What are the training methods of vocalization in drama performance?

Strong performance, especially the voice of lines. The so-called strength means that the breathing should be even and natural, and the voice should be confident, powerful and sustainable.

Breathing is the beginning of speaking. Without a good way of breathing, the voice will be unstable, weak, unable to spread far, the lines will be intermittent and chaotic, and the speech will be out of control. So my practice starts with breathing, and I will pay attention to my breathing repeatedly, so that I can play it back freely.

In breathing and breathing, slowly add sounds, from small to large, with long sounds and short sounds, in short, in various ways.

Besides, you can't just stand and breathe. Actors are not static on the stage. You should slowly change the way you breathe, including standing, sitting, lying, walking and running, so that your body can breathe evenly in different States and your voice is stable when breathing.

Gradually increase the activity and let the actors adjust their breathing and voice when they are tired.

These seem to have nothing to do with practicing voice, but they are very important. Students always like to sit in twos and threes during rehearsal. I won't allow them. If they are tired, they will lower their voices. An actor must have good physical strength, and this physical strength not only refers to physical strength, breathing, but also the endurance of sound. This is called strength. Without strength, you can't last two hours of performance, and it's easy to reach the climax of the plot. You're really bored. It's no use trying to break the line.

So the first step in practicing vocal music, I think, is to combine breathing with exercise to exercise strength.

Chapter II Body Memory

Mouth and throat are both part of the body, so you can have a good voice and need the memory of the body, which requires repeated practice.

I don't think it's necessary to make hard and fast rules on the specific pronunciation method. For example, I must sing with my head cavity, but I must learn to use it, because using only my voice is very tired, tired and unstable, for the same reason as in the first chapter.

You can practice short, powerful and jumping syllables, so that everyone can feel the jump of the abdomen first, so as to find the position of the abdomen, then gradually lengthen the breath, and then slowly add content, such as some syllables and so on.

I think it can also be practiced by combining full-body exercise with specific performances.

The memory of large muscle groups in the body is helpful to mobilize muscle memory in other places, and the practice combined with performance will be more purposeful.

For example, I will ask students to read a long string in one breath and do ten squats at the same time, and in the process, the emotions of the lines cannot be broken.

Or run around in the rehearsal room, saying lines while running, ensuring clear voice, even breathing and expressing the author's intention.

Or when talking, let them convey the sound according to the sequence of the characters' lines in the script, with physical contact, emotional transmission and so on.

These exercises will make them very tired, but because of physical fatigue, they just remember this way of speaking deeply.

There are two prerequisites for this exercise.

1 When practicing syllables, the tutor should make sure that everyone understands the usage of Dantian Qi. Remember the wrong usage a hundred times, it is still wrong, so don't start physical exercise before you confirm it.

2 Make preparations, including physical preparation and mental preparation. Although squatting and running are simple exercises, every actor should have a purpose and know what he is doing. Blind practice will not help them, but will produce resistance.

Chapter III Possibility

Explore the possibilities of sound with actors.

Many students lack the ability to control their own voices, which seems to be poor pronunciation, but in fact they don't understand the possibility of their own voices.

So, in practice, explore the possibility of your own voice and speech.

For example,

Volume, from lowest to highest

Pitch, from bass to treble

Tone, from coarse to fine

Everyone should try as much as possible, but just like yoga practice, it is not to reach a certain standard point, but to try our best.

Of course, I often combine my body and performance to explore possibilities.

Volume exercises can be combined with body movements and can be leg lifts. When the volume is low, turn it down. With the increase of the volume, the legs are lifted higher and higher, and they are still, thus practicing the ability of body control and mastering the memory of sound.

Pitch practice can be combined with non-physical performance, such as bass pitch, heavy things to perform, high pitch pitch, corresponding to light things.

All vocal exercises can be combined with personality expression, emotional expression, physical training, non-physical expression and so on. And various rehearsal combinations are optional. In short, the principle is comprehensive, so don't let the pronunciation practice become isolated and useless.

Finally, talk about your feelings.

At the beginning, it was also taught according to the shape of the sound station.

But then I gradually found that the isolation between voice and body is common in performances. There are many students who learn to sing, dance, recite and host, as well as students with good voice and physical condition. They simply can't combine these elements to make a good performance.

I realized that my teaching methods must be too mechanical. They separated these things stiffly, which led them to learn, but they didn't learn how to use them in performances.

Later, by chance, I began to practice physical education. In the process of practice, I found many places that can be combined with performance practice, and also realized the importance of body memory. Coupled with learning something from directors and foreign masters, I began to change my teaching methods. I hope these exercises exist for the final presentation of a complete performance, not in isolation.

A good drama actor does not rely on a microphone to convey his lines, but tries his best to use his own vocal organs.

Tri-cavity * * sounds are finger cavity * * * sounds, oral cavity * * * sounds and chest cavity * * * sounds.

The source of sound is the muscles of the waist and abdomen. Usually, the teacher said that pronunciation is to find the feeling of vomiting and defecation.

Good voice is persistent, profound, loud and focused.

Breathing needs to be solid, deep and even.

Breathing practice mode

1. You can lie flat on the bed and relax. Inhale and exhale through the lower abdomen instead of the chest.

2. Dogs need to feel the beating of the lower abdomen when breathing.

Sound practice mode

1. Smiling and revealing your lips is equivalent to putting leggings on your mouth.

He will unconsciously help you push your lips, so that you won't be lazy.

Open the soft palate

Lick your teeth and lift your face hard. That's the hard palate, and then go up to the soft palate. Isn't it amazing? This is the soft palate.

You can eat an apple and take a bite, and your soft palate will open involuntarily.

When the mouth gets bigger, the whole cavity gets bigger, and then your generator expands and the sound becomes louder.

3. Use your breath to help you speak.

The loudness we require is not caused by vocal cord muscle contraction, but by breathing, so that the airflow becomes larger, so that the sound will not hurt your voice.

The sound will be solid and deep.

(1. You can stand up straight when you speak. )

(2) Talk while doing push-ups and keep your back straight. )

(3) You can squat and speak with your back straight. )

Then go out early and come back late. The following are my morning exercises and evening exercises, omitting warm-up and oral exercises.

Get up a bottle of hot water in the morning and go to the riverside park to open your voice without breakfast.

First of all, the breath is to find the lower abdomen to make a sound si~ shh.

Then, uh-huh ~ ~ uh-huh

Then the single vowel a o e i u v~~ Ah Oh, the forehead is barren.

Monovowels have long sounds and pauses.

Then abbreviate bpmfdtnlgkh jqx zhchshrzcs.

(Don't you understand? If you read it wrong, you should add the training of single vowel combination)

If it is combined with a, don't be afraid to scold and step on the sentence of Nala Ga Kaha, go to falsely bomb the poor brake ra and smash it.

You can also combine your brain tonic with u.

Then there are tongue twisters, 800 pacesetters, and so on.

Then there is another one, learn to distinguish the four tones.

Learn to distinguish between four tones, yin and yang,

The positioning method must be accurate and the mouth shape should be open and closed.

Hold a hundred waves with your lips and fight for your nails with your tongue.

The base of the tongue is high and the surface of the tongue is difficult to repair.

Tongue twister is the main struggle between truth and ambition, and the earlier the responsibility is, the greater the responsibility is.

The fricative sound is repeated, and the gas is sent to check the firewood production.

At noon, the mouth suddenly dried up and the estuary was peaceful.

A pinch of mouth can learn Xu drama, and good teeth and clothes can also learn Xu drama.

When you reach the jaw, the sound of smoke bends steadily and meets your nose.

It is not difficult to be pure and clear by spelling the beginning and ending.

1. Relax and "bite the apple"

Relaxation is exercise, similar to the feeling before primary school in physical education class. The way to bite an apple is to imagine that there is a big apple in front of us, and then we open our mouths to bite and chew exaggeratedly. After that, do an exercise of squeezing facial muscles to a point and then letting them go completely. Repeat it several times and the facial muscles will be fully active.

2. Feel the breath after the breath is stable.

Compared with the usual breathing, this should be a slightly deliberate way of breathing. Simply put, it is to suck all the breath into the stomach and then spit it out slowly. This may also be the legendary "belly" position, which is convenient for later training to find a suitable vocal position.

Do the "dog panting" exercise

Don't simply imitate the dog's panting, take a deep breath in the position you just found, and then exhale quickly and forcefully. At the same time, open your mouth wide, so you can start slowly and breathe in one breath.

4. Do short "ha" exercises

Just like a dog has just taken a breath, it just needs to add the effect of stage sound, that is, to bring all kinds of * * * sounds, to drive them with the correct sound position and breath, to bring out the breath and sound together in a short and powerful way, and to open your mouth wide. It usually takes about 20 to get to the next step.

5. Practiced the long sounds "ā" and "Wang Yang Sea".

The skill of a long tone is to breathe to the end. At this time, the stomach should be bulging, but the process of exhaling is very slow, a little. The feeling of reaching the stomach when exhaling is hard. Like short sounds, sounds are not brought out through the throat. With the breath and sound of * * *, one is that such a sound is really more textured and penetrating, which is very suitable for the stage of drama. In addition, it really won't hurt my voice, and it won't hurt my voice like shouting too many slogans at the sports meeting. Speak loudly for one day, and you can speak calmly the next day, so it won't affect the serial performance of the play. The ultimate ideal effect of the long sound "ah" is that our voice can spread as far as the room. After mastering the long sound "ā", we can pronounce the words "Wang Yang Sea-"in the same way. The reason why they choose these words is mainly because they have collected four tones, so it is no problem to practice some other words ~

Practice tongue twister

After learning the stage sound, you can move your lip muscles. Our drama club often uses names such as "White Stone Pagoda", "800 pacesetter", "Jujube Song" and "Four is Four", and there is even more magical "Butter all over the face of cows ..." Another competition we used "The cows in Rio de Janeiro took durian milk and went to Venezuela to get the bee conditioner for red carp, green carp and donkey!" In addition, the above tongue twisters can add stage sound effects.

Summarize the physical training method of Chinese opera lines class 100 minutes;

A class is set up like this.

First, run first, and the posture should be chest-high.

The second step is to March, raise your hands flat, make a fist and read tongue twisters.

In the third way, two people March face to face, put their hands on each other's shoulders, then walk sideways in a semi-squatting position and read a hundred words of tongue twisters until they finish reading, making six groups. At this time, people who always ask for leave for lines will be exhausted.

The fourth student is in a circle, clapping hands and reading tongue twisters "Learn to Distinguish Four Tones". Every time you read, the rhythm in your mouth will remain the same, the rhythm in your hand will change, and the lines without feelings will cooperate with your body movements tacitly.

Fifth, "start from both ends" must reach your feet with your hands, as long as your limbs are off the ground, and you must pose at the beginning, and you must not be the same every time. At this time, female students who usually don't eat can't stand it.

After the foundation of physics, there are courses such as recitation.

Practice breathing and vocalization every morning.

Breathe:

Breathe slowly, shout slowly, four eight beats.

Breathe slowly, shout quickly, four eight beats.

Breathe fast and breathe slowly, four eight beats.

Breathing and shouting, four eight beats

Inhale and make a si sound, the longer the better.

Inhale to Tian Dan (three fingers below the navel are Tian Dan)

Practice voice:

Turn on your voice from bass to treble.

Ah, vowels and so on

All kinds of tongue twisters should also get up early every day and practice loudly.

In short, lines can't be practiced successfully in a day or two.

You must practice day after day, year after year,

Don't be afraid of boredom, the lines will be practiced naturally.