………...18
7.) List of references……………………………………………………..20
Introduction
Each profession requires a certain minimum of knowledge, skills and abilities, without which one cannot consider oneself a specialist in the chosen field. And the artistic professions are no exception in this sense. Musicians of all specialties, regardless of their creative individuality, manner, or direction, rely on the fundamental principles of music theory, harmony, rhythm, counterpoint, and a unified musical technology. In all schools visual arts Since the time of Leonardo da Vinci, the laws of perspective, light and shade, composition, color combinations have been studied, and drawing techniques have been mastered.
The need to master the basics of your art, be it music, singing, painting or ballet, is beyond any doubt. But when it comes to the profession of a dramatic actor, many reservations arise. They say that a talented actor will play well without school, but no school will help a mediocre actor. From this they conclude that it is not necessary to study the art of acting; one must be born an actor.
But don’t talented musicians, singers, ballet dancers, and artists spend many years of hard work improving their natural abilities and mastering the technique of their art? Why is it that only talent is enough for a dramatic actor? Does such a privilege stem from the special nature of the theater, its exceptional position among other arts, or the denial of school, professionalism and all reliance on talent? miraculous power"guts"?
M. Gorky answered a similar question well: “Talent is like a thoroughbred horse, you need to learn how to control it, and if you pull the reins in all directions, the horse will turn into a nag.”
True art, as we know, is born from the fusion of talent with skill, and skill is laid down by a school that accumulates the best traditions and experience of many generations. The school develops and polishes natural inclinations student, gives him the necessary knowledge and skills, organizes his talent, makes him flexible and responsive to any creative task. According to A. N. Ostrovsky, without studying the technique of one’s art one cannot be “not only an artist, but also a decent craftsman.”
Creation credit modern school acting art belongs to K. S. Stanislavsky. For the first time in the history of the theater, he deeply developed the issues of stage theory, method and artistic technique, which together constitute an integral materialist doctrine of acting creativity. This teaching has become widely known throughout the world as the “Stanislavsky system.” The purpose of the system is to help the actor embody the “life of the human spirit” of the role on stage through living, artistically truthful images. For the sake of this goal, means of its practical implementation were sought, and theater pedagogy was created.
The normativity of creativity is alien to Stanislavsky's system. It requires unity of form and content, but does not prescribe any canons in the field of artistic form.
The system does not replace creativity, but creates the most favorable conditions for it. She lives in the skill and talent of the actor.
The unfading significance of Stanislavsky's system is that it helped to overcome spontaneity in theatrical pedagogy and give it the features of true scientific character.
In chapter teaching aid“Verbal interaction” received the most detailed expression of Stanislavsky’s latest quest regarding stage speech. It correctly defines the nature of stage speech, shows the connection between verbal action and physical action, reveals the complex psychophysical mechanism of the birth of a living word on stage, and proposes a technique for mastering the organic process of verbal interaction.
Understanding stage speech as the art of verbal interaction, the author opposes identifying it with artistic reading and teaching in isolation from the actor's skill. He raises the question of the need to return to mastery teachers the initiative they have lost in studying the most important element of acting expressiveness - the stage word.
History of the development of verbal action
The nature and style of stage speech has changed and developed throughout the history of the theater. The peculiarities of the construction of ancient drama and the architecture of grandiose theatrical buildings shaped the laws of Hellenic classical recitation. Normative aesthetics of classicist theater of the 17th-18th centuries. required the performer to observe the rules of measured, clear recitation, subordinate to the stresses and caesuras of a poetic tragedy. For the actors of the romantic theater, the stage speech score was determined by alternating increases and decreases in feelings, characterized by accelerations and decelerations, voice transitions from piano to forte, and unexpected intonations. The flourishing of the realistic art of verbal action is associated mainly with the Russian theater, with the activities of the Maly Theater. The turn to realism made by M. S. Shchepkin, therefore, to a certain extent affected the culture of stage speech. Shchepkin called for naturalness, simplicity of verbal action, bringing it closer to conversational. Great value The actor’s work on the word was given importance by A. N. Ostrovsky, who believed that one should not only watch, but also listen to plays. A galaxy of outstanding Russian actors (Sadovskys and others) were trained on Ostrovsky's dramaturgy - masters of stage speech who considered the word as the main means of characterizing an image. At the turn of the 19th-20th centuries. new era in the history of the development of Scenes. K. S. Stanislavsky opened the speech. In the system he developed for an actor to work on a role, he looked for techniques that would help the actor reveal not only the meaning of the text, but also the subtext of the spoken words, to capture and convince partners and spectators with “verbal action.” Stage speech is one of the most important disciplines studied in theater institutes, schools, and colleges.
Classification
Stage speech is one of the main professional means the actor's expressiveness. Possessing mastery, the actor reveals inner world, social, psychological, national, everyday character traits of the character.
Stage speech technique is an essential element acting skills; it is associated with sonority, flexibility, volume of voice, development of breathing, clarity and clarity of pronunciation, intonation expressiveness.
The training complex provides for a transition from everyday, simplified speech to the expressive, bright stage sound of an actor’s voice. Learning stage speech is inextricably linked with the formation of plastic freedom, the development of elasticity and mobility of the respiratory and vocal apparatus, the improvement of speech hearing, voice production, etc.
1. Breathing.
The breathing process is of particular importance in connection with human voice and speech activity. This is one of the most significant and important elements education of the speech voice and correct pronunciation of speech sounds. From how the actor breathes, i.e. How he knows how to use his breath depends on the beauty, strength and lightness of his voice, the musicality and melody of his speech. During stage speech classes, various exercises are done aimed at training diaphragmatic breathing.
The following types of breathing are distinguished:
1. Chest breathing.
It is when the muscles work most actively chest. External respiratory movements are reduced to active movements of the chest walls. The diaphragm is inactive. The abdomen is drawn in when inhaling. Variety chest breathing is clavicular (clavicular), or upper thoracic, breathing, in which the muscles of the upper chest are very energetically involved, shoulder girdle and neck. This breathing is shallow, the neck muscles are tense, the movements of the larynx are limited and therefore voice formation is difficult.
2. Mixed, thoraco-abdominal (costo-abdominal) breathing.
The muscles of the chest and abdominal cavities, as well as the diaphragm, are active.
3. Abdominal or diaphragmatic breathing.
With this type of breathing, the diaphragm and muscles actively contract abdominal cavity, in particular the muscles we see abdominal wall, with relative rest of the chest walls. There are some differences in breathing between men and women. Men are characterized by “low” breathing, close to abdominal breathing. And women breathe more “highly”, and their breathing is closer to the chest type.
2. Diction.
The safety of the speech apparatus depends on how wisely it is treated. Systematic training strengthens, tempers and protects speech apparatus from breakdowns, help maintain for a long time professional speech qualities. Diction - clear and precise - necessary professional quality actor. During classes, students perform exercises, the purpose of which is to eliminate “porridge in the mouth”, improve diction, clarity of spoken words and phrases.
Naturally, we will not consider the problems of organic diction disorders. We are only interested in functional disorders of inorganic origin. Such as sluggish articulation, that is, poor mobility of the jaw, tongue, lips. As a consequence of slurred articulation, there is a distortion of sounds, that is, incorrect pronunciation, which includes the following typical diction violations:
Sigmatism (incorrect pronunciation of the whistling sounds С – Сь, З – Зь, Ц and the hissing Ш, Ж, Ш,Ч consonants sounds);
Rotacism (incorrect pronunciation of the sounds R - Rb);
Lambdacism (disadvantages of pronouncing L and L);
Tecking (sound TH);
Jingling (sound Дь);
Absence of sounds, that is, the loss of sounds at the beginning, middle or end of a word. For example: the word plays is pronounced ...plays, ig...et or plays...;
Sound replacement, that is, one sound is replaced by another. Most often, the sounds L - V are replaced. For example: the bell is pronounced like kovokol, etc.;
Incomplete pronunciation of complex sound combinations – word compression. For example: “people” instead of the other way around, “remember” instead of remember, “present” instead of the president.”
The main task of stage speech is to reveal, develop and educate the so-called. speech voice. Using a specially selected set of exercises, the teacher helps students identify all best qualities speech sound, inherent in their individuality, develop and adapt them for a professional sound.
Soprano
Mezzo – soprano
Bass profundo - very low, chesty, voluminous voice.
Used most often in church choral music.
4. Logic of speech.
Each phrase (like a word) in speech has a specific meaning for the sake of which it is pronounced. IN colloquial speech we are not looking for meaning and those words that express the main idea. We speak without thinking about what to highlight, where to pause, where to change the pace of speech or the sound of our voice. When reading a text written by the author, we try to “colorize” it intonationally, we begin to “play” with words, which immediately affects the essence of what is being said. The main task of this section is to teach the student to see and understand the structure of speech, to correctly place intonation and logical stress.
Sections of logical speech:
Phonology, or knowledge of the sounds of a language;
Syntax, or understanding the relationships and combinations between the words that make up a phrase;
Semantics, i.e. understanding the meaning of words and phrases.
Anti-dictionary
| Correct words | Wrong words |
|
Miserly Connected Apostrophe Asymmetry Apoplexy Pampered Pamper BlaGovest Rampant BesOvsky Barrel ReligionDiet AGES Perceive Widowhood Gazoprovod Carbonated Glazed MoneyAmi Cheapness Spiritual Gospel Open Farmer Darken Iconography Catharsis |
Minuscule CONNECTED Apostrophe AssymEtria Apoplexy Pampered Pamper BlagovEats Rampant Besovskaya BochkovOy Religion AGE Perceive Widowhood Gas pipeline Carbonated Glazed with money Cheapness SpiritOvnik GospelEliya Buy out Opener Mold Iconography Catharsis |
COUGH Cedar Kirzovye More beautiful Bleed Kitchen make it easier inquire Open SEAL Accept Serendipity SqueezeKill PrinUdit Sparse Rhododendron Christian Timing UNDERSTAND Equip |
KashlyanUt CEDAR KirzOvye More beautiful Bleed Kitchen Lighten up Inquire Buy off SEAL Accept Prosperousness Sip FORCE Sparse Rhododendron Christian ChronometerAzha Emphasize Equip |
Analysis of a Russian folk tale
"The wolf and the seven Young goats"
Cockerel 3. Tease
Goat 4. Stomper
Wolf 5. Mazilka
6. Chatterbox
The fairy tale "The Wolf and the Seven Little Goats."
It contains both a joke and a hint:
Hidden somewhere in our fairy tale
A lesson to good fellows.
(A goat is sitting on a bench near the house, rewinding a ball of thread. Two goats are sitting next to each other and talking, two are butting heads, three are playing tag).
GOAT: I have seven kids,
This is my family.
I'll tell you what their names are
I'll tell you in order.
Here is Umeika - he is skillful,
Here Bodayka is very brave,
Here's Tease, here's Stomper,
Here is Mazilka, here is Chatterbox.
I have one daughter
Loves to chat very much
Can't keep quiet
I have one kid -
Fidgety, little shooter.
I love him most of all
I call him baby.
Oh, goats, you guys,
You are left without a mother.
I go to the garden to pick cabbage.
Maybe the Wolf will come - I feel it in my heart.
I have to sit
Do you hear,
Quieter than water
Below the grass!
You lock yourself with seven locks.
Oh, I'm afraid for you guys,
Oh, the signs wouldn’t come out!
Goats:
Don't worry mommy
Everything will be fine!
We know from a fairy tale:
The wolf is terribly ugly!
(The goat addresses the kids, and they all sit on a bench near the house).
GOAT: I'm going to the market again,
To buy you all updates.
Nothing bad happened
Sit here quietly.
When I come, I'll sing you a song
You know its motive:
SONG DING – DON, I AM YOUR MOTHER
Goat: Ding-dong, I'm your mother
I am your mother, this is my home.
Ding-dong, meet mom,
No... The kids weren't bored...
Only mother is beyond the threshold,
They pounded in the rhythm of the dance
The whole earth trembled -
These are young goats
Confused: la-la-la!
SONG - DANCE of the little goats La, la, la, la, la, la, la, la, la...
(The wolf is knocking)
Wolf: Open the door for your mother as soon as possible.
I'm tired. I'm hungry like an animal.
I gave you something to drink, I gave you milk,
You're singing out of tune!
Wolf: At the threshold, apparently, I will die.
You don't let your own mother come home.
Open up! Don't be a fool!
I am Kozlikha. But slightly hoarse!
Once upon a time there lived a Rooster - a master of vocals.
And he worked miracles.
Could give to animals for luck
Sharpen your tongue
Wolf: It will be a holiday for you, little goats!
I have to teach you a lesson!
(Knocking on Cockerel)
Wolf: Help me, Petya
Learn to sing.
Came to me when I was a child
Ear Bear!
Cockerel:
Come in, sit down!
Sing boldly, don't be afraid of the sound
This is the science of singing!
Repeat after me, my friend!
Cockerel: - Re...
Cockerel:
Well, let's fix it boldly!
You will sing skillfully now!!!
The whole neighborhood knows the rooster here
Everyone says that no one is dearer than me.
I will do anyone a favor
There is no one stronger than me in vocals.
Cockerel is a glorious master of vocals,
Come to me big and small
With the Wolf for exactly half an hour.
With a howl, Gray said goodbye
And he bleated like a Goat:
Goats: - Mom, mom has come.
IN olk: That's it, little ones!
With a bag full of gifts
Sings at the porch.
SONG OF THE GOAT: DING DONG 2:49
Ding-dong, I'm your mother
I am your mother, this is my home.
Ding-dong, meet mom,
Into the distance where the eyes look,
Poor Goat is rushing.
The Goat rushes like a chamois,
12. SONG LA-LA-LA-LA
The wolf with the kids is singing!
Cockerel: Yes, friends, I dare say:
I have never seen
So that the kids can sing with the Wolf...
After all, they are his food!
Kid Umeika: Someone will say: this is stupid!
And in my opinion, guys:
The most beautiful show group
"The wolf and the seven Young goats"
SONG MOM
Goats: Mom is the first word,
The main word in every destiny.
Mom gave life
She gave the world to you and me.
Conclusion
Scientists have long proven: the secret of a person’s success is in his voice. Only now people are accustomed to the fact that they can speak, to their voice, its intonations and timbre: it does not even occur to them that they do not even use one tenth of its potential.
It's all about the high formant, which is naturally inherent in a person's vocal cords and about which the person himself, of course, has no idea. Meanwhile, from the ability to resonate ligamentous apparatus Using high frequencies, the expressiveness of speech depends, making a person especially attractive. This voice is rated as leadership and is preferred by most people. Remember how often you have heard that a person who everyone likes has charisma. What makes him a public favorite is his ability to use all ranges of the speech spectrum, especially the high formant range.
A spectral analysis of the speakers' speech carried out by scientists showed that the most famous of them have the entire range of low, medium and high frequencies - from 80 to 2800 Hz. An ordinary person uses an average of 80 to 500 (maximum up to 1700 Hz) when talking. The so-called high formant zone (from 2000 to 2800 Hz) most often remains unaffected.
For the famous Volga bass Chaliapin, 80% of the voice spectrum was in the high formant range and only 20% was distributed in the bass and mid-low frequency regions. And the velvety baritone of the famous singer Frank Sinatra, who won the hearts of half of the women in America, had average low- and high-frequency characteristics. The sensational foursome of the Beatles, in the climactic parts of their songs, increased the range of high formants in unison, bringing fans to complete ecstasy.
Today, thanks to the developments of our scientists, it has become possible to control and improve your voice data. At first glance, everything is simple. A person speaks into a microphone, his speech is processed by a program, and his speech spectrum is displayed on the monitor in real time. Zones of low, medium and high frequencies are distinguished.
Currently, methods have been developed for developing speaking abilities that allow anyone to improve their voice. Over time, you will notice how your dreams come true. From now on you won't look like a gray mouse. And this is not surprising! The magnetism of your voice will not only attract people to you, but will also turn you into a person who cannot be refused, with whom you cannot be angry, offended, and even more so swear... Now you can cope with any situation! But that is not all.
With the help of certain training, you can achieve an increase in the power of your voice, the appearance of any necessary shade (overtone, harmonics) in it.
Recognized masters of different eras have unusually pleasant and distinctive voices: the breathy whisper of Marilyn Monroe, the gentle voice of Michelle Pfeiffer, the deep, exciting voice of Edith Piaf, the dull, hoarse voice of Marlene Dietrich, the low, enveloping voice of Richard Chamberlain. All these actors devoted an extraordinary amount of effort to their voice production. Will you become a Hollywood star with a shrill, shrill voice?
Bibliography:
1. B.V. Gladkov, M.P. Pronina, On the flight of the stage voice, Theory and practice of stage speech, issue 2, 1992, St. Petersburg. State Institute of Theatre, Music and Cinematography.
2. Voyskunsky A.E. “I say, we speak,” M, Prosveshchenie, 1989
3. Nochevnik M. N. “Human communication”, M., Education, 1986
4. Pavlova L. G. "Dispute, discussion, controversy", M, Education, 1991
5. Soper P. "Fundamentals of the art of speech", M, 1995
6.Social psychology and ethics business communication. Lavrinenko V.N.M., 1995
8. K.S. Stanislavsky "The Actor's Work on Oneself", Letters. L.1980
9. N.P. Verbovskaya, O.M. Golovina, V.V. Urnova "The Art of Speech". Because of
