The Complete Voice Speech Workout

Integrating Voice, Breath, and Text The exercises in the previous chapters have laidthefoundationforskillsthat you will use in this chapter. The exercises in this chapter aredesignedtointegrateallthat you have learned and practiced.

Author:

Publisher: Hal Leonard Corporation

ISBN: 9781476847771

Category: Performing Arts

Page: 184

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(Applause Books). Potent and empowering voice exercises by the master teachers who devised them! One of the constants that any actor, director or theatre teacher needs is a strong vocal warmup. This valuable, first-of-its-kind resource contains 75 exercises for both solo and group work, contributed by some of the best professionals in the world. There is a brief description of the history and purpose of each exercise followed by the exercise itself. The Voice & Speech Workout comes with audio training that will be especially helpful to the student or theatre professional working alone. Here master teachers run through each exercise in real time (leaving enough time for response). Among the contributors are such important voice teachers as: Frankie Armstrong, Mary Corrigan, Marian Hampton and Dorothy Runk Mennen. The exercises are divided into nine different areas: Getting to Know Your Voice; Stretching, Centering, Releasing, Aligning; Breathing and Supporting; Making Sound (Resonance and Articulation); Exploring Pitch; Projecting and Calling; Integrating Voice, Breath and Text; Integrating Voice and Movement; Exploring Character Voices and Dialects.

Singing on Stage

Speak the text in the voice that you would use when introducing a concert or telling a story on stage. Certain students may adopt a vocal tone that has a quality of pretence; this is not desirable and these tensions must not be ...

Author: Jane Streeton

Publisher: A&C Black

ISBN: 9781408145340

Category: Performing Arts

Page: 192

View: 285

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Singing on stage can be a daunting prospect for actors, particularly for those who have not sung before. Yet singing should be an essential part of every actor's toolkit. Singing on Stage: An Actor's Guide gives an insight for the first time into the vocal techniques and practical approaches that have been developed over generations as an integral part of the training at the Royal Academy of Dramatic Art. Jane Streeton and Philip Raymond are highly experienced performers and teachers; their book encourages each actor to explore their own authentic voice as opposed to offering a 'one-size-fits-all' or 'quick-fix' approach. Written in an accessible, friendly and enabling style, Singing on Stage: An Actor's Guide is packed with exercises to develop the actor's skills and gives an overview of: • elements of technique • how to work on a song • the process of singing theatrically • how to choose the best songs for you Featuring inspirational listening suggestions and the observations of successful performers and practitioners, Singing on Stage: An Actor's Guide is the must-have companion for complete beginners as well as for experienced actors who wish to develop their understanding of singing on stage.

Adaptation in Young Adult Novels

This familiar voice is vital for the inexperienced reader who is keen on navigating out of the known in modern texts and into the unfamiliar of many canonical texts. Various adaptations, but especially embedded adaptations, ...

Author: Dana E. Lawrence

Publisher: Bloomsbury Publishing USA

ISBN: 9781501361784

Category: Literary Criticism

Page: 256

View: 627

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Adaptation in Young Adult Novels argues that adapting classic and canonical literature and historical places engages young adult readers with their cultural past and encourages them to see how that past can be rewritten. The textual afterlives of classic texts raise questions for new readers: What can be changed? What benefits from change? How can you, too, be agents of change? The contributors to this volume draw on a wide range of contemporary novels – from Rick Riordan's Percy Jackson series and Megan Shepherd's Madman's Daughter trilogy to Jesmyn Ward's Salvage the Bones – adapted from mythology, fairy tales, historical places, and the literary classics of Shakespeare, Charles Dickens, Jane Austen, and F. Scott Fitzgerald, among others. Unpacking the new perspectives and critiques of gender, sexuality, and the cultural values of adolescents inherent to each adaptation, the essays in this volume make the case that literary adaptations are just as valuable as original works and demonstrate how the texts studied empower young readers to become more culturally, historically, and socially aware through the lens of literary diversity.

Google Voice For Dummies

The easiest way to use GoogleVoicefor making calls or sending texts is to make the call or send the text from your computer, assuming you're near one that is connected to the Internet. This way, the call or text comes directly from your ...

Author: Bud E. Smith

Publisher: John Wiley & Sons

ISBN: 9780470585412

Category: Computers

Page: 360

View: 247

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Save time and money with Google's revolutionary new phone system Google Voice combines existing phone lines, e-mail, and Web access into one central communication channel. Tech industry watchers expect it to give Skype some serious competition, yet little information is available on this new Google service. Google Voice For Dummies is the first and only book on Google's breakthrough new offering and provides essential information for individuals and businesses who want to take advantage of this exciting new technology. Google Voice is expected to have a major impact on telephony and to offer major cost savings for individuals and businesses This guide focuses on an in-depth understanding of setting up and using Google Voice and how to integrate it with other Google services, including Gmail, Google Chat, and Google Talk Discusses managing Google Voice within organizations and examines key concerns for business, schools, government, and other kinds of organizations Explains how Google Voice connects with the many phone options currently available and how to move toward an optimized and inexpensive, yet flexible and powerful phone environment The book is supported by news and updates on www.gvDaily.com, the leading Google Voice question and answer site created by authors Bud E. Smith and Chris Dannen Google Voice For Dummies supplies much-needed information on this free and exciting technology that the New York Times has called revolutionary.

The Cambridge Companion to Boccaccio

This voice is usually at its most audible at the beginning and end of the text and acts as a framing device, both defining the limits of the work's contents, and directing it outwards: to its fictional audiences within the text and ...

Author: Guyda Armstrong

Publisher: Cambridge University Press

ISBN: 9781107014350

Category: Literary Criticism

Page: 294

View: 613

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A major re-evaluation of Boccaccio's status as literary innovator and cultural mediator equal to that of Petrarch and Dante.

Fiction s Inexhaustible Voice

Voice ” must therefore be tied to the various forms of represented speech even as it should be studied as a textual and ... The error of psychobiographical theories of voice lies not in connecting voice in written texts with speech ...

Author: Stephen M. Ross

Publisher: University of Georgia Press

ISBN: 0820313750

Category: Literary Criticism

Page: 286

View: 738

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William Faulkner recognized voice as one of the most distinctive and powerful elements in fiction when he delivered his Nobel Prize acceptance speech, describing the last sound at the end of the world as man's "puny inexhaustible voice, still talking." As a testimonial of an artist's faith in his art, the speech raised the value of voice to its highest reach for man, as "one of the props, the pillars to help him endure and prevail." In Fiction's Inexhaustible Voice, Stephen Ross explores the nature of voice in William Faulkner's fiction by examining the various modes of speech and writing that his texts employ. Beginning with the proposition that voice is deeply involved in the experience of reading Faulkner, Ross uses theoretically grounded notions of voice to propose new ways of explaining how Faulkner's novels and stories express meaning, showing how Faulkner used the affective power of voice to induce the reader to forget the silent and originless nature of written fiction. Ross departs from previous Faulkner criticism by proceeding not text-by-text or chronologically but by construction a workable taxonomy which defines the types of voice in Faulkner's fiction: phenomenal voice, a depicted event or object within the represented fictional world; mimetic voice, the illusion that a person is speaking; psychic voice, one heard only in the mind and overheard only through fiction's omniscience; and oratorical voice, an overtly intertextual voice which derives from a discursive practice--Southern oratory--recognizable outside the boundaries of any Faulkner text and identifiable as part of Faulkner's biographical and regional heritage. In Faulkner's own experience, listening was important. As he once confided to Malcolm Cowley, "I listen to the voices, and when I put down what the voices say, it's right." In Fiction's Inexhaustible Voice, Ross conducts a careful analysis of this fundamental source of power in Faulkner's fiction, concluding that the preponderance of voice imagery, represented talking, verbalized thought, and oratorical rhetoric and posturing makes the novels and stories fundamentally vocal. They derive their energy from the play of voices on the imaginative field of written language.

Voice Onstage and Off

It is a must for teachers of voice/speech/text and aviable companion textbook for students at any level oftraining. The Need for Words: Voice and the Text (Theatre Arts Books, 1993). This excellent text, written asa companion to her ...

Author: Robert Barton

Publisher: Routledge

ISBN: 9781136854750

Category: Performing Arts

Page: 464

View: 930

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Voice: Onstage and Off is a comprehensive guide to the process of building, mastering, and fine-tuning the voice for performance. Every aspect of vocal work is covered, from the initial speech impulse and the creation of sound, right through to refining the final product in different types of performance. This highly adaptable course of study empowers performers of all levels to combine and evolve their onstage and offstage voices. This second edition is extensively illustrated and accompanied by an all-new website, full of audio and text resources, including: extensive teacher guides including sample syllabi, scheduling options, and ways of adapting to varying academic environments and teaching circumstances downloadable forms to help reproduce the book’s exercises in the classroom and for students to engage with their own vocal development outside of lessons audio recordings of all exercises featured in the book examples of Voiceover Demos, including both scripts and audio recordings links to useful web resources, for further study. Four mentors - the voice chef, the voice coach, the voice shrink and the voice doctor - are on hand throughout the book and the website to ensure a holistic approach to voice training. The authors also provide an authoritative survey of US and UK vocal training methods, helping readers to make informed choices about their study.

Composing for Voice

Peter Maxwell Davies's Eight Songs for a Mad King Walton's Façade , H. K. Gruber's Frankenstein !, and Ligeti's Aventures and Nouvelles Aventures give witness to the richness and diversity of its progeny , all exploiting text , voice ...

Author: Paul Barker

Publisher: Psychology Press

ISBN: 0415941865

Category: Music

Page: 205

View: 384

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A formidable challenge to the study of Roma (Gypsy) music is the muddle of fact and fiction in determining identity. This book investigates "Gypsy music" as a marked and marketable exotic substance, and as a site of active cultural negotiation and appropriation between the real Roma and the idealized Gypsies of the Western imagination. David Malvinni studies specific composers-including Liszt, Brahms, Rachmaninov, Janacek, and Bartók-whose work takes up contested and varied configurations of Gypsy music. The music of these composers is considered alongside contemporary debates over popular music and film, as Malvinni argues that Gypsiness remains impervious to empirical revelations about the "real" Roma.

New Meanings for Ancient Texts

the text. Our task is to take up the cause of the Earth and the nonhuman members of the Earth community by sensing ... have experienced. retrieval—the voice of earth The third facet of this ecological criticism is that of retrieval.

Author: Steven L. McKenzie

Publisher: Westminster John Knox Press

ISBN: 9780664238162

Category: Religion

Page: 181

View: 844

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"As . . . newer approaches [to biblical criticism] become more established and influential, it is essential that students and other serious readers of the Bible be exposed to them and become familiar with them. That is the main impetus behind the present volume, which is offered as a textbook for those who wish to go further than the approaches covered in To Each Its Own Meaning by exploring more recent or experimental ways of reading." „from the introduction This book is a supplement and sequel to To Each Its Own Meaning, edited by Steven L. McKenzie and Stephen R. Haynes, which introduced the reader to the most important methods of biblical criticism and remains a widely used classroom textbook. This new volume explores recent developments in, and approaches to, biblical criticism since 1999. Leading contributors define and describe their approach for non-specialist readers, using examples from the Old and New Testament to help illustrate their discussion. Topics include cultural criticism, disability studies, queer criticism, postmodernism, ecological criticism, new historicism, popular culture, postcolonial criticism, and psychological criticism. Each section includes a list of key terms and definitions and suggestions for further reading.

The Posthumous Voice in Women s Writing from Mary Shelley to Sylvia Plath

Indeed, this return is achieved textually by Brontë«s use of the posthumous voice as a metaphor for the inscription of text. Cathy«s writing is not marginal but rather enclosing, making of textual inscription a gesture that invokes an ...

Author: Claire Raymond

Publisher: Routledge

ISBN: 9781351883665

Category: Literary Criticism

Page: 272

View: 462

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This provocative book posits a new theory of women's writing characterized by what Claire Raymond calls 'the posthumous voice.'This suggestive term evokes the way that women's writing both forefronts and hides the author's implied body within and behind the written work. Tracing the use of the disembodied posthumous voice in fiction and poetry by Mary Shelley, Emily Brontë, Emily Dickinson, and Sylvia Plath, Raymond's study sounds out the ways that the trope of the posthumous voice succeeds in negotiating the difficult cultural space between the concept of woman's body and the production of canonical literature. Arguing that the nineteenth-century cult of mourning opens to women's writing the possibility of a post-Romantic 'self-elegy,' Raymond explores how the woman writer's appropriation and alteration of elegiac conventions signifies and revises her disrupted relationship to audience. Theorizing the posthumous voice as a gesture by which the woman writer claims, and in some cases gains, canonicity, Raymond contends that the elegy posed as if written by a dead woman for herself both describes and subverts the woman writer's secondary status in the English canon. For the woman writer, the self-elegy permits access to a topos central to canonical literature, with the implementation of the trope of the posthumous voice marking a crucial site of woman's interaction with the English canon.