Ministry of Culture Russian Federation

Federal State Educational Institution of Higher vocational education

"Oryol State Institute of Arts and Culture"

LOGIC OF SPEECH IN STAGE ART

specialty textbook:

071301 "Folk art",

profile: "Head of amateur theater"

Eagle-2013

UDC 792.076

BBK 85.334

Reviewers:

Aleshina L.V.. - Doctor of Philology, professor;

Knyazeva O.V.- Honored Worker of Culture of the Russian Federation, professor.

Ivanova L.V.

The logic of speech in performing arts. Tutorial. - Orel, Orel State Institute of Arts and Culture, 2013. - 80 p.

In order to correctly and convincingly convey the idea contained in the text from the stage, students need to know the existing means and rules of the logic of speech in the performing arts.

Present study guide a theoretical course is presented, where the rules for "reading" punctuation marks in the Russian language, the rules for arranging all types of logical pauses and logical stresses, reading various types of periods and practical material for independent work students.

The textbook is accompanied by a disk with a record of academic student works on stage speech from I to IV courses (descriptive prose, plot prose, prose monologues).

UDC 792.076

BBK 85.334

Introduction

"The logic of stage speech" is one of the sections of the course "stage speech". Its study precedes the work on artistic reading and constitutes the beginning of students' work on the text.

The teaching methods of this section are based on the provisions of K.S. Stanislavsky, formulated by him in the book "The work of an actor on himself". Stanislavsky presented the basics of all the sections that make up the subject of Stage Speech, deeply revealing the essence of each section and persistently urging the actors to improve their skills.

Often, both actors and directors reject the laws of the logic of speech, believing that this is a mere formality. They mistakenly count on the fact that the thought "will affect itself" if the speaker has deep feelings. Of course, the presence of those in your creative arsenal is an important component. But it is hardly possible to confine oneself only to the intuition of feelings - this is an element, and one must be able to direct this “element” in the right direction. In order to correctly read from a page the complex, often filling half a page or more phrases of Tolstoy, Dostoevsky, or to link the capacity of Pushkin's sentences into one whole, or to preserve the integrity of the deep psychologism of the modern prose of Abramov, Astafiev, Rasputin, Bely.

In order for the feelings of the performer to not exist separately from the author's thought, it is necessary to learn how to analyze complex phrases, highlighting those that are of fundamental importance to the author's thought in the work.

Highlighting the main thing in a thought will help get rid of multi-stress, lead away from incorrect stresses, save you from unnecessary pauses.

Studying the basics of the logic of stage speech and consistent training in the logical reading of various texts will help actors and directors master the art of the logic of a sounding word in further work on roles and excerpts, and solve complex creative problems.

At first, the mistake of many students is that they begin their work on the text not with a logical analysis, but with a search for intonation patterns. In the process of practice, one can often hear from students that compliance with the rules of logical reading suppresses creative individuality. But if the performer focuses only on conveying his visions, he will prevent the listeners from understanding the work in its entirety. This is a fairly common mistake in the practice of artistic reading, since it is possible to come to the only correct intonation only “from the inside”, revealing the content and performing precise semantic tasks. Stanislavsky defines intonation as "the result of vision, attitude, action." Here is how People's Artist of the USSR V.O. Toporkov: “To memorize, to remember certain intonations that we encounter in life, and to mechanically transfer them to the stage is a useless business and is hardly possible.” He sees only "one true path", prompted by "life" - in detail, clearly "see" mentally what we are talking about. As a result of such a vision, a “genuine live” intonation will appear, filled with a subtle, unique charm of nuances ... No effort, no artificial search for intonations can achieve the accuracy that our nature creates.

For a deep assimilation of the rules of logical reading, examples are given from the works of Russian and Soviet writers. The ability to read a text logically correctly is not a mere formality that is alien to spoken language. The rules of logical reading were formed in the process of observations and generalizations of the characteristic features of the living Russian language used by writers, theatrical figures, and linguists.

The director, who neglects the rules of the logic of speech, cannot achieve the intended goal, since, while reading the play, the performers cannot convey the intended idea to the performers, much less infect the creative troupe with it. "Blurring" the text is harmful both for students and for specialists involved in the work on the word, and for the audience, and, as a bad result, for art in general. Therefore, the first preparatory step in the study and development of the written word is rightfully occupied by the logical analysis of the text. But mastering such analysis in practice absolutely does not mean the replacement of work on the text in its entirety: effective analysis, verbal action, emotional content of the word - these are three important components, without which it is impossible to create an image.

L.N. Tolstoy said that the art of a writer is to find "the only right placement of the only right words." Therefore, it is important to understand the author's intention, penetrating into the secret of this only necessary placement of the necessary words. And the ability to think logically and knowledge of the features of the native language - its vocabulary, the specific construction of phrases, the meaning of punctuation marks - help us in this.

K.S. Stanislavsky believed that an artist should know his language perfectly. Using Expressive Properties oral speech when reading a literary and artistic work and when working on a role, he relies on knowledge of the laws of the language. The intonation-logical analysis of the text is a living creative work, it is an immersion in the world of thoughts and feelings of the author.

The main goal of the stage speech logic course is to develop the ability to clearly and distinctly express the idea embodied by the author in a literary text. The main means of expressiveness of the logic of speech are a logical pause and logical stress.

Exercises

Punctuation marks

Russian punctuation is connected with grammar, with Russian syntax.

Punctuation marks are those symbols that help the performer to reveal the author's intention. "The choice and arrangement of punctuation marks by the author depends on the ideological concept, content and creative originality of the writer."

Each author has his own individual style, his own language, and often writers introduce additional punctuation marks into the text that are important for conveying their thoughts. And since the author’s punctuation helps not only to understand the content, but also to catch all the subtleties of the idea, reveal the way of thinking and find the exact subtext, therefore punctuation marks are so important and individual in the work of each writer.

In secondary school, punctuation is studied in order to correctly place punctuation marks in a letter, but in a theater school, attention to the author's individual punctuation should be developed, it is important to understand the semantic and expressive functions of punctuation marks when translating the author's text into a single story.

It is known what importance Stanislavsky attached to the study of punctuation. He gives a description of the melodic contours of each punctuation mark. In mental reading, we perceive the text without thinking about why the author uses this or that punctuation mark. And we begin to think deeply only when “when we need to“ appropriate ”the text of the author, make it“ ours ”. Therefore, we are aware of the importance of those properties of punctuation that help the birth of lively colloquial expressive speech. Punctuation finds its expression in oral speech. A.P. Chekhov called punctuation marks "reading notes". S.G. Berman says this about Gorky’s language: “Not only the phrase, the replica, the words of each character in the play “Vassa Zheleznova” are necessary for Gorky, invariable, irreplaceable, but he is also responsible for each of his punctuation marks (not in the syntactic sense, of course). His dashes, dots, exclamation marks speak about the inner world of the characters in the play more eloquently, perhaps, than the most detailed and verbose remark of another playwright. The punctuation marks placed by Gorky speak of the rhythm in which the heart of the person in the play beats: exactly? intermittently? They indicate how fast the blood runs through the veins (the rhythm of the phrase makes it possible to hear how this person breathes at a given moment of life.

There are eight punctuation marks in modern Russian: dot, comma, semicolon, colon, ellipsis, exclamation point, question mark, dash.

There is a mandatory intonation inherent in each punctuation mark. But one should not consider the knowledge of punctuation rules itself as a kind of magic key. When one and the same intonation is attributed to any sign, speech becomes impoverished from monotony. Punctuation marks have ambiguity in certain conditions of verbal action and can expand the boundaries of their meaning.

But the magic key can really be in the hands, but in the hands of a thinking, creative and very hardworking person.

Future directors and everyone who deals with sounding speech need to learn the mandatory rules for the “sounding” of punctuation marks in order to master the melody of the Russian language.

Dot

The dot shows the completion of a thought and the completeness of a sentence that does not contain either a direct question or an emotional connotation. It is associated with a strong lowering of the voice on the stressed word preceding it or standing close to it. As a rule, a point requires a relatively long pause after itself, especially when it coincides with the completion of a thought. Stanislavsky spoke about the final point like this: “Imagine that we climbed the highest rock above the bottomless cliff, took a heavy stone and threw it down to the very bottom. This is how you need to learn to put dots at the end of a thought.

For example:

“Following these words, the door slammed shut, and all that was heard was how the iron bolt moved with a screech.”

…“Do you know the Ukrainian night? Oh, you don't know the Ukrainian night. Look at it: a month looks from the middle of the sky. The immense vault of heaven resounded, parted even more immensely. It burns and breathes." (N. Gogol "May Night, or the Drowned Woman")

From this example, it is clear that before the beginning of the piece devoted to the description of the Ukrainian night (the beginning of the chapter), there should be "a real point, showing the completion of the previous chapter."

But the duration of the pause at the point can be different. There are not only "real" points. Often there are cases when a period at the end of a sentence suggests the development of thought in the next or following sentences. In this case, the voice necessarily goes down, but does not fall as sharply down as with a "real" point.

For example:

“Meanwhile, the blizzard did not let up; I could not bear it, ordered to lay it again and went into the very storm. || The coachman thought to go by the river, which should have shortened our path by three versts. || The shores were covered; The coachman drove past the place where they entered the road, and thus we found ourselves in an unfamiliar direction. || The storm did not subside; I saw a light and ordered to go there. || We arrived at the village; there was a fire in the wooden church. || The church was open, there were several sleighs behind the fence; people were walking along the porch. || "Here! Over here!” shouted several voices. || I ordered the coachman to drive up. (A. Pushkin "Snowstorm")

In this example, there are no pauses between speech measures and after punctuation marks, except for pauses after a full stop.

Here, each sentence is connected with another, one can feel the continuous growth of the story, its movement forward. There are no "real" points here, that is, the points that complete the thought and the voice on the points go down much less than in Gogol's example.

Exercises

1) “Yellow clouds over Feodosia. They seem ancient, medieval. Heat. The surf rattles with tin cans. The boys sit on an old acacia and stuff their mouths with dry, sweet flowers. A transparent stream of smoke rises far above the sea - a motor ship is coming from Odessa. (K. Paustovsky "The Case with Dickens")

2) “Natasha was as happy as ever in her life. She was at that highest stage of happiness when a person becomes completely kind and good and does not believe in the possibility of evil, misfortune and grief. (L. Tolstoy "War and Peace")

3) “An old woman is sitting in a large great-grandfather's armchair. Her yellow-gray, wrinkled face is sour, like a crushed lemon, her eyes look sullenly, suspiciously to the side ... She is not in a good mood. (A. Chekhov "Stepmother")

4) “Moiseevna, in such bad weather, of course, was at home. She sat on a low porch under a shed, from which it dripped heavily, and dully tapped with a wooden mallet. (F. Abramov "Around and around")

5) “The thunder of the seaside city poured through the open window. Thinner Murget looked sadly at Annie, and Annie, trying not to succumb to despondency, looked at her husband. (A. Green "Seller of Happiness")

6) “In the summer I was at the Tikhvin fair and once again accidentally met Balavin. He was walking with some horse-dealer.” (I. Bunin "The Life of Arseniev")

7) “Somehow, driving past the Turkins’ house, he remembered that he should have stopped by at least for a minute, but he thought about it and ... didn’t stop by. And he never visited the Turkins again.

A few more years passed. Startsev has gained even more weight, is obese, is breathing heavily and is already walking with his head thrown back. (A. Chekhov "Ionych")

Semicolon

The semicolon separates and at the same time connects parts of one description into one whole. The voice drops slightly before this punctuation mark, but not as much as with a period. One of the most common mistakes when reading a semicolon is to lower your voice before it, as before a period. The pause after the semicolon is shorter than after the period.

As the linguist A. B. Shapiro noted, “most writers of the 19th century, as well as some writers of the early 20th century, more often than in our time, used a semicolon, and they subtly distinguished the cases when they put this sign and when they put a comma.”

For example:

“Moscow walks until four o'clock in the morning and the next day does not get out of bed before two o'clock; || Petersburg, too, walks until four o'clock, but the next day, as if nothing had happened, at nine o'clock in a hurry, in his flannel coat, to the presence. || Russia drags itself to Moscow with money in its pocket and returns light; || People without money go to Petersburg and go to all corners of the world with a fair amount of capital. (N. Gogol "Moscow and Petersburg")

This short episode of the work is taken from the first chapter "Moscow and Petersburg" by N.V. Gogol. The content of the chapter is built on the satirical opposition of Moscow and St. Petersburg.

The author in each of the sentences separates with a semicolon the part that speaks about Moscow from the part that characterizes Petersburg. This gives him the opportunity to emphasize the necessary opposition of the two cities, but at the same time to unite related thematic pieces. In the first sentence, this is a topic about recreation and entertainment in the two capital cities, in the second, about the benefits of staying in them.

Exercises

1) “They constantly complain that we don’t have practical people; that there are many political people, for example; there are also many generals; different managers, no matter how much it takes, now you can find any - but there are practically no people. (F. Dostoevsky "The Idiot")

2) “The rebellion is over; ignorance was crushed and enlightenment was put in its place.” (Saltykov-Shchedrin "History of one city")

3) “I looked around, saw rapiers sticking out with their tails, frightened faces around; ringing in my ears." (A. Green "Naive Tussaletto")

4) “Scarlet clouds, rounded, as if tightly inflated, floated across the sky with the solemnity and slowness of swans; scarlet clouds floated along the river, coloring with their color not only the water, not only the light vapor above the water, but also the wide glossy leaves of water lilies; the white, fresh flowers of the water-lilies were like roses in the light of the burning morning; red drops of dew fell from the leaning willow into the water, spreading red circles with a black shadow. (V. Soloukhin "Dew Drop")

5) “He lost weight and stretched out; circles under his eyes lay on his narrow face, he hid when he heard his father's voice; when asked - who he misses - he blushed, and the garden already seemed to him quite magical, because it lived and hid in it. (A. Tolstoy "The Ravines")

6) “The sun was setting in a fire of purple flame and melted gold; when the bright colors of dawn faded, the entire horizon lit up with an even, dusty-pink radiance. (A. Kuprin "Loneliness")

7) “If he had not tried to make amends, to atone for his act, he would never have felt all his criminality; moreover, she would not have felt all the evil done to her. (L. Tolstoy "Resurrection")

Comma

A comma usually indicates that the thought is not complete. It is placed only inside a sentence and serves to separate simple phrases from complex ones. As linguists point out, the comma in its significance often corresponds to other punctuation marks that are placed only inside phrases. In the case of contrast or matching, the comma is replaced by a dash, colon, or semicolon.

The comma is significant in its ambiguity and may require different intonation in different cases. A comma requires a voice to rise in front of it on a stressed word.

For example:

“Day after day passed, | and there was no end in sight to the disputes of crucian with a ruff. (Saltykov-Shchedrin "Karas-idealist")

The stressed word preceding the comma may not necessarily be immediately before the comma, but the rise in voice falls precisely on the stressed word.

For example:

«Early willow blossomed, | | and a bee flew to her, | and bumblebee buzzed, | and the first butterfly folded its wings. (M. Prishvin "In the land of grandfather Mazai")

Stanislavsky writes that with a comma, one wants to “bend the sound up” and leave “for a while the top note hangs in the air. With this bend, the sound is transferred from bottom to top, like an object from a lower shelf to a higher one ... the most remarkable thing about the nature of a comma is that, as if a hand raised in warning, makes listeners patiently wait for the continuation of an unfinished phrase.

When listing, the comma requires repeated, almost the same type of voice rises on each of the listed words, and on the last voice goes down to a point.

For example:

“There is no shortage of nuts, | cranberries | and blueberries." (A. Pushkin "History of the village of Goryukhina")

When the comma is not "readable". The comma is not distinguished by a pause in oral speech.

1) Before the introductory word or after it.

Without pauses, such introductory words as “of course”, “probably”, “perhaps”, “probably”, “it seems”, “maybe”, “however”, “what good”, “in my opinion” are pronounced in oral speech , "unfortunately", "finally" and so on.

For example:

“And yet, Claudia, probably ten times, was removed from the foremen, and even now she was officially listed as “acting”.” (F. Abramov "Around and around")

«The heroine of this novel, | | needless to say | was Masha. (L. Tolstoy "Boyhood")

2) Between the union "and" and dee participle turnover.

For example:

“The Chechen looked at him and, slowly turning away, began to look at the other side.” (L. Tolstoy "Cossacks")

3) Before the participial turnover, if it is after the word being defined.

For example:

“A person (,) loving animals, | - a poet. (Yu. Olesha "Not a day without a line")

In the above example, the definition is a unity with the word being defined: not just "man", but "a person who loves animals."

But depending on the context, this rule can be broken.

4) Before the comparative turnover.

For example:

«Herman | trembled (,) like a tiger, I was waiting for the appointed time. (A. Pushkin "The Queen of Spades")

5) The comma is often “not readable” in complex sentences, when the connection between the main clause and the subordinate part is carried out by unions: “who”, “what”, “which”; in compound words: “because”, “in order to”, “in order to”; correlations: "everything that", "that which".

For example:

“Borya felt | how cold his back and crown |, realizing (,) that she, | Lucy, | sees something terrible. (Astafiev "The Shepherd and the Shepherdess")

“It is true (,) that we have books, | but this is not at all (,) what live conversation and society. (A. Chekhov "Ward No. 6")

“I invited you (,) gentlemen, | so (,) to inform you | bad news." (N. V. Gogol "Inspector")

6) Before an appeal in the middle or at the end of a sentence.

For example:

“But there is a lot of happiness, so much (,) guy, | that it would be enough for the entire district, | let not a single soul see him!” (A. Chekhov "Happiness")

“I don’t blame you (,) Alexey Nikolaevich.” (I. Turgenev "A Month in the Village")

Exercises

1) "The weather was beautiful, he joyfully breathed in the spring air." (L. Tolstoy "Sunday")

2) “The hostess herself, a beautiful, tall Cossack woman, came out of the prirub.” (A. Chapygin "Walking People")

3) “When I was writing this story, I tried all the time to keep in myself the sensations of a cold wind from the night mountains.” (K. Paustovsky " Golden Rose»)

4) "Wishing to ingratiate himself with the masses of the people, Boris undertook the construction of public buildings in the famine years." (A. Kuprin "Moloch")

5) "Moving to another apartment, Skvortsov hired him to help with packing and transporting furniture." (A. Chekhov "The Beggar")

6) "The girl grinned, looked and quickly ran away, waving her black scythe." (A. Tolstoy "The Ravines")

7) "Waking up, she remembered that it was not iron, but Dimov's disease." (A. Chekhov "The Jumper")

8) "He did not become a music teacher, but he began to borrow and entered into huge debts for him." (F. Dostoevsky "Humiliated and Insulted")

9) "The sea had already darkened, and he was still looking at its distance, waiting for the boat." (M. Gorky "Mallow")

10) "Nikitin smiled pleasantly and helped his mother treat the guests, but after dinner he went to his office and locked himself." (A. Chekhov "Teacher of Literature")

II. Comma when listing:

1) “But behind the nonsense of demands, shouts, orders and misfortunes, order unexpectedly peeped through.” (K. Fedin "Caravans")

2) "Ten minutes later, from the slender human bodies turned into food, the smell of blood, fat and burning rushed." (A. Green "Taboo")

3) “She called the dream, the beauty of the night, carnation, shepherd's purse, hoof, small root, skewer, valerian, thyme, St. John's wort, celandine and many other flowers and herbs.” (K. Paustovsky "Golden Rose")

4) “Now they began to talk for hours only about themselves, but about their most sincere, bitter, hidden things.”

5) “But here, with her father, Masha got up early, went for a walk in the city garden, still wet from dew, looked at the children, at the birds, at the clouds and felt small, meek, sad and happy.” (A. Tolstoy "Love")

6) "Gates, shutters, wickets, doors - everything was locked." (K. Fedin "Inferno is hell")

III. The comma is not "readable"

1) “Apparently, I took a lot of precious time from the cannibals, because, only occasionally, looking in my direction, did they, with the vivacity and appetite of hungry schoolchildren, take up an unnatural meal.” (A. Green "Taboo")

2) “The grandmother, apparently, was late for the bus and often looks around to see if anyone will give a lift.” (V. Belov "On the road")

3) "Of course, I make him say this before dying, - and, turning the pages, she began to read aloud what she had written." (A. Tolstoy "Logudka")

4) “The cubs had already woken up, and all three, very similar to each other, stood side by side on the edge of the pit, and looking at the returning mother, waving their tails.” (A. Chekhov "Blond")

5) "The cottage yard, similar to a manor, was large." (I. Bunin "Tanya")

6) "We were all secretly proud that tomorrow Lenin's speech would be known to all of Odessa." (K. Paustovsky "The Tale of Life")

7) "He was not inclined to carry on conversations and, having received a pass, he immediately went to buy a ticket." (M. Sholokhov "Quiet Don")

8) "He smiled lazily, apparently having noticed Evgraf for a long time." (K. Fedin "Caravans")

9) “I listened and also laughed, but I felt that the workshop with everything that I experienced there was far from me.” (M. Gorky "In People")

10) “Pelageya didn’t think, of course, about working at the bakery - where could she drag such a cart.” (F. Abramov "Pelageya")

11) “After a little over half an hour, Agatha re-read her translation, made the necessary corrections, in her opinion, jumping merrily from the windowsill, and ran out into the hall.”

12) “Głowacka guessed her father’s voice, screamed, rushed to this figure and, clasping her father’s thin neck with her ancient hands, wept on his chest with those tears that, according to the legend of our people, the angels of God rejoice in heaven.” (N. Leskov "Nowhere")

13) “She took out her white-gloved hand from her muff and greeted him warmly.” (A. Tolstoy "Why is it snowing")

14) "In the semi-darkness, it seemed that there was no end to the rooms." (I. Bunin "The Last Day")

15) “The coming art tells us that the perspective of art is much deeper and wider than the Maiden’s Field, even if there were a million on it, for life itself is immeasurably deeper and wider and blackens with a gaping abyss of unknown secrets.” (A. Serafimovich "Exhibition and booth")

16) “Wonderfully arranged in the world! Everything that does not live in him, everything tries to adopt and mimic the other. (N. V. Gogol "The Night Before Christmas")

17) “How can you not talk about this? When, perhaps, everything has already been explained and painted by him, when, perhaps, not only at some long distance, but even tomorrow, there will be no spirit or groin left in this yard for Sergei? (N. Leskov "Lady Macbeth of the Mtsensk District")

18) “That which did not disturb during the day, suppressed by work, now rose before my eyes, causing regret and reproach.” (A. Serafimovich "Working Day")

Colon

The colon indicates the intention to clarify, clarify, list.

In non-union complex sentences, the connected parts relate to one another as explanatory to the one being explained. characteristic feature such sentences in oral speech is an obligatory pause between the explanatory part and the one being explained.

For example:

An error is often made when reading a colon, when the voice is lowered too much and the intonation of a dot occurs. This leads to nonsense: the colon is followed by clarification, clarification, and the intonation of the dot shows the end of the thought.

You should always remember that the main meaning is after the colon.

Often the colon is used as a sign separating the author's text from direct speech. The pause in this case is less than on a colon inside a phrase.

To practice reading colons is a necessary and useful thing for students. Speech hearing develops, which is necessary for the transmission of the semantic and emotional side of intonation in oral speech.

Exercises

1) “Yakov, apparently, was seized with rapture: he was no longer shy, he gave himself entirely to his happiness; his voice no longer trembled - he trembled, but with that barely noticeable inner tremor of passion that pierces the soul of the listener like an arrow. (I. Turgenev "Singers")

3) “In these few hours, Rykov has changed unrecognizably: his face has become haggard and bluish, his eyes have sunk deep; the orbits gaped in the semi-darkness with large, black pits, as in an empty skull. (V. Veresaev "Without a road")

4) “I again went into the hall, having two goals: firstly, to ask the boy about the guest, and secondly, to call the guest himself to some word with my appearance.” (N.S. Lesov "Musk Ox")

5) “He still hoped for the first time: some nonsense from Victor would pass by itself, but the cry was so hoarse, so pleading that there were no more doubts: the former suffocation, the same that was then in the village.” (F. Abramov "Mamonika")

6) “It remains in my memory: snow is constantly falling outside the windows, they rattle dully, the horse-drawn cars ring along the Arbat, in the evening it stinks sourly of beer and gas in a dimly lit restaurant ...” (I. Bunin “Muse”)

7) "The man listened: not a rustle." (A. Serafimovich "Morning")

8) "This May debuted very effectively: an exhibition of roses in the Admiralty." (A. Chekhov "Colorful Tales")

9) “The manager said to me: “I am keeping you only out of respect for your venerable father, otherwise you would have flown from me long ago.” I answered him: "You flatter me too much, Your Excellency, believing that I can fly." And then I heard him say: "Remove this gentleman, he spoils my nerves." (A. Chekhov "My life")

10) “Senka sometimes felt the gun in his bosom: “Many will attack, the battle will be beyond the power, so there is something to end yourself with ...” (A. Chapygin “Walking People”)

11) “He shook his head and, turning away, began to think: “There is much, much to talk about with her. My God, we are completely strangers!” (A. Tolstoy "Without Wings")

Dash

Getting acquainted with the history of Russian punctuation, we learn that Lomonosov's student A. A. Barsov first pointed out a new punctuation mark - "silence". This “silent woman,” Barsov wrote, “interrupts the speech he has begun either completely, or for a short time to express cruel passion, or to prepare the reader for some extraordinary and unexpected word or action later.”

Later this sign was called "dash".

The dash occurs in simple and complex sentences. It connects the previous with the next: the dash is put in order to clarify what is in front of it, to contrast one phenomenon with another, and so on. The dash requires some raising of the voice on the stress word that precedes it.

For example:

“On a deserted section of the street, two figures were moving towards me - | masculine and feminine." (Yu. Olesha "Not a day without a line")

The dash necessarily requires pauses. Pauses are usually significant, with a great psychological load, as they indicate the emergence of new thoughts, which in oral speech is expressed in bright and expressive intonations.

A dash is a sign with various functions, it refers to the signs that usually stand inside a phrase. Two dashes are signs that highlight: they mark direct speech, and sometimes an introductory word or sentence. If two dashes or dashes with a comma show the introductory word, group of words or sentence, then the voice rises before the dash, then decreases slightly during the introductory words, and after the second dash the voice returns to almost the same height that was before the dash in the first part of the sentence.

For example:

«My grandfather - | my mother's father - | was a poor man." (K. Paustovsky "The Tale of Life")

In this example, the word “grandfather” receives the stress before the first dash, then after a pause the voice on the introductory words between the two dashes decreases, and after the second dash and pause it returns almost to the height that was before the first dash and decreases to a point on the word "poor".

Exercises

1) "Three young trees grow in front of the door of the cave - linden, birch, maple." (M. Gorky "The Hermit")

2) "Undancing intellectuals without masks - there were five of them - sat in the reading room at a large table and, sticking their noses and beards into newspapers, read, dozed and, in the words of a correspondent of the capital's newspapers, a very liberal gentleman - thought." (A. Chekhov "Mask")

3) “Oh, you,” I thought to myself, “you are such cabbage animals! They themselves jump like goats in the mountains, and the husband, although he is not good for them, does not touch the other. (N. S. Leskov "Warrior")

4) “The aunt’s garden was famous for its neglect, nightingales, doves and apples, and the house for its roof. He stood at the head of the yard, near the garden, - linden branches hugged him, - he was small and squat, but it seemed that he would not live forever - he looked so thoroughly from under his unusually high and thick thatched roof, blackened from time." (I. Bunin "Antonov apples")

5) “Our eye is stupidly crowded. Just above, at the beginning of the city, a lock is arranged - this is the last lock on the Oka, and it is called "Boastful", and the city stands on dry banks. (N. Leskov "The Life of a Woman")

6) “They had one kid - wow, wolf cub! All the rest, like grass, fall down - well, a hungry man, what kind of warrior is he? And this one is not. This is the steering wheel, - Miksha pointed to his nose, - he corrected me a little ... With a stone ... ”(F. Abramov“ A trip to the past ”)

7) “In the front hut at the counter - shouting, noise, swearing. Drink, walk, just pay. Treasury is strict. No money - take off your coat. And the whole man got drunk, - the kisser will wink at the clerk, he will sit down from the edge of the table, - a goose quill behind his ear, an inkwell around his neck, - and he went to scribble. (A. Tolstoy "Peter the Great")

8) "As for the cigarette - here it is, this Finnish cigarette, ten kopecks tens." (A. Green "Peak-Mick's Legacy")

9) Why am I doing this? - you don't need to know. If you started talking about it so insistently, then - I know you - you could not start without having some definite plan in your head. Be honest for once in your life; frankness is a sine qua non.” (F. Dostoevsky "Uncle's Dream")

10) “He grabbed her by the shoulder, pulled her towards him and brought a knife to her face - a short, thick and sharp piece of rusty iron.

He came with the definite intention of defeating his wife. It was absolutely necessary that she again obey him, he knew for sure - it was necessary! His nature is passionate, he experienced a lot and changed his mind during these days and - a dark man - did not know how to sort out the chaos of feelings that his wife aroused in him with a truthful accusation thrown at him. (M. Gorky "Spouses Orlovs")

Question mark

In order for the thoughts contained in the text to be perceived by the audience from the stage, the future actor needs to know the means and rules of stage speech logic. B. In Schukin at the theater. Evg. Vakhtangov The author analyzes in detail the rules for “reading” punctuation marks in the Russian language, the rules for placing logical stresses, reading simple and complex sentences, etc. The manual carefully and with great taste selects literary material that can be used for training.

You can download ready-made answers for the exam, cheat sheets and other study materials in Word format at

Use the search form

Stage speech logic. Proc. allowance for theater. and cult.-clearance. textbook establishments. M., "Enlightenment", 1974.128 p.

relevant scientific sources:

Logic Ticket Answers
| Answers for the test / exam| 2016 | Russia | docx | 0.52 MB

1. The subject of logic as a science. Thinking as an object and tool of knowledge. 2. Reasoning, its structure. Characteristics of inference and its types. 1) Relations between simple judgments. Logical
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Bibler V.S. | M., 1997. Russian Phenomenological Society | Book | 1997 | Russia | docx | 0.97 MB
From the works of A. A. Shakhmatov on the modern Russian language (the doctrine of parts of speech)
State Educational and Pedagogical Publishing House of the Ministry of Education of the RSFSR Moscow. 1952 | Scientific book | 1952 | doc/pdf | 11.55 MB

Soviet linguistics, armed with Marxist-Leninist methodology and directed by J. V. Stalin on the broad road of free scientific development, must use for its generalizations
Modern colloquial speech of Peru: linguistic aspect and intercultural specificity
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Specialty 10.02.05 - Romance languages. This dissertation is devoted to the linguistic study of the modern colloquial speech of Peru from the point of view of its intercultural specificity,
The specificity of the content and methods of teaching monologue speech of students of non-philological departments of universities
Romanova Natalia Nikolaevna | Dissertation for the degree of Doctor of Pedagogical Sciences. Moscow - 2006 | Dissertation | 2006 | Russia | doc/pdf | 9.39 MB

Specialty 13.00.02 - theory and methodology of training and education (Russian language). This work is devoted to the study of teaching monologue speech of students of non-philological departments of universities,
Oral folk art as a means of developing the expressiveness of speech of older preschoolers
Akulova Olga Vladimirovna | Dissertations for the degree of candidate of pedagogical sciences. St. Petersburg - 1999 | Dissertation | 1999 | Russia | doc/pdf | 4.35 MB

13.00.07 - theory and methodology of preschool education (in pedagogical disciplines). THE RELEVANCE OF RESEARCH. The spiritual revival of Russia is naturally connected with the INCREASED interest of society in
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10.02.01 - Russian. Philological Sciences. Fiction - Linguistics - Indo-European languages - Slavic languages - East Slavic languages - Russian language - Lexicology -
Functional aspect of “alien speech” in a scientific text
Malykhina Svetlana Vladimirovna | Dissertation for the degree of candidate of philological sciences. Kharkov - 1999 | Dissertation | 1999 | Ukraine | doc/pdf | 8.2 MB

Specialty 10.02.02 - Russian language The problem of the functioning of "foreign speech" in scientific text belongs to a broad field of linguistic research. The axiological significance of “alien” in modern
Style-genre-forming role of axiological meanings and means of their expression in the secondary genres of modern Russian speech: scientific reviews, theatrical reviews, recall
Kobzeeva Oksana Valerievna | Dissertation for the degree of candidate of philological sciences. Omsk - 2006 | Dissertation | 2006 | Russia | doc/pdf | 7.87 MB

Specialty 10.02.01. - Russian language. This study is an attempt to identify the features of the functioning of axiological meanings and means, ways of expressing them in
Cognitive-pragmatic and compositional-stylistic features of public speech
Chikileva Lyudmila Sergeevna | Dissertation for the degree of Doctor of Philology. Moscow - 2005 | Dissertation | 2005 | Russia | doc/pdf | 18.89 MB

Specialty 10.02.04 - Germanic languages. This dissertation research is devoted to the study of cognitive-pragmatic and compositional-stylistic features of public speech on the material

Books and textbooks on the subject of the Russian language:

Unknown. State exam on the course of modern Russian language and its history - 2015
Unknown. Tickets for the basics of Russian grammar for the 1st course - 2015
Unknown. Tickets to prepare for the Russian language exam - 2015
Unknown. Answers to tickets for the Russian language exam - 2015
Unknown. Tickets for modern Russian language 1st semester 2nd year of the faculty of journalism - 2014
Unknown. Answers to tickets for the discipline "Russian language" - 2014
Unknown. The syntax of the Russian language. Exam preparation tickets - 2014
L. V. Prokofiev. Culture of speech [Text]: pract. allowance for students ped. specialties of institutions of higher education. education: in 2 hours / comp. L. V. Prokofiev. - Baranovichi: RIO BarSU, 2014. - Part 1: Norms of spelling and punctuation. - 130 s. - year 2014
Shchetinina A. V. Russian language and culture of speech: a practical course for preparing for testing: a study guide / A. V. Shchetinina, M. V. Sturikova. Ekaterinburg: Publishing house Ros. state prof.-ped. un-ta, 2013. 217 p. - year 2013
Unknown. 200 words with the correct stress, which are most often misspelled - 2012

STAGE SPEECH LOGIC

MOSCOW "ENLIGHTENMENT" 1974

795.7 3-33

3-33 Stage speech logic. Proc. allowance for theater. and cult.-clearance. textbook establishments. M., "Enlightenment", 1974.

128 p. from ill.

In order for the thoughts contained in the text to be perceived by the audience from the stage, the future actor needs to know the means and rules of the logic of stage speech.

This textbook outlines the content of the course on the logic of stage speech, studied at the Theater School nm. at the theater nm. Evg. Vakhtangov

The manual carefully and with great taste selected literary material that can be used for training.

FOREWORD

The author of this book, Tatyana Ivanovna Zaporozhets, is one of the leading teachers of the Theater School named after Evg. Vakhtangov. For thirty years she has been teaching the pupils of this school the skill of expressive stage speech.

Working tirelessly to improve the methods of teaching her subject and developing theoretically its most important problems, she achieved very significant results. This is convincingly evidenced by the annual graduates from the Shchukin School of such artists, who turn out to be not only actors of drama theaters, who are fluent on stage with expressive words, but also skilled masters of artistic reading.

These successes are largely due to the inclusion in the program of the stage speech course, developed by Zhets, a special section, which is the content of this textbook. This section is called "The Logic of Stage Speech".

The purpose of the section is to develop the ability to express thoughts clearly and distinctly. This ability is a prerequisite for the artistry of speech. By itself, it does not provide a high artistic quality of the sounding word - its emotionality and vivid imagery, but is a necessary precondition for this quality. In the absence of logic, it is impossible to achieve high artistry. Therefore, the section "Logic of Speech" occupies a middle place in the program of the entire course of stage speech between two sections: the initial one - "Technique of Speech" - and the final one - "Literary Reading".

Neglect of the laws and rules that determine the logic of speech entails an extremely sad consequence: lack of skill. at the very beginning of his book, he rightly notes that in connection with the development of radio broadcasting, television, cinema and the increase in the number of oratory speeches, lectures, etc., interest in sound speech is also growing. But along with this, it should also be noted that the average level of artistic quality of stage speech is still far from being at the level that can satisfy us. True, there are actors who have excellent command of stage speech, there are famous masters of artistic reading, whom we are rightfully proud of, but we are not talking about them now, but about the average level. After all, how often, listening to the radio or sitting in the theater, in the cinema, in front of the TV screen, we are annoyed at the low quality of the actor's speech. It happens that we are offended by its false theatricality, manifested in excessive declamation, in false pathos or tearful sentimentality, and when reading poetry, in a monotonous howl that deprives the work of any meaning whatsoever.

However, lately, the cause of annoyance is often not these, but opposite shortcomings: indistinctness of speech, its colorlessness, grayness, lack of musicality, inexpressiveness ... “What did he say? What did he say?" - the spectators sitting in the theater often ask each other, until one of them completely loses patience and begins to ask: “Louder! .. Louder!”

But it's not all about volume. You can scream on stage, but the audience will still not hear or understand anything. The main problem is the lack of real skill.

This misfortune is facilitated by a very harmful prejudice, as if on the stage it is necessary to say, "as in life." But in life too often they speak badly, hastily, in an indistinct patter, dividing each phrase into many parts, and in this way turn any text into some kind of “chopped cabbage”.

You can speak like this on stage only in those cases when they want to make bad speech a characteristic feature of this character, meaning its satirical ridicule. In all other cases, you need to speak better, brighter, more expressively on stage than in life.

Life speech is often trivial, boring, monotonous. Imitating her on stage, the actor involuntarily falls into that "mumbling realism" that irritates the audience so much. Becoming a phenomenon of art and subject to the requirements of mastery, stage speech does not lose the naturalness and simplicity of life speech, on the contrary, it acquires even greater naturalness and simplicity and at the same time becomes capable of expressing human thoughts and feelings with a much greater degree of strength, clarity, accuracy, intelligibility and beauty than in life.

Russian speech is characterized by musicality, melodiousness. Unfortunately, in real life Russian speech often turns from musically melodic into rough pounding: vowels crumple, “eat up”, and consonants sound like a drum roll.

The task of theatrical art is not to stoop to level of deficiencies, sometimes characteristic of life speech, not naturalistically copy its imperfections, but give positive examples, inspiring examples of the highest quality, infect viewers and listeners with love for the beauty of the Russian language and thus help improve its sound in real life.

Mastering the technique and logic of stage speech is the most important stage on this path.

Let us say in advance that the practical mastery of the laws and rules discussed in this manual "is not an easy task. Success can be achieved through numerous exercises, the implementation of which should gradually become easy, relaxed, unconscious ... But it is known that persistent and hard work is the key to success in any art.

B. ZAKHAVA,

Rector of the Theater School , People's Artist of the USSR, Doctor of Arts

The textbook "The Logic of Stage Speech" is an attempt to consistently present the content of the course on the logic of stage speech, studied at the Theater School. (higher education institution).

The stage speech logic course, which is one of the sections of the stage speech subject, is studied at our school during the 1st and 2nd semesters of the second year of study at the acting and directing correspondence departments.

The study of the stage logic section precedes our work on artistic reading and at the same time is the beginning of work on the text. Later, on the 3rd and 4th years of study, students constantly apply the knowledge they have gained in the analysis of passages for artistic reading and in working on roles in educational performances.

The basis of our work on the logic of stage speech is Stanislavsky's provisions proposed by him in the book The Actor's Work on Himself. Stanislavsky gave actors, students of theater educational institutions and everyone who deals with the sounding word, the basics of all the sections that make up the subject of Stage Speech.

He revealed the essence of each section, showed how to work on the word, persistently urged the actors to improve their skills. Addressing his students in his book The Actor's Work on Himself, Stanislavsky wrote:

“I made it clear to you in a little practice how many technical methods of voice development, sound colors, intonations, all kinds of patterns, all kinds of stresses, logical and psychological pauses, and so on. and so on. artists must have and develop in themselves in order to meet the demands that our art makes on word and speech.

Our study guide is structured in such a way that those working on the study of the rules of stage speech logic begin their acquaintance with one or another rule by describing its features and ways of mastering it in practice. After the statement of the rule, specially selected examples follow, analyzed by the author and clearly confirming the rule. They serve for training and lasting assimilation of the rule. Only after these examples have been worked out, you can proceed to the exercises. They can be disassembled and read under the supervision of a teacher or offered to students as homework.

Performing each of the exercises, it is necessary to perform a graphical analysis of the text, as shown in our figures. An independent selection of texts for the exercise for each of the rules can also be useful. Such texts should be worked out in detail: the place of logical pauses and stresses in each sentence is determined, a graphical analysis of each of them is performed.

MOSCOW "ENLIGHTENMENT" 1974

Zaporozhets T.I.

3-33 Stage speech logic. Proc. allowance for those atr. and cult.-clearance. textbook establishments. M., "Enlightenment", 1974.

128 p. from ill.

In order for the thoughts contained in the text to be perceived by the audience from the stage, the future actor needs to know the means and rules of the logic of stage speech.

This textbook outlines the content of the course on the logic of stage speech, studied at the Theater School nm. B. In Shchukin at the theater nm. Evg. Vakhtangov

The manual carefully and with great taste selected literary material that can be used for training.

60406- 466

3 74-74 792.7

60406-466

FOREWORD

The author of this book, Tatyana Ivanovna Zaporozhets, is one of the leading teachers of the B.V. Shchukin Theater School at the Evg. Vakhtangov. For thirty years she has been teaching the pupils of this school the skill of expressive stage speech.

Carrying out tireless work to improve the methods of teaching her subject and developing theoretically its most important problems, T. I. Zaporozhets achieved very significant results. This is convincingly evidenced by the annual graduates from the Shchukin School of such artists, who turn out to be not only actors of drama theaters, who are fluent on stage with expressive words, but also skilled masters of artistic reading.

These successes are largely due to the inclusion in the program of the stage speech course developed by T. I. Zaporozhets, a special section, which is the content of this textbook. This section is called "The Logic of Stage Speech".

The purpose of the section is to develop the ability to express thoughts clearly and distinctly. This ability is a prerequisite for the artistry of speech. By itself, it does not provide a high artistic quality of the sounding word - its emotionality and vivid imagery, but is a necessary precondition for this quality. In the absence of logic, it is impossible to achieve high artistry. Therefore, the section "Logic of Speech" occupies a middle place in the program of the entire stage speech course between the two sections: the initial one - "Technique of speech" - and the final one - "Artistic reading".

Neglect of the laws and rules that determine the logic of speech entails an extremely sad consequence: lack of skill. T. I. Zaporozhets at the very beginning of his book rightly notes that in connection with the development of radio broadcasting, television, cinema and an increase in the number of oratory speeches, lectures, etc., interest in sound speech is also growing. But along with this, it should also be noted that the average level of artistic quality of stage speech is still far from being at the level that can satisfy us. True, there are actors who have excellent command of stage speech, there are famous masters of artistic reading, whom we are rightfully proud of, but we are not talking about them now, but about the average level. After all, how often, listening to the radio or sitting in the theater, in the cinema, in front of the TV screen, we are annoyed at the low quality of the actor's speech. It happens that we are offended by its false theatricality, which manifests itself in excessive declamation, in false pathos or tearful sentimentality, and when reading poetry, in a monotonous howl that deprives the work of any meaning whatsoever.

However, lately, the cause of annoyance is often not these, but opposite shortcomings: indistinctness of speech, its colorlessness, grayness, lack of musicality, inexpressiveness ... “What did he say? What did he say?" - spectators sitting in the theater often ask each other, until one of them completely loses patience and begins to ask: “Louder! .. Louder!”

But it's not all about volume. You can scream on stage, but the audience will still not hear or understand anything. The main problem is the lack of real skill.

Life speech is often trivial, boring, monotonous. Imitating her on stage, the actor involuntarily falls into that "mumbling realism" that irritates the audience so much. Becoming a phenomenon of art and obeying the requirements of mastery, stage speech does not lose the naturalness and simplicity of life speech, on the contrary, it acquires even greater naturalness and simplicity and at the same time becomes capable of expressing human thoughts and feelings with a much greater degree of strength, clarity, accuracy, intelligibility and beauty than in life.

Russian speech is characterized by musicality, melodiousness. Unfortunately, in real life, Russian speech often turns from musically melodic into rough knocking: vowel sounds are crumpled, “eaten”, and consonants sound like a drum roll.

The task of theatrical art is not to stoop to the level of shortcomings that are sometimes characteristic of life's speech, not to copy its imperfections in a naturalistic way, but to give positive examples, inspiring examples of the highest quality, infect viewers and listeners with love for the beauty of the Russian language and thus help improve its sound in real life. life.

Mastering the technique and logic of stage speech are the most important stages on this path.

Let us say in advance that the practical mastery of the laws and rules referred to in this manual "is not an easy matter. Success can be achieved through numerous exercises, the implementation of which should gradually become easy, relaxed, unconscious ... But it is known that persistent and hard work is the key to success in any art.

B. ZAKHAVA,

Rector of the Theater School B. V. Schukina, People's Artist of the USSR, Doctor of Arts

The textbook "The Logic of Stage Speech" is an attempt to consistently present the content of the course on the logic of stage speech, studied at the Theater School. B. V. Shchukin (higher educational institution).

The study of the stage logic section precedes our work on artistic reading and at the same time is the beginning of work on the text. In the future, in the 3rd and 4th years of study, students constantly apply the knowledge they have gained in the analysis of passages for artistic reading and in working on roles in educational performances.

“I made it clear to you in a little practice how many technical methods of voice development, sound colors, intonations, all kinds of phonetic patterns, all kinds of stresses, logical and psychological pauses, and so on. and so on. artists must have and develop in themselves in order to meet the demands that our art makes on word and speech.

After you have managed to analyze and read the text, observing all the rules passed, it is useful to add to the logical (semantic) reading the performance of certain verbal actions and the work of fantasy, i.e. to the transmission of the thought contained in the sentence or passage, add your assessment and the author's attitude to what is being said, and the performance of one or another verbal action. At the same time, it must be remembered that even with the introduction of assessments and verbal actions into the exercise, semantic intonation this proposal will remain.

As you know, semantic intonation consists of a variety of rises, falls, amplification or weakening of the sound of the voice, from pauses of different durations, etc. In life, intonations (semantic and emotional) are born by themselves, but, meeting with an “alien”, author's text, the performer must turn the author's thought into his own, create for himself the exact logical, semantic intonation (“melody”) of each sentence.

Examples and exercises for all the rules of logical reading of the text are selected from the works of Russian classics and modern Soviet writers.

In this guide we are talking only about prose; reading poetic texts is a serious and big topic that should be considered separately.

ON THE LOGIC OF STAGE SPEECH

As the importance of public speech increases in connection with the development of radio broadcasting, television, cinema, in connection with the growth in the number of professional and folk theaters, the increase in the number of oratory speeches, lectures, etc., interest in the problems of sound speech is growing. Spectators, listeners are by no means indifferent to the sound side of the language. And actors, readers, orators, lecturers, announcers are interested in the most successful, accurate, clear and expressive way to convey the thoughts embedded in the text they pronounce.

The section of the subject "Stage speech" - the logic of stage speech - develops the ability to convey thoughts in sounding speech. Possession of the logic of stage speech makes it possible to convey in sound the thoughts of the author, contained in the text of the role, story, lecture, helps to organize the text in a certain way in order to most accurately and meaningfully influence the partner on stage and the viewer.

The rules of logical reading of a text are not formal laws alien to our spoken language. They were formed as a result of observations of writers, linguists and theater workers over living Russian speech. The rules of logical reading of the text are based on the peculiarities of Russian intonation and grammar (syntax) of the Russian language.

The logical analysis of the text of a role, story, lecture, any public speech, of course, does not replace verbal action, it is the beginning, the foundation of work on the text, a means of identifying the author's thought.

In order for the author's phrase to sound for the viewer, it is necessary to pronounce it as accurately as possible, that is, determine the place and duration of logical pauses, determine the main stress word, and mark secondary and tertiary stresses. In other words, for this you need to know the rules for arranging pauses and stresses.

When the phrase is analyzed and organized in this way, the listener will have the opportunity to appreciate the depth of the thought embedded in the text, the beauty of the author's language, and the peculiarities of his style.

M. O. Knebel, talking about the work of Stanislavsky with students in his studio, testifies that in the last years of his life, Stanislavsky especially stubbornly sought to strictly observe the rules of the logic of stage speech - the placement of logical pauses, stresses, the correct transmission of punctuation marks in the sound, etc. She says: “Stanislavsky every year more and more insistently demanded the study of the laws of speech, demanded constant training, special work on the text”

Why is the logic of stage speech so important? The language of people is the means of their communication. A person's speech is always active, the goal of the speaker is to influence, first of all, the consciousness of the listener, to convey his thought to him. The logic of stage speech just teaches to convey to the listener the thoughts contained in the text.

In life, a person easily divides his speech into speech beats, easily introduces pauses within a sentence, puts the stresses he needs. He does not need to learn this - he expresses his thoughts. But on the stage you have to learn everything anew, as Stanislavsky said, “and walk, and think, and speak.” It is necessary to learn and convey the thoughts of the author.

Although human speech in real life is not decomposed into separate elements, when working on a text, an actor or a student can and should artificially separate logical reading from effective speech as a whole.

This will help the most detailed study of all constituent parts logical reading of the text. Free orientation in the rules will lay the foundations for the initial stage of work on the text - the disclosure of the meaning contained in the author's text.

People's Artist of the USSR V. O. Toporkov wrote that many actors consider the logical side of the sounding text to be insignificant and do not return to work on the logic of stage speech after leaving the theater school. Meanwhile, the simple application of certain rules of the logic of stage speech in many cases would help to correctly play a scene or a piece. Toporkov says: “When an actor fails to find active action in his speech, he can sometimes achieve the desired result by applying the laws of speech familiar to him, the laws of phrase construction, the methods of verbal action familiar to him, even if, for example, simply by trying “straighten” the author’s phrase, thought according to its logical sound, that is, determine the effective center of the phrase - its stress, pronounce the phrase as accurately as possible according to the laws of speech, observing punctuation marks. This seemingly simple technique has a very beneficial effect and brings the actor closer to the goal - to influence the partner, helps to organize the necessary visions and find true feelings. And almost none of the actors tries to turn to this simplest device, considering it too student-like next to the complex difficulty that arose in the work.

We must systematically work on studying the rules of the logic of stage speech, on studying the author's thought. You should not count on the fact that the thought "will affect itself" when the speaker's feelings are deep. If you do not pay special attention to the message of the thought, then it may slip away, accidental stresses will arise, the meaning of the author's speech will be distorted, the beauty of the author's text will be ruined and the listener will lose the opportunity to understand what the actor or speaker is talking about.

Although in this textbook we somewhat artificially separate thought from verbal action, teachers working with students on the logic of stage speech, and the students themselves may well combine the study of the rules of the logic of speech with subsequent work on verbal action, i.e., observing the logical melody of the analyzed and parsed text, introduce a verbal action corresponding to the content of the text: condemn, praise, ridicule, demand, etc.

Here, for example, is a sentence from Chekhov's story "Anyuta": "She spoke very little in general, she was always silent and thought and thought..." The heroine of the story, Anyuta, evokes sympathy from the author, he does not condemn her, sympathizes with her and has a negative attitude towards those people who behave heartlessly towards her. Therefore, such a verbal action is possible in this sentence: to protect, justify her.

However, the task of this brief textbook on the logic of stage speech does not include work on determining assessments and verbal actions in the examples and exercises given.

At the same time, the author considers it methodologically quite correct to move from conveying the thought contained in a sentence or passage (i.e., from a logical reading of the text) to determining assessments and authorial relations (i.e., to performing one or another verbal action with the help of the same text).

At the same time, it must be remembered that even with the introduction of a verbal action into the exercise, the logical melody (semantic intonation) of this sentence will be preserved.

A true logical melody is created when the content of a sentence (or passage) is conveyed in a sounding speech, subject to certain rules of stage speech logic.

Logical analysis of the text is the first, preparatory stage of work on the text. The continuous application of such analysis in practical work, of course, in no case replaces the work on the text in full; the logic of speech does not replace verbal action and emotionally filled words. But the author's thought will not be conveyed by the performer if he does not know by what means it can be conveyed in sound. If the performer strives only to convey his relationships, visions, his feelings, he will deprive himself and his listeners of the opportunity to understand and perceive the work in its entirety. M. O. Knebel writes: “...neither the prospect of conveying a complex feeling, nor the perspective of the artistic distribution of expressive means can organically arise if the actor has not mastered the logic and consistency of the developed thought...”

Thus, it is clear how important it is for future actors and employees of cultural and educational institutions to master the logic of stage speech, the study of its rules.

SPEECH BEATS AND LOGIC PAUSES

Each individual sentence of our sounding speech is divided by meaning into groups consisting of one or more words. Such semantic groups within a sentence are called speech beats 1. A speech beat is a syntactic unity, that is, a speech beat can be a subject group, a predicate group, a group of adverbial words, etc.

In each speech measure there is a word, which, according to the meaning, should be highlighted in the sounding speech by raising, lowering or amplifying the sound of the voice. Such an intonational emphasis on a word is called logical stress. A separate speech tact rarely contains a complete thought. The stresses of each speech measure must be subordinated to the main stress of the whole sentence.

In sounding speech, each speech measure is separated from the other by stops of various durations. These stops are called logical pauses. In addition to pauses-stops, speech measures are separated from one another by changing the pitch of the voice. These changes in the pitch of the voice during the transition from one speech measure to another give the intonational variety of our speech.

There can be no pause inside the speech beat, and all the words that make up the speech beat are pronounced together, almost like one word. In writing, one or another punctuation mark usually indicates a logical pause. But there can be much more logical pauses in a sentence than punctuation marks.

Logical pauses can be of different duration and fullness; they are connecting and disconnecting. In addition to them, there are backlashes (pauses for taking in air - “air”, from the German Luft - air) and, finally, psychological pauses.

Let us agree in our manual to designate logical pauses of different duration with the following signs:

"- a short pause (or backlash), which serves to take a breath or highlight an important word after it;

I - a pause between speech measures or sentences closely related in meaning (connective);

A longer connecting pause between speech measures or between sentences;

An even longer connecting-disconnecting (or separating) pause (between sentences, semantic and plot pieces).

In practical work with students, there may be an example when it is necessary to designate an even longer disengaging pause.

Let's try to divide the following sentence into speech measures:

Marya Gavrilovna closed her book and lowered her eyes in agreement. (A. Pushkin. "Snowstorm".)

There are no punctuation marks in this sentence, but there are pauses in it. Let's try to arrange logical pauses like this: "Marya Gavrilovna (who?) I closed the book (what did she do?) I and lowered her eyes (what else did she do?) I in agreement (why?)".

Within the sentence, groups of words were formed, because, first of all, the sentence is divided into a subject group and a predicate group; adverbial words also form separate groups; there is usually a logical pause before the connecting unions “and”, “or”, “yes”.

In this sentence, the subject group is made up of the words "Maria Gavrilovna", the predicate group - "closed the book"; there is a group of the second predicate - “and lowered her eyes” (before the union “and” - pause); adverbial words "as a sign of consent" also constitute a separate group.

Let's take another suggestion:

"In the fall, the Rostov family returned to Moscow." (JI. Tolstoy. "War and Peace".)

“In the fall (when? - circumstance of time) I, the Rostov family (who? - subject group) I returned to Moscow (what did it do? - group of the predicate, it included the circumstance of the place “to Moscow”).

Read the two analyzed sentences aloud several times, raising your voice before each logical pause and lowering it at the end of the sentence at the final point.

Incorrect arrangement of logical pauses leads to nonsense. For example, if you place logical pauses in the following sentence in this way: “A cloud of gasoline burning I from the bus hid them from Olga Vyacheslavovna”, words that are not related in meaning and grammatically will be combined into speech beats.

Pauses in this sentence should be spaced as follows: “A cloud of gasoline burning from the bus (subject group) I hid them from Olga Vyacheslavovna (predicate group).” (A. Tolstoy. "Viper".)

K. S. Stanislavsky in his book “The work of an actor on himself” wrote: “Take a book, a pencil more often, read and mark what you read according to speech beats. Fill your ear, eye and hand with this ... Marking up speech measures and reading them are necessary because they make you analyze phrases and delve into their essence. Without delving into it, you will not say the right phrase. The habit of speaking in beats will make your speech not only harmonious in form, understandable in transmission, but also deep in content, as it will make you constantly think about the essence of what you say on stage ... Work on speech and words must always begin with division into speech measures or, in other words, from the arrangement of pauses” 1 .

Inviting students to take a pencil and, while reading, place logical pauses, Stanislavsky had in mind the development of a special quality - the ability, looking at the marked text and reading it even to himself, to hear how it sounds.

Therefore, we begin the study of the rules of the logic of stage speech from the definition of the boundaries of speech measures and from the arrangement of logical pauses.

They organize speech - as if they build a sentence, give it clarity and clarity, help to delve deeper into its meaning. Logical pauses divide the phrase into certain groups of words - speech beats, which we have already talked about, and they also simultaneously connect speech beats, combine them into a whole sentence. Although a pause is some break in sound, the main idea of the sentence should not be interrupted with it. If the thought breaks off with a pause, then a “hole” will form in the text and the speech will lose its meaning. In addition, since the Russian language is characterized by smoothness, unity of sound, a logical pause is not always a stop in the full sense of the word, sometimes it is only a decrease or increase in voice on certain words (for example, a melodic break between sentences, slowing down speech, etc.). ).

Logical pauses, as already mentioned, may coincide with punctuation marks, but may not be marked on the letter.

Pauses connecting, not marked with punctuation marks, are in the sentence:

Between the subject group and the predicate group (unless the subject is expressed by a pronoun):

"Daughter I listened with curiosity." (M. Lermontov. "Hero of our time.")

Between two subjects or between two predicates before the connecting unions “and”, “yes”, before the disjunctive union “or”, etc .:

"Ivan Matveich I sits down and smiles broadly." (A. Chekhov. "Ivan Matveich".)

"Language I and Heat I intensified." (A. Tolstoy. "Childhood of Nikita".)

"Kiselnikov. Forcefully beg for fifteen rubles I or twenty, I and even after reproaches I yes breaks." (A.N. Ostrovsky. "Abyss", scene 2.)

After adverbial words at the beginning of a sentence (less often - standing in the middle or at the end of a sentence):

"Since my school years I have felt the beauty of the Russian language, its strength and density." (K. Paustovsky. "The Tale of Life".)

Before circumstances:

"Hadji Murat I spent a week in fortification I in the house of Ivan Matveyevich." (JI. Tolstoy. "Hadji Murat".)

Logical pauses between sentences perform the same tasks as within a sentence: they separate from each other and at the same time connect groups of sentences with each other. As a rule, the pauses between sentences are longer.

If the next sentence (or a group of sentences) does not directly develop the thought of the previous one, a more or less long stop occurs between such sentences - we will call it a disconnecting (separating) logical pause. Such a pause marks the boundaries of plot compositional pieces in a literary work. Before disengaging pauses, a lowering of the voice is characteristic. In essence, the disjunctive pause is often a connecting-disconnecting one, since the narration continues even after such a pause.

For example:

“With this word, he rolled over on one leg and ran out of the room. III Ibrahim, left alone, hastily opened the letter. (A. Pushkin. "Arap of Peter the Great".)

There are two sentences in this short passage. The second is separated from the first by a disconnecting logical pause, since the meaning of the event contained in the first sentence is not directly related to the event (fact) described by Pushkin in the second sentence.

Separating pauses, depending on the meaning of the passage, are of different duration. For example, a logical disconnecting pause between chapters:

“Somehow, driving past the Turkins’ house, he remembered that he should have stopped by at least for a minute, but he thought about it and ... didn’t stop by.

And he never visited the Turkins again. III

A few more years passed. Startsev has gained even more weight, is obese, is breathing heavily and is already walking with his head thrown back. (A. Chekhov. "Ionych".)

In the work, several years pass between chapters IV and V. Such a disconnecting pause is, in essence, the events implied, but not told by the author, it must be filled with the imagination of the performer.

When one and the same thought develops within a sentence or plot piece, connecting logical pauses arise between speech measures, groups of speech measures, a group of sentences. Before each of the connecting pauses, a slight increase in the voice on the word bearing the stress is characteristic.

For example:

“Vozhevatov. He ordered a horse from the village, I had some motley nag; II the coachman is small, I and the caftan on him from the big one. II And he carries on this camel I Larisa Dmitrievna; II and sits so proudly, I seems to be riding thousands of trotters. (A. Ostrovsky. "Dowry".)

In this passage, Vozhevatov condemns and ridicules Karandyshev. He talks now about his horse, now about the coachman, now about Karandyshev himself. In terms of meaning, this is one plot piece, so connecting logical pauses must be made inside it. These pauses will be of different duration: in the first sentence after commas - shorter, after a semicolon - longer. There is also a longer connecting pause between the first and second sentences, since in the second sentence Vozhevatov moves from describing the horse and the coachman to describing Karandyshev himself. Inside the second sentence, there is a longer pause again after the semicolon, because after condemning Larisa’s inappropriate departure, Vozhevatov ridicules the behavior of Karandyshev, the “culprit” of all the previously described events. It is easy to see that the accuracy with which the author placed punctuation marks helps us to read the text correctly and make pauses of the required duration.

There is, as we already know, another type of connecting pause - a backlash. It is very short, it is better to use it as an additional pause before a word that we want to highlight for some reason. Such a pause may help clarification. It completely depends on the intentions and tasks of the performer.

In addition to logical pauses, there are psychological pauses. The psychological pause does not obey the laws of logical reading of the text. It belongs entirely to the realm of verbal action. “Where, it would seem, it is logically and grammatically impossible to make a stop, there it is boldly introduced by a psychological pause,” said Stanislavsky. Psychological pow PS most often introduced into the text by the actor in the process of working on the role. In a letter, such a pause can be indicated by an ellipsis.

For example:

“Astrov. I don’t love anyone and ... I won’t love anyone anymore.” (A. Chekhov. "Uncle Vanya".)

Close to the psychological pause is the so-called pause of silence or interrupted speech, when unsaid words are replaced by ellipsis.

For example:

"His wife ... however, they were perfectly pleased with each other." (N. Gogol. "Dead Souls".)

Instead of a pause indicated by ellipsis, Gogol could obviously write: "she was extraordinarily stupid," but he leaves these words closed with ellipsis, which gives him an additional opportunity to ridicule Manilov's wife more viciously.

We have already said that a pause, put in the wrong place, destroys the meaning of the sentence. At the same time, a pause deliberately set incorrectly can have a certain effect and even reveal the human essence of the image.

Something similar was done by the Moscow Art Theater actor M. Chekhov in the role of Khlestakov.

A.D. Dikiy talks about it this way: “But Chekhov’s most amazing find was his Khlestakov’s speech. Illogical, torn, with unjustified intonations, with pauses in impossible places, she irrefutably testified to the stupidity of this Khlestakov.

Gogol's remark about the "uncommon lightness in thoughts" received its distinct realization. It seemed that Chekhov-Khlestakov's word overtook his thought for a split second. She did not keep up with the word that jumped out involuntarily, lagged behind him, like a bad conductor from a well-coordinated orchestra.

“You gave me just now... four hundred rubles... Now give me... More. Four hundred. So that it was exactly ... eight hundred. Khlestakov spoke, and there was no way to predict what next word and for what reasons would be born in his seedy brain.

Of course, the actor can afford such permutations of logical pauses only as a result of a huge preliminary work on the image, and only if this helps to reveal the essence of the image through the incorrectness of his speech.

1 A. D. Dikiy. The Tale of the Theatrical Youth. M., Art, 1957, pp. 319-320.

There are inaccuracies in Gogol's text, quoted by Diky, apparently from memory. Gogol's text is as follows: "Khlestakov. Yes, then you gave two hundred, that is, not two hundred, but four hundred, I do not want to take advantage of your mistake, so, perhaps, now the same amount, so that it was exactly eight hundred." Despite A. D. Diky's mistake, the very principle of intentionally violating the logic of the image's speech with the help of incorrectly spaced pauses remains in force.

In all other cases, this will be only a formal device, a trick that distorts the intentions of the author.

However, neither intentional violations of the logic of the analyzed texts, nor issues related to psychological pauses will be considered in this study guide - this is not part of its task.

Below are exercises that you should perform on your own in order to practically learn the rules that have been discussed in this chapter.

Exercises

In the following sentences, define the boundaries of speech measures and put disconnecting or connecting pauses of different durations.

“Here Chichikov went completely beyond the limits of any patience, slammed his chair on the floor in his heart and promised the devil to her. The trait of the landowner was extraordinarily frightened. (N. Gogol. "Dead Souls".)

"Princess Mary saw all this better than me." (M. Lermontov. "Hero of our time.")

A passing dandy with red curls and a blue ribbon on a low hat turned around and looked at Bambaev with a caustic grin. (I. Turgenev. "Smoke".)

“Berkutov. Just try not to be noticed; in general, don't be very frank and don't talk trifles. Did you give fifteen rubles to Mikhail Borisych?” (A. N. Ostrovsky. "Wolves and sheep".)

“On the shore, the women and soldiers were washing clothes, splashing with rolls.” (G. Uspensky. "Morals of Rasteryaeva Street".)

The scientist looks at his watch and picks up a book. (A. Chekhov. "Ivan Matveich".)

"Jonah and his little horse haven't moved for a long time." (A. Chekhov. "Longing".)

“There were only two of them: the veterinarian Ivan Ivanovich and the teacher of the gymnasium Burkin.” (A. Chekhov. "The Man in the Case".)

"Turner lowers the reins and thinks." (A. Chekhov. "Woe")

"The orchestra was already blaring in the great hall and the dancing had begun." (A. Chekhov. "Anna on the neck.")

"Ice cold marked its entry into history one thousand nine hundred and twenty-four." (N. Ostrovsky. “How steel was tempered.”)

“Long before daybreak, Ilyinichna lit the oven and by morning she had already baked bread and dried two bags of crackers.”

“At the young French lieutenants, through the outward gloss of decency and feigned French courtesy, cold notes of condescension and arrogance began to break through in conversations with the Cossack generals.” (M. Sholokhov. Quiet Don.)

“All evening the director told me amazing stories related to the discovery of paintings. Against the wall, an old clock with an annual winding, the work of a forgotten master from Berdichev, was silently ticking. (K. Paustovsky. "Wind of speed".)

“Mom sighed and went underground for cucumbers. In a checkered scarf, burying herself from the dirt like a cat, Lelka the veterinarian went home. (S. Antonov. "Spring".)

“I will work until my fingers can hold a pen and until my heart stops, overflowing with a sense of life.

At the dawn of a foggy March day, I finally arrived in joyful, excited and formidable Moscow. (K. Paustovsky. "The Tale of Life".)

“A knock on the door and a voice that sounded sharply in the cold: open it! interrupted his thoughts.

"Wait a minute, I'll open it myself," said the blacksmith, and went out into the passage with the intention of breaking off the sides of the first man who came across in annoyance.

The frost increased, and it became so cold at the top that the devil jumped from one hoof to another and blew into his fist, wanting to somehow warm his freezing hands. (N. Gogol. "The Night Before Christmas".)

End of Chapter XXX:

“When Pierre left and all the members of the family got together, they began to judge him, as always happens after the departure of a new person, and, as rarely happens, everyone said one good thing about him.

Returning this time from vacation, Rostov for the first time felt and learned to what extent his connection with Denisov and with the entire regiment was strong. (L. Tolstoy. "War and Peace".)

End of Chapter I:

“A month later, I left the village, and little by little all these horrors, these mysterious meetings went out of my head.

Three years have passed. Most I spent a lot of time in St. Petersburg and abroad, and if I ever visited my village, it was only for a few days, so I never had to visit either Glinny or Mikhailovsky. (I. Turgenev. "Three meetings".)

20. End of Chapter III:

In the summer I was at the Tikhvin fair and met Balavin again by chance. He was walking with some horse-dealer.” (I. Bunin. "The Life of Arseniev".)

PUNCTUATION MARKS

Russian punctuation is connected with grammar, with Russian syntax. At the same time, punctuation is reflected in oral speech. In the logical analysis of the text, we consider punctuation marks as a graphic designation of various types of logical pauses.

However, it happens that punctuation marks do not coincide with the intonational structure of the sentence. Then punctuation marks remain an accessory only to written speech, and are not transmitted in sounding speech. When we say: the comma is “unreadable”, this means that in oral speech there should not be a pause in this case that coincides with this comma.

For example:

"Everyone began to disperse, I realizing (,) 1 that with such a wind I it is dangerous to fly." (N. Tikhonov. "The first plane".)

In this example, the comma before the adverbial phrase “is read” coincides with the logical pause, and the pause that coincides with the comma before the subordinate clause - before “what” is absent in the sounding speech, since otherwise the words “understanding” and “ what”, which do not carry a semantic load. The main meaning of the word is “dangerous”, standing at the end of the subordinate clause.

Neither grammar nor punctuation fully convey the sound of our speech. It is necessary to "hear" the written text. “The reader must subtract the intonation that is inscribed in the text by the writer. Without this, a correct reading and understanding of the text is impossible.

There are two sides to the question of intonation. In this tutorial, we will talk about intonation, which expresses the semantic side of speech. The other side of intonation - the "intonation of emotions", that is, the intonation of live, direct human speech, unusually rich and diverse - cannot be fixed.

People's Artist of the USSR V. O. Toporkov writes that "memorizing, memorizing certain intonations that we encounter in life, and mechanically transferring them to the stage is a useless and hardly possible thing." He recommends "the right path, prompted by life itself" - well, in detail, clearly "see" mentally what we are talking about. As a result, “a genuine lively intonation will appear, filled with a subtle, unique charm of nuances ... No effort, no artificial search for intonations can achieve the accuracy that our nature creates” \

Punctuation marks usually coincide with logical pauses. There is a mandatory intonation inherent in each punctuation mark.

Stanislavsky called the logical-syntactic intonation corresponding to each punctuation mark a "voice figure". He required students to master the correct phonetic pattern of each punctuation mark. Future actors and everyone who deals with sounding speech need to learn the mandatory rules for the “sounding” of punctuation marks in order to master the melody of the Russian language.

In addition, reading the text by punctuation marks disciplines the speech of "hurried actors", as Stanislavsky called those who transfer their non-rhythmic patter speech to the stage. For such actors, he considered exaggeratedly clear, slow reading of the text according to speech measures and punctuation marks useful.

Punctuation marks help us better understand the author's thought and oblige us to understand why the author chose this particular punctuation.

Each author has his own style, his own structure of images and, what is important for us in this case, his own language, his own way of constructing a sentence. It is impossible to read the work of any author without delving into every punctuation mark. In some cases, we also encounter subjective author's punctuation. The desire to convey the meaning and intonation as accurately as possible forces the writer to add additional punctuation marks that he needs into the text.

Especially often this can be found in the works of A. M. Gorky and A. N. Tolstoy.

S. G. Birman says this about Gorky's language:

“Not only the phrase, the replica, the words of each character in the play “Vassa Zheleznova” by Gorky are necessary, invariable, irreplaceable, but he is also responsible for each of his punctuation marks (not in the syntactic sense, of course). His dashes, dots, exclamation marks speak about the inner world of the characters in the play more eloquently, perhaps, than the most detailed and verbose remark of another playwright. Punctuation marks placed by Gorky speak about the rhythm in which the heart of the person in the play beats: evenly? intermittently? - indicate with what the speed of blood runs through the veins (the rhythm of the phrase makes it possible to hear how this person breathes at a given moment of life) ”

In addition to the rules of punctuation, which the author, of course, is guided by, there are special intentions of the author, they oblige us to figure out why such punctuation is used in this case, since punctuation marks can also reveal to the actor many of the author's "secrets". For example, if you carefully look at the punctuation of the short excerpt below from A. Tolstoy's article "The Tasks of Literature", you can understand why the author needs "extra" dashes. These dashes are additional pauses that help the writer achieve the semantic accents he needs - oppositions. In addition, "additional" dashes will cause, when pronouncing the text aloud, a change in voice pitch.

“Aestheticism is prettiness, not beauty, admiration, not love, anger, not anger - cold blood is in aestheticism. He is static. He - contemplates, not empathizes. He says: here I am, and here is the world that I contemplate. But he will never say: I am all in this world, I am the world.

We now turn to the study of the "sound" of punctuation marks. It goes without saying that not a single punctuation mark ever sounds on its own, but its presence indicates one or another obligatory rise or fall of the voice on the stressed words preceding the mark.

DOT

The dot shows the completion of the thought and the completeness of the sentence. It is associated with a strong lowering of the voice on the stressed word preceding it or standing close to it. As a rule, a point requires a relatively long pause after itself, especially when it coincides with the completion of a thought.

Stanislavsky spoke about the final point like this:

“Imagine that we climbed the highest rock above the bottomless cliff, took a heavy stone and hurled it down to the very bottom. This is how one must learn to put dots at the end of a thought. 2 In place of such a dot in a sounding speech, a disengaging pause must necessarily occur.

When we talked about disconnecting pauses, we had in mind exactly the final point.

For example:

“Following these words, the door slammed shut, and all that was heard was how the iron bolt moved with a squeal. III

What associations do you have when you hear the word "lecture"? Most likely, something boring, monotonous, soporific and completely uninteresting. What about the word "conversation"? It no longer seems soothing - on the contrary, conversation is when they turn to you personally when it comes to you. Why is this happening? Live human speech, not designed to be spoken in front of a large number of people, is very natural and diverse. But for some reason, public speech loses its naturalness and diversity, and often turns into a monotonous "mumbling" under one's breath. And it's not just about the lecture or speech of the party leader. The monotony of speech is also found in actors. In life, the voice, pace and rhythm of speech change all the time depending on the circumstances, thoughts, feelings that a person experiences every second. In conditions public speaking the more you need to think about changing the tone, rhythm and tempo of speech. Each phrase, depending on the changes in the proposed circumstances, should change in tone, rhythm and tempo. Lively speech does not flow incessantly, it has its stops. It is, as it were, divided into measures, where there are different durations, different rhythmic patterns, and, of course, pauses. All the more so, stage speech should be divided into measures.

In order to divide speech into measures, stops are needed, or, in other words, logical pauses.
As you probably know, they have two opposite purposes at the same time: to connect words into groups (or into speech measures), and to separate groups from each other.
Do you know that the fate and life of a person can depend on this or that arrangement of logical pauses? For example: "Forgiveness cannot be exiled to Siberia." How to understand such an order until the phrase is separated by logical pauses? Arrange them, and only after that the true meaning of the words will become clear.
«Forgive | - it is impossible to exile to Siberia! or “You can't forgive | - exile to Siberia! In the first case - pardon, in the second - exile.

When working on a public text (it doesn’t matter if it’s a role or a story, a lesson, a lecture), every thought expressed in words requires a mandatory change in tone, rhythm and tempo. There are two types of pause: logical and psychological. The logical pause is determined by punctuation marks, the psychological one - by the atmosphere and mood. Between these pauses, the text is pronounced. Each time after a pause, the tonality and rhythm of speech changes. Between two logical pauses, you need to pronounce the text, if possible, inseparably, together, almost like one word.

There are, of course, exceptions that force you to make stops in the middle of the measure. But there are rules for this, which will be explained to you in due time.
Take a book, a pencil more often, read and mark what you read according to speech beats. Fill your ear, eye and hand with this. Reading by speech measures hides another more important practical benefit: it helps the process of experiencing itself.
Marking up speech measures and reading them are also necessary because they make you analyze phrases and delve into their essence. Without delving into it, you will not say the right phrase.

How to parse text into beats
As an example showing how the text is parsed by measures, we offer you an excerpt from the book by K. Kurakina “Fundamentals of Speech Technique in the Works of K. S. Stanislavsky”.

Even a simple logical pause, determined either by a punctuation mark or by the need to highlight a word that indicates the direction of thought, requires after itself a mandatory change in the rhythm and tempo of pronunciation and tone of voice. This is one of the mandatory rules, non-observance of which leads to monotonous pronunciation on stage.
Let's try to analyze all of the above on the simplest verbal example. Let's take the first lines of I. Krylov's fable "The Crow and the Fox".

Somewhere a god sent a piece of cheese to a crow;
On the spruce Crow, perched,
Yes, I thought about it, but I kept the cheese in my mouth,
The Fox ran close to that trouble.

Without making a detailed, effective analysis of the entire fable as a whole, we will only place the logical accents and logical pauses necessary for mutual understanding in the above text. The accents will be denoted in bold italics, and the pauses V. The ratio of stronger and weaker accents will not be denoted in the same way as the duration of pauses.

Somewhere the god V sent a piece of cheese to the crow V;
On a spruce crow v perched v
I was quite ready to have breakfast,
Yes, V thought, and kept the cheese in her mouth.
To that misfortune V, the fox V ran close.

Let's analyze the meaning and meaning of the placement of accents.
1. "Crow": who are we talking about. Who do we mean by the definition of "crow".
2. "Somewhere God": how she accidentally managed to get food.
3. “Sent a piece of cheese”: what exactly did she get and her attitude towards the delicacy.
4. “A crow perched on a spruce tree”: where exactly she is comfortably located.
5. “I was really ready to have breakfast”: her intention and desire to fulfill this intention.
6. “Yes, I thought about it”: anticipating pleasure, she dreamed.
7. “The fox ran close to that misfortune”: a new piece is an event associated with the appearance of a new character, with a warning from the author-narrator that “this” appearance does not bring anything good for the dreaming crow.

Punctuation marks in the text
In oral speech, we, of course, do not think about punctuation marks, but only designate them with logical accents. However, in a written text (whether the author's or one's own) one cannot do without punctuation marks. Otherwise, the text will be impossible to read - neither to oneself, nor, especially, aloud. Punctuation marks are important indicators when reading text. They can help you find that one intonation that will give naturalness and liveliness to speech.

Punctuation marks require obligatory voice intonations. The period, comma, question and exclamation marks, and others have their own, inherent, obligatory voice figures, characteristic of each of them. Without these intonations, they will not fulfill their purpose. Indeed, subtract from the point its final, final voice decrease, and the listener will not understand that the phrase is over and there will be no continuation. Subtract from the question mark its characteristic special sound "croak", and the listener will not understand that he is being asked a question to which they are waiting for an answer.

Studying punctuation marks, building an intonation pattern according to them, helps to deal with one of the main troubles of public speaking people, namely, haste. In the intonational property of punctuation marks, precisely that is hidden that can keep the actor from excessive haste. And yet - to attract the attention of the listener, to cause his reaction.

These intonations have some effect on the listeners, obliging them to do something: an interrogative phonetic figure - to an answer, an exclamation - to sympathy and approval or protest, two dots - to attentive perception of further speech, etc. In all these intonations - great expressiveness.
The word and speech have their own nature, which requires the corresponding intonation for each punctuation mark. In this property of the nature of punctuation marks is hidden just what can calm you down and keep you from haste. That's why I stop on this question!

Knowledge of the laws of speech, attention to punctuation marks and the construction of an intonation pattern for each phrase of the text leads to the fact that the actors are no longer afraid of stops and pauses in the text.

Remember what you instinctively want to do with every comma? First of all, of course, stop. But before it, on the last syllable of the last word, you will want to bend the sound up (without putting stress, if it is not logically necessary). After that, leave the top note hanging in the air for a while.
With this bend, the sound is transferred from the bottom up, just like an object from the lower shelf to a higher one. These ascending phonetic lines receive a wide variety of bends and heights: a third, a fifth, an octave, with a short sharp rise, with a wide, smooth and low swing, and so on.
The great thing about the nature of the comma is that it has a miraculous property. Her curve, like a hand raised in warning, makes the listeners patiently wait for the continuation of the unfinished phrase. If you only believe that after the sound bend of the comma, the listeners will certainly patiently wait for the continuation and completion of the begun phrase, then you will have nothing to rush for. This will not only calm you down, but also make you sincerely love the comma with all its inherent natural properties.
If you knew what a pleasure it is in a long story or phrase, like the one you just spoke, to bend the phonetic line before the comma and wait confidently, knowing for sure that no one will interrupt you or rush you.
The same goes for all other punctuation marks. Like a comma, their intonation obliges the partner; so, for example, a question obliges the hearer to answer ...

Pauses logical and psychological
Stanislavsky argued that intonation arises from knowledge of the laws of speech, from the desire to accurately convey the meaning of the text. Punctuation marks help to place semantic stops, or logical pauses. Often a logical pause develops into a psychological pause. How is a logical pause different from a psychological one? Each type of pause has its own task, its own purpose.

You will understand my words and warnings only after I explain to you the nature of logical and psychological pauses. This is what it is: while the logical pause mechanically forms bars, whole phrases and helps to clarify their meaning, the psychological pause gives life to this thought, phrase and bar, trying to convey their subtext. If speech is illiterate without a logical pause, then without a psychological one it is lifeless.
The logical pause is passive, formal, inactive; psychological - certainly always active, rich in internal content.
The logical pause serves the mind, the psychological pause serves the feeling.

It is in the pauses between words and phrases that the listener can perceive those inner visions that flash before the actor on an imaginary screen. A pause is not emptiness; sometimes it says more than a word.

Metropolitan Philaret said: "Let your speech be stingy, and your silence eloquent."
This “eloquent silence” is a psychological pause. It is an extremely important communication tool. You yourself felt today that it is impossible not to use such a pause for a creative purpose, which itself speaks without words. She replaces them with looks, facial expressions, radiation, hints, subtle movements and many other conscious and subconscious means of communication.

Despite the fact that the actor must necessarily maintain the intonation pattern of the phrase, this pattern cannot be “prepared” in advance and mechanically fixed in sound expression. The same applies to pauses: both a logical and a psychological pause should depend entirely and completely only on the proposed circumstances, events, tasks. Mechanical work will result in a die. Pause is a very powerful weapon. It is necessary to work long and hard on it so that the pause is speaking.

All of them are able to say what is inaccessible to the word, and often act in silence much more intensively, more subtlely and more compellingly than speech itself. Their wordless conversation can be interesting, meaningful and convincing no less than verbal.
In a pause, they often convey that part of the subtext that comes not only from the consciousness, but also from the subconscious itself, which does not lend itself to a specific verbal expression.
These experiences and their manifestations, as you know, are the most valuable in our art.
Do you know how highly valued the psychological pause is?
It is not subject to any laws, and all the laws of speech without exception are subject to it.
Where, it would seem, it is logically and grammatically impossible to stop, there it is boldly introduced by a psychological pause. For example: imagine that our theater is going abroad. All students are taken on a trip, with the exception of two. – Who are they? – you ask Shustov in agitation. - I and ... (a psychological pause to soften the impending blow or, on the contrary, to increase indignation) ... and ... you! Shustov answers you.
Everyone knows that the union "and" does not allow any stops after itself. But the psychological pause does not hesitate to violate this law and introduces an illegal stop. All the more right does a psychological pause have to replace a logical one without destroying it.
The latter is allotted a more or less definite, very short time of duration. If this time is prolonged, then the inactive logical pause should sooner be reborn into an active psychological one. The duration of the latter is uncertain. This pause is not constrained by the time for its work and delays the speech as long as it is necessary for it to carry out a genuinely productive and expedient action. It is directed towards a super-task along the lines of subtext and through action, and therefore cannot but be interesting.

How long should you pause? It should depend on the pace and rhythm of the action. Action in speech should not stop for a moment. A pause is an active comprehension of what has been said, reflection, preparation for a decision, that is, action. The pause should continue the action, not stop it.

Nevertheless, the psychological pause takes into account very strongly the danger of procrastination, which begins from the moment the productive action stops. Therefore, before this happens, the psychological pause hurries to give way to speech and the word.
The trouble is if the moment is missed, because in this case the psychological pause will degenerate into a simple stop, which creates a stage misunderstanding. Such a stop is a hole in a work of art.

Everyone who is going to speak to the public must analyze in detail each piece of the text according to the logic of thought and feeling. It is necessary to determine which thought is the main, main, leading one, with the help of what arguments this thought proves its supremacy. Which words are primary and which are secondary? The main words are highlighted with the help of intonation pattern and pauses, the secondary ones help to emphasize the importance of these words. It must also be remembered that when we speak, we want to communicate something not only to the mind, but, above all, to the heart. Through the logic of the text, you can come to a feeling that will turn our speech from rational to emotional.

Exercise 1
Guided by punctuation marks, graphically depict the intonation pattern in the following passages. Read the text following this picture.

Pushkin
gypsies

Everything moved together - and now
The crowd pours into the empty plains.
Donkeys in baskets
Children playing are carried;
Husbands and brothers, wives, virgins
And the old and the young follow;
Scream, noise, gypsy choruses,
Bear roar, his chains
impatient clatter,
Rags of bright variegation,
Nudity of children and elders,
Dogs and barking and howling,
Bagpipes talk, skryp carts,
Everything is poor, wild, everything is discordant,
But everything is so alive and restless,
So alien to our dead negs,
So alien to this idle life,
Like the song of slaves, monotonous!

Shakespeare
HAMLET

Wait! Look, he's come again!
Let the vision destroy me
But I swear I will stop him.
Vision, stop! When human speech
You own - talk to me.
Say: or by a good feat can I
To return your peace to you,
Or fate threatens your homeland,
And can I prevent it?

(Translated by A. Kroneberg)
Exercise 2
Read the passage. Put logical pauses in the proposed phrase. And what psychological pauses can there be here? Where would you place them?

V. Odoevsky
RUSSIAN NIGHTS
To explain the great meaning of these great figures, the naturalist questions the works of the material world, these symbols of material life, the historian - living symbols entered in the annals of peoples, the poet - living symbols of his soul.

Exercise 3
Read the passage, and, guided by punctuation marks, divide the text into speech measures.

M. Saltykov-Shchedrin
IN THE HOSPITAL FOR THE INSANE
Outside of the service, he had only four claims: 1) that, when bending at the elbow of the arm, the muscles of its upper half formed a completely round and hard, like iron, core; 2) that behind the scenes of the theaters of Buff and Berg, all cocottes understand him as an educated young man; 3) so that the Tatars of all restaurants, without disturbing him with questions, directly serve him the same menu that he used to in given time to use, and 4) not to skimp on any show at the Ginne Circus.

Exercise 4
Read this passage aloud as follows:
a) monotonously, together, without observing pauses.
b) also monotonously, but stopping at the end of each speech act.
c) observing the intonation pattern, making the necessary intonation bends and stops.
All options must be recorded on a voice recorder. Listen. Which option do you think sounds the most natural?

I. Makarov
A BELL RINGS UNO SOUND

And the road is a bit dusty
And sadly on a flat field
The coachman's song is pouring out.
So much sadness in that sad song
So much sadness in the native melody,
What's in my soul cold, cool
The heart was on fire.
And I remembered other nights
And native fields and forests,
And on the eyes, which have long been dry,
Ran like a spark, a tear.
The bell chimes unanimously
And the road is a bit dusty.
And my coachman fell silent, and the road
Before me far, far away...

Exercise 5
Place psychological pauses in this passage. Are they logical? Why did you arrange psychological pauses in this way and not otherwise?

G. Uspensky
MORALS OF A RASTERYAEVA STREET
Rasteryaeva Street lies on the city side, but the general flavor of the working-class city is reflected here as well. Here, by the way, in a shack, nowhere protected by fences, lives a representative of Rasteryaev’s own craftsmanship, an old soldier, a “puppeteer”. Domestic sculpture blooms under her decrepit fingers; on fine summer afternoons, on the mound of her hut, several clay officers and ladies and countless horse-whistles with one front legs are sure to dry. Rasteryaev's boys stock up on these whistling horses and for a whole year diversify their woeful existence with a deadly piercing whistle. Drillers, emery-makers, women and girls who work in factories live in the same shacks. Accordion players, turners, guides, etc. live in the same street. At the end of the street, which runs into the wide Voronezh Highway, one can see a square building made of dark red brick - a samovar factory. All these skills give Rasteryaeva Street a somewhat different physiognomy compared to other backwaters. On days of rest, her silent countenance is enlivened by fights and drunks scattered here and there. On weekdays, the sonorous singing of chickens is joined by the sound of hammers, now interspersed, then suddenly suddenly falling on the minted metal mass; the sounds of harmony, on which the master touched for the sample with "interception"; the whirring of a lathe - and above all this, as usual, a quiet song.

Exercise 6
Punctuation marks have been deliberately removed from this text. Arrange them according to your understanding of the text. Based on these characters, create an intonation pattern of the text.

Sholom Aleichem
TEVYE THE MILK
They say something to me in the gibberish language, I thought everything in some kind of bluntness and the dead witches come to mind, the jesters are evil spirits stuffed fool I think what are you standing like a stump climb onto the irradiation scare the horse with a whip and go where your eyes look but like a sin breaks me against my will climb into the cart and when they heard they didn’t force themselves to beg for a long time, I followed them into the irradiation and turned the drawbar and began to whip the horse once or twice three, and where there, as it were, doesn’t move from the spot, at least cut it, I think now it’s clear what kind of women are these and it was not easy for me to stop for no reason in the middle of the road and start a conversation with women.

Plans and perspectives in speech

By highlighting words and whole sentences, the architecture of the text is created. The logic of thought in the transmission of the text will not have the proper impact on the listener if the actor is not able to find all the variety of colors, devices that reveal the soul of the work. Only by emphasizing stressed words and phrases can one convey the exact meaning laid down by the author in the text. This is how different plans and their perspectives are formed in speech.

If they (perspectives) stretch towards the super-task of the work along the line of subtext and through action, then their significance in speech becomes exceptional in its importance, because they help to fulfill the most important, fundamental thing in our art: the creation of the life of the human spirit of the role and play.

stress
Stress exists in every word. But if we spoke, emphasizing the stresses in all words, speech would become incomprehensible and practically meaningless. To convey a thought, we emphasize one word in a phrase - the one that we consider the most important. It is incredibly important for an actor to know which word should be stressed. "Stress" - wrote Stanislavsky - is a loving or malicious, respectful or contemptuous, open or cunning, ambiguous, sarcastic emphasis on a stressed syllable or word. This is his presentation, then on a tray.
However, the selection of stressed words should not be exaggerated, deliberate. A stressed word becomes such if we follow the logic of the text, if a chain of visions leads us to this. The calculation of stressed words in the work on the text, of course, should be, but it would be a big mistake to rely only on this calculation. Another big mistake is self-listening to the intonation pattern.

In vain do you listen so much to your voices. “Self-listening” is akin to narcissism, self-showing. It's not about how you yourself speak, but about how others listen to you and perceive you. “Self-listening” is the wrong task for an artist. Much more important and active is the task of influencing another, conveying his visions to him.

Stanislavsky advised to speak not to the ear, but to the partner's eye. This is the best way to get away and get rid of "self-listening" which is bad for creativity because it dislocates the actor and diverts him from the effective path.
It often happens that the best way to emphasize a stressed word is to remove the stresses from all secondary words.

I come to the conclusion that before you learn to put stresses, you need to be able to remove them, ”Arkady Nikolayevich said today.
Beginners try too hard to speak well. They overuse accentuation. It is necessary, in contrast to this property, to teach to remove stresses where they are not needed. I have already said that this is a whole art and very difficult! It, firstly, frees speech from the wrong stresses stuffed in life. bad habits. On the soil cleared in this way, it is easier to distribute one correct accentuation. Secondly, the art of removing stress will help you in the future in practice, and in these cases: when conveying complex thoughts or confusing facts, you often have to recall for clarity certain episodes, the details of what you are talking about, but so that they do not distract the attention of the listeners from the main line of the story. These comments should be stated clearly, clearly, but not too convexly. At the same time, one should be economical in using both intonations and stresses. In other cases, with long heavy phrases, you have to highlight only some individual words, and skip the rest clearly, but imperceptibly. This method of speech facilitates a difficultly written text, which artists often have to deal with.
In all these cases the art of de-emphasis will do you a great service.

However, haste, nervousness, rambling words, spitting out whole phrases do not obscure, but completely destroy stressed words, even if this was not your intention. The nervousness of the speaker only irritates the listeners, the unclear pronunciation angers, as it makes them tense up and guess what they did not understand. All this attracts the attention of the listeners, emphasizes in the text exactly what you want to obscure. Fussiness makes speech difficult. It eases her calmness and endurance. To blur a phrase, you need a deliberately unhurried, colorless intonation, an almost complete absence of stress, not simple, but special, exceptional restraint and confidence. This is what brings peace to the listeners.

Highlight the main word clearly and skip easily, clearly, leisurely what is needed only for a general meaning, but what should not stand out. That's what the art of de-emphasis is based on.
Imagine that you have moved to a new apartment and that your belongings, for various purposes, are scattered throughout all the rooms, Tortsov began to figuratively explain. - How do you put things in order?
First of all, you need to collect plates in one place, tea utensils in another, scattered chess and checkers in a third place, large objects should be placed in accordance with their purpose, etc.
Once this is done, it will become somewhat easier to navigate.

The same preliminary disassembly must be done in the words of the text before distributing the stresses to their real places.
Stress in adjectives

Suppose that in the text or monologue being parsed, a long series of adjectives comes across: "nice, good, glorious, wonderful person."
You know that adjectives are not stressed. What if it's a comparison? Then another matter. But is it really necessary to put stress on each of them ?! What is cute, what is good, what is glorious, and so on. almost the same, with the same features.
But, fortunately, thanks to the laws of speech, you once and for all know that such adjectives with general features do not take stress. Thanks to this information, you unhesitatingly de-emphasize all adjectives, and only the last of them merges with the stressed noun, resulting in: "wonderful person."

When we are dealing with several adjectives, we must consider whether there is a juxtaposition here. You can talk about comparison if the noun has several adjectives that are not related to each other by any signs.

Here is a new group of adjectives: "kind, beautiful, young, talented, smart woman." In all these adjectives, there is not one common, but all different signs. But you know that such adjectives without common features necessarily take stress on each of them, and therefore you, without hesitation, put them, but so that they do not kill the main stressed noun: "smart woman." Here is "Pyotr Petrovich Petrov, Ivan Ivanovich Ivanov." Here is the year and date: "July 15, 1908"; here is the address: "Tula, Moskovskaya street, house number twenty."
All these are "group names" that require emphasis only on the last word, that is, on "Ivanov", "Petrov", "1908", "number twenty". Here are the comparisons. Highlight them with everything you can, including emphasis.

Having understood in large groups, it becomes easier to navigate in individual shock words.

Here are two nouns. You know that the obligatory stress takes the one in the genitive, because the genitive is stronger than the word it defines. For example: "the book of the brother, the house of the father, the waves of the icy Pontic waters." Without thinking, put the stress on the noun in the genitive case and move on.
Here are two repeated words with increasing energy. Feel free to emphasize the second of them precisely because we are talking about a surge of energy, just like in the phrase: "forward, forward rush to the Propontis and the Hellespont." If, on the contrary, there was an ebb of energy, then you would put the emphasis on the first of the repeated words and this would convey degradation, as in the verse “Dreams, dreams, where is your sweetness!”
A sentence with one shock with fishing is the most understandable and simple, Arkady Nikolayevich explained. For example: "A person you know well has come here." Emphasize any word in this phrase, and the meaning will be understood in a new way each time. Try to put in the same sentence not one, but two stresses, at least, for example, on the words "familiar", "here".
It will become more difficult not only to justify, but also to pronounce the same phrase. Why? Yes, because a new meaning is invested in it: firstly, that not just anyone, but a “familiar” person came, and secondly, that he did not come somewhere, namely “here”.
Put the third stress on the word "came", and the phrase will become even more difficult to justify and to convey by speech, because a new fact is added to its previous content, namely, that "a well-known person" did not come, but "came" on his own feet. .

However, what to do if the text contains a very long phrase with all the stressed, but internally unjustified words? After all, one can only say about her that "the sentence with all the stress words does not mean anything." And, nevertheless, there are cases when it is necessary to justify sentences with all the stress words that introduce new content. It is easier to divide such phrases into many independent sentences than to express everything in one.

Here, for example, - Arkady Nikolaevich took out a note from his pocket, - I will read you a tirade from Shakespeare's "Antony and Cleopatra."
“Hearts, tongues, figures, writers, bards, poets cannot understand, express, cast, describe, sing, calculate her love for Anthony.”
“The famous scientist Jevons,” Tortsov read further, “says that Shakespeare combined six subjects and six predicates in this phrase so that, strictly speaking, it contains six times six, or thirty-six sentences.
Which of you will undertake to read this tirade in such a way as to single out thirty-six sentences in it? he turned to us. The students were silent.
- You're right! I, too, would not undertake to fulfill the task set by Jevons. I would not have had enough speech technology for this. But now it's not about the task itself. It is not she who interests us, but only the technical methods of highlighting and coordinating many stresses in one sentence.

How to single out in a long tirade one most important and a number of less important words necessary for meaning? This requires a whole range of stresses: strong, medium, weak. Just as in painting there are strong, weak semitones, quarter tones of colors or chiaroscuro, so exactly in the field of speech there are whole scales of different degrees of strength and accentuation. All of them must be combined with each other, combined, coordinated, but in such a way that small stresses do not weaken, but, on the contrary, highlight the main word more strongly, so that they do not compete with it, but do one common thing in the structure and transmission of a difficult phrase. We need perspective in individual sentences and in this speech.
Creating perspective with accents

You know how painting conveys the depth of a picture, that is, its third dimension. It does not exist in reality, in a flat frame with a stretched canvas on which the artist writes his work. But painting creates the illusion of many plans. They definitely go inside, into the depths of the canvas itself, and the foreground just crawls out of the frame and canvas forward to the viewer.
We have the same plans in speech that give perspective to the phrase. The most important word stands out most clearly and is brought to the very first sound plane. Less important words create whole rows of deeper planes.

This perspective in speech is created to a greater extent with the help of stresses of different strengths, which are strictly coordinated with each other. In this work, not only the strength itself is important, but also the quality of the accent. So, for example, it is important: whether it falls from top to bottom, or, conversely, goes from bottom to top, whether it lies heavily, heavily, or flies off easily from above and sticks sharply; whether the blow is hard or soft, rough or barely perceptible, whether it falls immediately and is immediately removed, or whether it lasts for a relatively long time.
In addition, there are so-called masculine and feminine stresses (do not confuse with feminine and masculine endings).

The first of them (masculine accents) are definite, complete and sharp, like a hammer hitting an anvil. Such strikes immediately break off and have no continuation. Another kind of accent (female) is no less definite, but it does not end immediately, but has a continuation. As an example of their illustration, let us assume that for one reason or another, after a sharp blow of the hammer on the anvil, it is necessary to immediately drag the hammer back towards you, if only in order to make it easier to pick it up again.
We will call such a definite blow with its continuation “female stress”, or “accentuation”.
Or here is another example in the field of speech and movement: when an angry host drives out an unwanted guest, he shouts “out” to him and points to the door with an energetic gesture of his hand and finger; he resorts to "masculine stress" in speech and movement.
If a delicate person has to do the same, then his banishing exclamation “out” and his gesture are decisive and definite only in the first second, but immediately after the voice slides down, the movement is delayed and the sharpness of the first moment is softened. This blow with a continuation and a pull - "female accentuation".

In addition to stress, you can highlight and coordinate words using another element of speech: intonation. Her figures and drawings give the highlighted word more expressiveness and thereby strengthen it.

You can combine intonation with stress. In this case, the latter is colored with the most varied shades of feeling: either affection (as we did with the word "man"), then malice, then irony, then contempt, then respect, etc.

In addition to sound stress with intonation, there are still different ways to highlight a word. For example, you can put it between two pauses. At the same time, for greater strengthening of the highlighted word, one or both pauses can be turned into psychological ones. You can also highlight the main word by removing the stress from all non-main ones. Then, in comparison with them, the untouched highlighted word will become strong. First of all, you need to choose one of the most important words among the entire phrase and emphasize it. After that, you should do the same with less important, but still highlighted words. As for non-principal, non-highlighted, secondary words, which are needed only for a general meaning, they must be pushed into the background and obscured.
Between all these highlighted and non-selected words, one must find a correlation, a gradation of strength, quality of stress, and create from them sound planes and perspective that give movement and life to the phrase. It is this harmonically settled ratio of the degrees of stress strength, the emphasis of individual words, that we have in mind when we talk about coordination. This creates a harmonic form, a beautiful architecture of the phrase. Just as sentences are made up of words, so whole thoughts, stories, monologues are formed from sentences. They highlight not only words in a sentence, but entire sentences in a long story or monologue.
Everything that has been said about the accentuation and coordination of stressed words in a sentence now applies to the process of highlighting individual sentences in a whole story or monologue. This is achieved by the same techniques as the accentuation of individual words. It is possible to single out the most important offer in a percussive way, pronouncing an important phrase more accentuated compared to other minor sentences. At the same time, the stress on the main word in the highlighted phrase should be stronger than in the rest, non-selected sentences. You can highlight the shock phrase by staging it between pauses. You can achieve the same with the help of intonation, raising or lowering the sound tonality of the selected phrase, or introducing a brighter phonetic pattern of intonation, coloring the stressed sentence in a new way. You can change the tempo and rhythm of the highlighted phrase compared to all other parts of the monologue or story. Finally, you can leave the highlighted sentences in the usual strength and color, but obscure the rest of the story or monologue, weakening their impact points.

Exercise 1
Carefully read the analysis of the text according to the intonation pattern and pauses proposed by K. S. Stanislavsky. Based on this example, parse any text you choose.

“Like the waves of the icy Pontic waters…” he read quietly, relatively calmly, and immediately explained laconically:
- I do not give everything that is inside at once! I give less than I can! We must protect and accumulate emotion!
I fear myself from haste: after the words “waters” I make a sound bend! While insignificant: for a second, a third, no more!
With the next bends of the comma (there will be a lot of them ahead), I will begin to raise my voice more until I reach the highest note!
Vertically! Not horizontal at all! Not just, but with a pattern!
I make sure that the second measure is stronger than the first, the third is stronger than the second, the fourth is stronger than the third! Do not shout!
"During the unstoppable..."
However, if each measure is raised by a third, then forty words of a phrase will require a range of three octaves! He is not! Five notes - up, two - brace! Total: only a third! And the impression is like a quint! Then again four notes up and two - draw down! Total: only two rising notes. And the impression - four! And so all the time. With such a saving of range, there will be enough for all forty words!
And further, if there weren't enough notes for the increase, the enhanced drawing of the bends! With relish! This gives the impression of amplification!
"...not knowing the return tide"...
"…go-go
rush to the Propontis and the Hellespont.
I'm taking a mental break!
Not everything expressed!
How delay teases and inflames!
And the pause became more effective!
I'm approaching the high note: Hellespont!
I will say and then I will lower the sound! ...
For a new last run!
“So my insidious plans
Furiously rush, | and already back
Will never enter | and to the past
They do not return, |
And everyone will rush uncontrollably ... "
I draw a bend more strongly. This is the highest note of the entire monologue.
Full freedom! And I hold back, tease with pauses.
The more you hold back, the more it teases.
The time has come: do not regret anything!
Mobilization of all means of expression!
All help!
Both pace and rhythm!
And ... scary to say! Even... the volume!
Don't scream!
Only the last two words of the phrase:
"... rush uncontrollably"
Last completion! Final!
"... until they are swallowed up by a wild cry."
I hold the pace!
For greater significance!
And I'm making a point!
Do you understand what this means?!
Point in the tragic monologue?!
This is the end!
This is death!!
Do you want to feel what I'm talking about?
Climb the highest rock!
Over the bottomless cliff!
Take a heavy stone and...
Throw it down to the very bottom!
You will hear, feel how the stone will shatter into small pieces, into sand!
We need the same fall ... voice!
From the highest note to the very bottom of the tessitura!
The nature of the point requires it.

Exercise 2
Highlight the stress in the following sentences. Sort them by comparison.
Slender, tall, athletic girl.
Blue, deep, rippling sea.
Restless, stubborn, complex character.
Gentle, fragrant baby soap.
Loud, intrusive, obnoxious music.
Dirty, viscous, gloomy road.

Exercise 3
Listen to audio recordings of the theater at the microphone - poems, poems, stories performed by famous actors. Recommended list:
Bernard Show. Village marriage. Performers: V. Gaft, E. Koroleva.
Margaret Mitchell. Wife for half a crown. Performers: E. Evstigneev, A. Papanov, A. Georgievskaya, E. Vesnik.
Miguel Cervantes. Salaman cave. Performers: L. Kasatkina, A. Khodursky, O. Aroseva, G. Menglet, A. Nikolaev.
William Shakespeare. Romeo and Juliet. Performers: A. Batalov, A. Dzhigarkhanyan, E. Gerasimov, I. Kostolevsky, A. Borzunov, N. Karachentsev, S. Yursky, N. Drobysheva, A. Kamenkova, N. Tenyakova, S. Bubnov, A. Bubashkin, G. Nekiforov, G. Sukhoverko.
Jean-Baptiste Molière. Scapin's tricks. Performers: Z. Gerdt, E. Vesnik, A. Papanov, V. Etush, M. Kozakov, K. Protasov, G. Anisimova.
If you can't get hold of any of these tapes, listen to an excerpt from the teleplay (just listen, not watch). Analyze the passage, note how the pauses are placed, where stressed words are highlighted. How would you pause and highlight the words?

Exercise 4
In the proposed passage, mark the feminine and masculine accents.

Homer.
ODYSSEY

In indignation, Pallas Athena answered him:
Woe! I see now how distant Odysseus is to you
Need to put his hands on the shameless
aliens.
If now, having returned, he stood in front of the door
brownie
With a pair of spears in hand, with his strong shield
and in a helmet, -
How I first saw the hero at the time when he
In our house at the feast he had fun, sitting at the cup,
To us from Efira, arriving from Il, Mermerov
son:
Odysseus also visited there on his ship.
fast;
Poison, deadly to people, he was looking for, so that he could
smear
Copper arrows. However, Eli refused.
Give him poison: he was ashamed of the soul of the gods
immortals.

Exercise 5
Find the main stressed word in these sentences and highlight it by removing the stress from all secondary words.
Our heavenly beauty will never be trampled on by cattle. M. V. Lomonosov
As a material of literature, the Slavic-Russian language has an undeniable superiority over all European ones. A. S. Pushkin
There are two kinds of nonsense: one comes from a lack of feelings and thoughts, replaced by words; the other - from the fullness of feelings and thoughts and the lack of words to express them. A. S. Pushkin
Our beautiful language, under the pen of unlearned and inexperienced writers, is rapidly declining. Words are distorted. Grammar fluctuates. Spelling, this heraldry of the language, changes according to the arbitrariness of everyone and everyone. A. S. Pushkin
The morality of a person is visible in his attitude to the word. L. N. Tolstoy
In fact, for an intelligent person, speaking badly should be considered as indecent as not being able to read and write. A. P. Chekhov
To deal with the language somehow means to think somehow: approximately, inaccurately, incorrectly. A. N. Tolstoy
The dictionary is the whole internal history of the people. / N. A. Kotlyarevsky
Not a single spoken word has brought as much benefit as many unspoken ones. Plutarch
Language is an image of everything that existed, exists and will exist - everything that can only be embraced and comprehended by the mental eye of man. A. F. Merzlyakov
In literature, as in life, it is worth remembering one rule that a person will repent a thousand times for saying a lot, but never for saying little. / A. F. Pisemsky
Only one literature is not subject to the laws of decay. She alone does not recognize death. M. E. Saltykov-Shchedrin
Ability to read good books is not the same as being literate. A. Herzen
Speech must comply with the laws of logic. Aristotle
Language is the confession of the people, His soul and way of life. P. A. Vyazemsky

Logic of speech in performing arts. Logic of stage speech Logic of stage speech

You can download ready-made answers for the exam, cheat sheets and other study materials in Word format at

Stage speech logic. Proc. allowance for theater. and cult.-clearance. textbook establishments. M., "Enlightenment", 1974.128 p.

Books and textbooks on the subject of the Russian language:

STAGE SPEECH LOGIC

795.7 3-33

B. ZAKHAVA,

60406- 466

3 74-74 792.7

60406-466

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Preparation for the exam in physics: examples, solutions, explanations

Logic of speech in performing arts. Logic of stage speech Logic of stage speech

You can download ready-made answers for the exam, cheat sheets and other study materials in Word format at

Stage speech logic. Proc. allowance for theater. and cult.-clearance. textbook establishments. M., "Enlightenment", 1974.128 p.

Books and textbooks on the subject of the Russian language:

STAGE SPEECH LOGIC

795.7 3-33

B. ZAKHAVA,

60406- 466

3 74-74 792.7

60406-466

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