Omsk State University

Faculty of Culture and Arts

Department of directing

Course work

on stage speech (theoretical part)

Stage speech logic

Introduction

Speech beats and logical pauses

Punctuation marks

Logical stress

Rules for reading simple sentences

About logical perspective

Rules for reading complex sentences

References

Introduction

The section of the subject "Stage speech" - the logic of stage speech - develops the ability to convey a thought in sounding speech. Possession of the logic of stage speech makes it possible to convey in sound the thoughts of the author, the roles, stories, lectures in the text, 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 the text are not formal laws, alien to our spoken language... They have developed as a result of the observations of writers, linguists and theater workers on the 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 revealing the author's thought.

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

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 Stanislavsky's work with students in his studio, testifies that in last years life Stanislavsky especially stubbornly sought the most accurate observance of the rules of the logic of stage speech - the arrangement of logical pauses, accents, correct transmission in the sound of punctuation marks, 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."

1. Speech beats and logical pauses

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

In each speech bar there is a word that, according to the meaning, should be highlighted in the sounding speech by raising, lowering or amplifying the sound of the voice. This intonational emphasis on a word is called logical stress. A separate speech bar rarely contains a complete thought. The accents of each speech measure should be subordinate to the main stress of the whole sentence.

In sounding speech, each speech beat is separated from the other by stops of varying duration. These stops are called logical pauses. In addition to pauses, stops, speech beats 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 bar to another give the intonational variety of our speech.

There can be no pause inside the speech bar, and all the words that make up the speech bar are pronounced together, almost like one word. In writing, this or that 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. Apart from them, there are backlash pauses (pauses for air intake - "air", from the German Luft - air) and, finally, psychological pauses.

Designation in writing of logical pauses of various lengths:

"- a backlash, which serves to add breath or highlight an important word after it;

/ - a pause between speech measures or sentences closely related to each other in meaning (connecting);

// - longer connecting pause between speech beats or between sentences;

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

K.S. Stanislavsky in his book "The Work of an Actor on Himself" wrote: "Take more often a book, a pencil, read and mark up what you read in speech steps. Fill your ear, eye and hand with this ... Marking speech bars and reading from them are necessary because they force you to analyze phrases and delve into their essence. Without delving into it, you will not say the phrase correctly. The habit of speaking in bars will make your speech not only harmonious in form, understandable in transmission, but also deep in content, since it will make you constantly think about the essence of what you say on stage ... Work on speech and word should always begin with dividing by speech beats, or, in other words, with pauses. "

Connecting pauses, not marked with punctuation marks, are in a sentence:

1. between the group of the subject and the predicate (unless the subject is expressed by a pronoun);

eg: Daughter / listened with curiosity.

1. between two subjects or between two predicates before the connecting unions "and", "yes" before the separating union "or", etc .;

for example: languor / and heat / intensified.

1. after adverbial words at the beginning of a sentence (less often - in the middle or end of a sentence).

for example: From school years / I felt the beauty of the Russian language / its strength / and density.

A disconnecting logical pause is placed between sentences if they do not directly develop each other's thought.

for example: With this word, he rolled over on one leg and ran out of the room. /// Ibrahim, left alone, hastily opened the letter.

Luftpause (connecting pause) - very short, it is better to use it for an additional pause before the word that we want to highlight for some reason; like air intake.

Psychological pause - it is introduced into the text by the actor in the process of working on the role, in writing it can be indicated by an ellipsis. This pause belongs entirely to the field of verbal action.

for example: I do not love anyone and ... I will not love any more.

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

for example: His wife ... but they were perfectly satisfied with each other.

2.Punctuation marks

In the logical analysis of text, punctuation marks are considered as a graphic designation of various types of logical pauses. It happens that punctuation marks do not coincide with the intonation structure of a sentence. Then they remain only in written speech, and are not transmitted in sounding speech. The comma is "unreadable" - this means that in oral speech in this case there should be no pause that coincides with this comma.

for example: Everyone began to disperse, / realizing (,) that with such a wind / flying is dangerous.

There is a mandatory intonation inherent in every punctuation mark.

It shows the completion of thought and the completeness of the sentence, and is associated with a strong voice lowering on the stressed word preceding it or standing close to it.

Stanislavsky spoke about the ending 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 one should learn to put points at the end of a thought. " At the place of the point in the sounding speech, a disconnecting pause must necessarily occur.

for example: Following the words, the door slammed shut, and you could only hear the iron bolt slammed with a squeal. ///

However, there are not only "real" points. It may be that the point at the end suggests the development of thought in the next sentence. In this case, the voice necessarily goes down, but does not drop down as sharply as in the “real” point.

for example: Yellow clouds over Feodosia. / They seem ancient, medieval. // Heat. // The surf rattles with cans. // A transparent jet of smoke rises far over the sea - a motor ship is coming from Odessa. ///

Semicolon

It separates and at the same time unites into one whole parts of one picture, one description. The voice in front of her drops somewhat, but not as much as at the point. In spoken speech, a semicolon denotes a connecting pause. This pause is usually shorter than the one indicated by the dot.

for example: 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 not only the water with their color, not only the light steam above the water, but also the wide glossy leaves of the water lilies.

A comma usually indicates that the thought is not complete.

The presence of a comma indicates a connecting pause, which is preceded by a rise in the voice on the stressed word. The stress word preceding the comma may not necessarily be immediately before the comma, but the raising of the voice falls precisely on the stressed word.

for example: An early willow has fluffed up, / and a bee flew to it, / and a bumblebee hummed, / and the first butterfly folded its wings.

Before the conjunctions (adversaries) "a", "but", "yes" (meaning "but"), the voice rises before the comma.

for example: Is the sea darkened already ?, / and he was still looking at the distance, waiting for the boat.

For enumerations, the comma requires repeated, almost the same type of voice raises on each of the enumerated words. The voice rises more strongly on the penultimate of the listed, and on the last the voice drops to a point.

for example: These facades, / columns ?, deserted windows ?.

Sometimes the comma is "unreadable", although according to the punctuation rules it stands where it should be (,). The comma means pause and raise the voice on the stressed word preceding it. But if this word does not carry a semantic load, then you cannot make it percussive and highlight it.

Comma "unreadable":

) when the adverbial turnover follows the conjunction "and";

) when it stands before the subordinate clauses beginning with unions and union words "who", "what", "who", etc .;

) when it stands before the comparative turn;

) before and after the introductory word;

1. the comma may also be "unreadable" before the address at the end of the sentence.

for example: You (,) of course (,) everything is luxurious, / but I still prefer to dine in a hotel or a club.

But a group of introductory words, as a rule, is distinguished by pauses.

for example: The heroine of this novel, / of course, / was Masha.

Colon

The colon usually indicates the intention to clarify, to list what is said before it. There must always be a connecting pause (logical) on the colon. Usually, in front of him, the voice on the preceding stressed word decreases slightly, but much less than on the dot. It should always be remembered that the main thing in meaning is in the sentence after the colon.

for example: Nobody got into his car, / only property? loaded: / tents, / sleeping bags, / firewood, / axes.

The dash appears in both simple and complex sentences. It is aimed at clarifying what is in front of him, opposing one phenomenon to another, etc. The dash shows a connecting pause and requires some voice raising on the stressed word preceding the sign.

for example: Two figures were moving towards me along a deserted section of the street? - / male and female.

Question mark

Question mark intonation is conveyed by raising the voice on the stressed word of the interrogative sentence. Types of interrogative sentences:

) without a question word;

1. with a question word (“when?”, “where?”, “to whom?”, “why?”, etc.).

In an interrogative sentence without an interrogative word, the voice on the stressed syllable of the stressed word carrying the question rises sharply.

eg: ? Are you right in front of yourself?

eg: Why are you pretending?

It is important to remember that in a Russian interrogative sentence, after a word carrying a question, there can no longer be an increase in voice, all other words sound below the stressed word. Stanislavsky said that the question mark obliges the listener to answer.

Exclamation mark

The intonation of the exclamation mark requires energetic emphasis on the stressed word by raising (less often - lowering) the voice. According to Stanislavsky, the intonation of the exclamation mark "should cause a reaction of sympathy, interest or protest."

An exclamation point can express any intention of the speaker or his verbal action: a request, entreaty, threat, demand, order, accusation, praise - generally a strong feeling.

for example: Unforgettable time ?! Glory time? and delight ?! How hard did the Russian heart beat at the word fatherland ?! How sweet were the tears of a date ?!

Ellipsis

The ellipsis usually denotes something unspoken, implied. It can be at the end of a plot piece or at the end of a work. In this case, the voice on the stressed word preceding the ellipsis is lowered almost like a dot.

Stanislavsky says that with the ellipsis, “our voice does not rise up and down. It melts and disappears, not finishing the phrase, not putting it on the bottom, but leaving it hanging in the air. "

for example: I returned home; but the image of poor Akulina did not leave my head for a long time, and her cornflowers, long faded, are still kept with me ...

An ellipsis in the middle of sentences implies a pause in interrupted speech - a silence pause. In this case, the voice is usually raised as much as necessary to mentally pronounce the words hidden under the ellipsis.

for example: The caretaker slept under a sheepskin coat, my arrival woke him up; he got up ... / it was definitely Samson Vyrin; but how old he is!

Words in brackets usually serve for additional clarification, clarification of the author's thought, for a secondary remark. Individual words, phrases, whole sentences can be enclosed in brackets. There is a special intonation that is required when reading parentheses.

Usually, before the brackets, the voice rises on the preceding stressed word, then decreases slightly throughout the brackets, and after the brackets are closed, the voice returns to the same height that it would have after the pause if there were no brackets here. The parentheses are always surrounded by pauses.

Inside the brackets, the voice should almost not change the pitch, here monotone prevails - unstressed. However, within brackets that include multiple words, there is always a word that needs to be emphasized by raising the voice. If the voice on the stressed word inside the brackets is not raised at all, then the intonation of a dot will sound inside the sentence and the sentence will end ahead of time, it will lose its meaning. At the same time, the increase in voice on the stressed word inside the brackets will be much less than before the brackets.

for example: The majesty of the river, / and the proximity of the sea / (you never know what can come here from the Gulf of Finland!) / aroused curiosity.

Quotation marks are used to highlight a word, a speech measure, or a whole sentence. Words in quotation marks must be emphasized intonationally with the help of pauses surrounding quotation marks (if it is a direct speech or quotation), stress on a word in quotation marks, changes in the pitch of the voice, etc.

Quotes are used for quotations; words used ironically or words that are unusual for the given text. In this case, it is imperative to highlight, especially actively underline the word in quotation marks. This is done by pauses before and after the word enclosed in quotation marks, and by using boolean stress on that word.

for example: Straightening up, Aleksandrov felt with pleasure that he had / "danced".

The names of books, newspapers, magazines, etc. are marked with quotation marks. In this case, before or after the name in quotation marks, you need to make a short pause and emphasize the name somewhat.

for example: Roman Sholokhova / Quiet Don.

The quotation marks that contain the direct speech or thoughts of the hero, his inner monologue, are pronounced as the performer considers it necessary.

3.Logical stress

Stress is the accentuation by sound means of a word or a group of words among other words in a sentence or in a group of sentences.

The purpose of stress is to highlight the words that are most important for conveying thoughts, expressing the essence of what is being said in a sentence or in a whole passage.

A word (or a group of words) can be highlighted by strengthening or weakening the sound, raising or lowering the tone on the punched word, slowing down the tempo of speech when pronouncing a word or a group of words.

The accented word can be highlighted if you remove or almost remove the stress from the rest of the words of the sentence, if you deliberately slow down the tempo of speech when pronouncing a word (or sentence) important for conveying a thought, if you especially raise (or lower) your voice on the main word for the meaning of pronunciation. In some cases, the stressed word may be stressed, i.e. an emphasis that sharply emphasizes the stressed word, causing the listener to feel that there is an opposition outside the given sentence. In this case, the rise (or fall) of the voice on the stressed word is sharper and stronger than with the usual stress.

Stanislavsky spoke about stress: "Stress is the index finger marking the most important word in a phrase or bar!" A sentence can have one main stress and several minor and tertiary ones. In other words, one strong and one or more medium and weak stresses.

The same sentence, depending on the movement of logical stresses in it, can each time be filled with a new meaning. This will depend on what the speaker wants to say.

There are three types of stress:

) beat - on a word within a speech beat;

) phrasal I - highlighting the main speech tact in the sentence;

) phrasal II - when a whole phrase in a passage is highlighted with the help of phrasal stress.

for example: Curved lanes of Arbat / were covered with snow.

This sentence has two speech measures. Each of them has its own bar stress: in the first measure - "Arbat" (group of the subject, definition), in the second - "snow" (group of predicate, addition). Here "Arbata" is emphasized by the secondary stress, and the main stress bearing the meaning is the word “snow”. The author with this phrase tells us about the season: it was winter. Therefore, "snow" is the main emphasis in this sentence.

By no means every sentence contains a phrasal stress I. The presence or absence of a phrasal stress I entirely depends on the context, on the main idea of \u200b\u200ba given literary text. Phrasal stress I carries a significant semantic load and often represents the semantic center of a small piece.

Phrasal stress II plays an even more active role in one or another plot piece and performs the functions of an "index finger" marking the main idea of \u200b\u200ba given piece of a literary passage for the performer and listener.

Monotone - speech at the same (or almost at the same) pitch. The power of speech is not in loudness, but in sound contrasts. Those words that do not carry the main ideas should be erased, emphasized minimally. For this, on most bar stresses, you need to raise your voice very little, this will help to emphasize the most important thing for conveying the meaning.

The Russian language is characterized by certain rules for setting stress in a sentence, they should be known to everyone who wants to learn how to convey a thought in sound.

How to define stressed words in each case? First of all, it is necessary to understand with the help of the context what thought needs to be expressed, what to communicate to the listener. At the same time, there are a number of obligatory stresses inherent in our language, and there are rules for setting them. You cannot rely only on your own taste - this will slow down speech with random accents and completely obscure the meaning.

A rule that is not related to the syntax of the Russian language, but is entirely related to the rules of the logic of speech, requires an emphasis on a new concept - the first mention in the text of any character, object or phenomenon.

The new concept almost always receives the main emphasis, because it kind of introduces us to a new hero or a new phenomenon. With further repetition of a new concept in the text, the stress moves from it to the words that characterize it.

stanislavsky stage speech

4. Rules for reading simple sentences

In a simple, uncommon sentence, the subject usually comes first, and the predicate comes second. Such a sentence can be read in several ways. It would be more correct to read it "in two measures", when the subject is one speech beat, and the predicate is the second. In this case, there is a small connecting pause between the subject and the predicate.

In such sentences, when pronouncing them aloud, we always hear an increase in the voice on the subject, before a logical pause and a decrease in the voice to a point on the predicate.

for example: Masha? / fell asleep ?.

However, if the subject is a pronoun, it usually does not receive a logical stress and is not separated by a pause from the predicate. Such a simple sentence is one speech bar, and the stress falls on the predicate.

for example: I agreed.

Much less often the subject, which is in the first place, can receive the main stress. This happens only in those cases when it is the subject that carries the semantic load.

for example: Nonsense is perfect / done in the world.

A special type of simple sentences is nominative (nominative) sentences. These are one-part sentences, usually representing a subject - a noun in the nominative case, one or with related words. Such sentences name objects, phenomena, characterize the place of action, environment, etc.

for example: the sun. / Blue. / Golden flight - / falling leaves. / Silence.

In nominative sentences, the emphasis most often falls on the subject.

In drama, they are very often found in the form of remarks.

for example: Blooming meadow. / Dawn.

The nominative titles include the titles of books, articles, proper names, dates. Stanislavsky said that in such a sentence, the last word receives the strongest stress associated with lowering the voice. There can be no logical pauses within such sentences.

for example: Alexander Sergeevich Pushkin.

In a simple common sentence, in addition to the main members, there are minor ones: definitions, additions, circumstances. Thanks to them, the groups of the subject and predicate increase, and sometimes the secondary members form separate groups.

The definition refers to the group of the subject. The definition, if it is not isolated, is never separated by a pause from the word being defined. Definitions are of several kinds: agreed definitions, inconsistent definitions, and applications.

Agreed definitions can be expressed by adjectives, participles, numerals, pronouns. If they stand before the nouns being defined, they do not receive stress (an exception may be if there is opposition or isolation). In this case, the stress falls on the word being defined - on the noun.

for example: Mossy roof tiles. Old elms. Gloomy air.

When a definition-adjective comes after the designated noun, it receives a slightly higher emphasis than when it comes before the designated word.

Breaking the usual word order in a sentence is called inversion.

The use of inversion allows the writer to highlight the word he needs to convey the meaning. As soon as this word gets "out of place", the reader's attention is drawn to it.

Inconsistent definitions are of two types:

) definition - a noun in the genitive case.

In this case, the definition and the word being defined always make up one speech measure, and the emphasis falls on the definition - on the noun in the genitive case.

for example: It was then that I remembered / the most wondrous of all magical countries - / the country of my childhood.

The inconsistent definition with the definite word - "the country of (my) childhood" - is highlighted by the phrasal stress I. And here the definition of ("childhood") gets more emphasis.

) definition - a noun with a preposition.

With an inconsistent definition - a noun with a preposition - the stress always falls on the definition - a noun with a preposition (an exception can only be caused by the presence of opposition in the context).

for example: Olya carried a box with a turtle / and looked into the holes.

In the phrase "a box with a turtle", a noun with a preposition ("with a turtle") receives more emphasis, rather than a defined word ("box"), since this noun with a preposition emphasizes the distinguishing feature of an object (not just a "box", but "a box with a turtle ").

Appendix constitutes a special kind of definitions. It is usually expressed by a noun and is consistent with the designated word in the case. It's like the second name of the subject. The stress usually falls on the word being defined after the application, especially if this word is a proper name.

for example: Grandfather Kuzma / lived with his granddaughter Varyusha / in the village of Mokhovoye near the forest.

There are three application definitions; in all cases the emphasis falls on the defined words - proper names: "Kuzma", "Varyusha" and "Mokhovoe".

The definitions (agreed) should also include participial phrases. If the participial turnover comes before the noun being defined and is not specially isolated, it is read together with the noun. for example: Windows facing the forest are visible.

If the participial turnover appears after the word being defined and, therefore, is separated by commas, then the second comma is "read", a clear pause is made on it, the first comma is almost "unreadable". The stress in this case falls on the end of the participial turnover.

for example: In the windows (,) facing the forest, / was hit by an almost full moon.

Addition is a minor member of the sentence, most often belonging to the predicate group. This is usually an indirect noun. The emphasis most often falls on the complement. An exception can be made if the add-on gets to the first place in the offer. The complement almost always makes up one speech measure with the predicate, but if the complement consists of several words, a small pause or backlash is possible before them.

eg: Young players / redoubled their attention.

In this example, the predicate and the object are in the same speech measure, the emphasis falls on the object. The addition also bears the main stress in the sentence.

Circumstantial words can denote time, place, reason, purpose, mode of action, i.e. there are circumstances of place, reason, purpose, etc. Usually, circumstances constitute a separate group and are separated from the subject or predicate group by a pause. In a group of adverbial words, the last word usually has a secondary or tertiary stress.

for example: Soon / on one side of the street / from behind a coal house / a young officer appeared.

There are two types of circumstances here: the circumstance of time ("soon") and the circumstances of the place ("on one side of the street" and "because of the coal house"). Of these, the stronger stress falls on that of the adverbial words, which is in the last place ("at home"), but the main stress in the sentence will fall not on the adverbial words, but on the end of the sentence, on the subject.

If circumstances are in the last place in a sentence, then they usually receive the main stress.

for example: My triple / ran very fast.

The stress of the entire sentence falls on the last-mentioned circumstance "very quickly" (the circumstance of the course of action). There is no pause between predicate and circumstance.

Homogeneous members of the proposal.

They carry the same function in a sentence and are most often read with enumeration intonation. Exceptions are those cases when there is a special opposition of one homogeneous member to another. for example: The principle is important to me, not salon expressions.

With enumerated intonation, each of the homogeneous members receives stress and is separated by a pause from the other. The voice on each of them rises. Raises of voice on successive homogeneous members are of the same type. The voice rises most strongly on the penultimate of the homogeneous ones, and decreases on the last, the stress on this word is the strongest. This last downgrade is especially noticeable when the list of homogeneous members completes the proposal.

for example: Pulcheria Ivanovna's room / was all furnished chests, / boxes, / boxes? / and chests ?.

In sentences of this type, the predicate or another member of the sentence plays the role of a generalizing word (this predicate is "set", which, as it were, unites all homogeneous members of the sentence into one group). There may be a real generalizing word in the sentence. It can stand both in front of homogeneous members and after them. If the generalizing word comes before the enumeration, then a short pause is required after this word, it will allow it to be attributed to each of the following homogeneous members of the sentence.

for example: Everything was here: the river, the forest, and the extraordinary silence.

When the enumeration is preceded by a colon, the voice rises on the stressed word before the colon, and after the colon, homogeneous ones are read as mentioned above.

Homogeneous members of the proposal can be isolated. In this case, they stand out with pauses and a gradual increase in voice on each of them.

for example: Healthy, young, strong, / they picked up, almost lifted Antip to the air / and threw him on the deck.

The repetition of words also belongs to homogeneous members of the sentence. Repetition of words is a stylistic device of the writer used to characterize, especially emphasize the meaning, emotional coloring, and rhythm of the events taking place.

When a repetition occurs in the text, then when reading aloud, each of the repeated homogeneous words receives stress, while the stress on each next repeated word is intensified.

for example: Hurry / hurry / go through this bad place!

Stanislavsky divides "repeated words" into words with "increasing energy" and words with "outflow of energy". An example of "increasing energy" was given above. In the case of "outflow of energy", the stress weakens towards the end of the repetition. Often such repetitions end in ellipsis. Whenever a repetition occurs, one must decide what species it belongs to.

for example: Wind. And snow, / snow, / snow ...

Introductory words and introductory sentences.

Adverbial turns.

Introductory words and sentences give thoughts one or another shade, expressing the speaker's attitude to a fact or an actor, indicating the degree of reliability of the message, the source of the statement, etc.

Introductory words include: "of course", "probably", "undoubtedly", "however", "obvious", "it seems."

Very often, single introductory words are not highlighted or hardly highlighted with either a pause or stress, i.e. a comma after the input or before it is "unreadable". The introductory word is usually included in the speech measure, which it precedes, in the middle or at the end of which it stands. for example: Probably (,) he just chickened out / and left.

But sometimes introductory words are separated by a small pause or are surrounded by pauses and then, therefore, receive a slight stress. Moreover, if the introductory word is at the beginning of the sentence and is read with a pause after it, then the voice on the introductory word rises. If it is in the middle or at the end of a sentence, then the voice on it decreases slightly. Such introductory words are pronounced with an introductory intonation, which is characterized by a lowering of the voice on the introductory word, as if by the absence of stress and some acceleration of the rate of speech when pronouncing the introductory word or several introductory words.

eg: Surely / in this area / there must be many mines.

Here the introductory word is separated by a pause from the second speech measure, it is emphasized with a slight stress, the voice on it rises.

Also, as an introductory one, - by "receiving an introductory" - gerunds and adverbs are read. The voice on the adverbial turnover is omitted as when reading parentheses, and so that the sentence does not end ahead of time, the stressed vowel of the gerunds is pronounced with a slight increase in voice. This increase will be somewhat less than the increase in voice in the speech bars preceding and following the verbal participle. The strongest increase in voice will be before the participle.

for example: Mother / and son ?, / bowing, / went out for the master ?.

Reception of the introductory word can be read, introducing the direct speech of the hero (the so-called "author's remark"). When reading the "author's remark", the voice usually decreases slightly, and most often the tempo of the spoken text accelerates somewhat.

for example: - Five miles away! - / exclaimed Chichikov / and even felt a slight heartbeat.

Comparative turnover.

Within a simple sentence, there may be comparative turnovers with comparative unions and union words "how", "exactly", "like", etc.

With a comparative turnover, what we compare with, i.e. the comparison itself is always stressed. Very often there may be no pause before the comparative turn, the comma is "unreadable".

for example: A star appeared / in this green void, / shimmering, / sparkled (,) as if washed.

But, depending on the meaning, pauses on commas before the comparative turnover can be preserved, and then the comparative turnover is read with an introductory technique.

for example: He, / like Dickens, / cries over the pages of his manuscript, // groans in pain, / like Flaubert, // or laughs, / like Gogol.

Appeal.

When the address is at the beginning of a sentence, it usually receives a secondary stress and is separated by a pause from subsequent words (the comma after it is "read").

for example: - Pavel Vasilich, / there some lady came, / asks you, - / Luka reported.

If the address is in the middle of a sentence, then it happens that the comma preceding it is "unreadable", and the comma after the address is "read".

for example: Please tell me (,) Daria Ivanovna, / how old were you then?

If the address is at the end of a sentence, then usually it is separated by a pause from the preceding words - the comma is "read". The main emphasis falls not on the appeal, but on the previous words that carry the semantic load.

for example: How glad I am, / dear Maxim Maksimych!

5. About logical perspective

A logical perspective is the transmission of the main idea when reading aloud a sentence, a "chain" of several sentences, complete in thought and composition, an excerpt, story, article, monologue, etc.

Stanislavsky called the prospect "a calculating harmonic relationship and distribution of parts while encompassing the whole whole."

He spoke about the features of a logical perspective as follows:

“In the perspective of the transmitted thought (logical perspective), logic and consistency play an important role in the development of thought and in creating the relationship of parts throughout the whole. Such a perspective in unfolding thought is created using a long series of accented words that give meaning to the phrase. Just as in a word we single out this or that syllable, and in a phrase this or that word, we should highlight the most important phrases in a big thought, and in a whole long story, dialogue, monologue - their most important components, just like in the whole big scene, act and so on - their most important episodes. The result is a string of shock moments that differ from each other in strength and bulge. "

In other words, in order for the speech to have a perspective, you need to know the main idea of \u200b\u200bthe passage and create sound relationships between all struck (strong, medium, weak) and unstressed words that make up a sentence or a series of sentences.

In order to most accurately and expressively convey his thoughts and feelings, the performer must first of all master the technique of conveying a logical perspective in sound. The inner cannot be expressed without the help of the outer.

Determining, in direct dependence on the thought of a whole sentence or passage, the main and secondary stresses, pronouncing the corresponding parts of the text with an "introductory technique", etc., we come to the transmission of the main idea of \u200b\u200bthe passage. The ability to highlight the main thing, without missing or crumpled up the secondary and tertiary, the ability to lead the audience "to the goal" - to the final sentence, passage, story - is the ability to convey a logical perspective.

Delivering a logical perspective requires the coordination of stresses of different strength and quality. This is similar to different plans in painting - compared to Stanislavsky. In painting, the most important is brought to the fore; the less important is in the second, in the third plane; finally, the least important is almost imperceptible, obscured.

“In our speech, there are the same plans that give the perspective of the phrase. The most important word stands out brightest and is brought to the very first sound plane. Less important words create whole series of deeper plans, ”Stanislavsky writes.

The logical perspective (the perspective of the transmitted thought) depends on what is important for a given play, story, article, for a given literary passage. In full dependence on this, the main stressed words of the passage should be established and it can be decided what exactly is secondary in this case, that is, the logical perspective, its "construction" depends on the idea of \u200b\u200bthe given work and on the tasks of the performer.

Stanislavsky wrote: “Only when we study what is read as a whole and learn the perspective of the entire work, can we correctly arrange plans, beautifully distribute the component parts in harmonic proportions and sculpt them vividly in verbal form.

Only after the actor thinks over, analyzes, survives the whole role as a whole and a distant, beautiful, alluring perspective opens up before him, does his speech become, so to speak, farsighted, and not myopic, as before. Then he will be able to play not separate tasks, speak not separate phrases, words, but whole thoughts and periods. "

Stanislavsky advises, when determining the stress, first of all, to choose “among the whole phrase, one of the most important words and highlight it with stress. After that, you should do the same with less important, but still highlighted words. As for the non-primary, non-distinguishable, secondary words that are needed for the general meaning, they must be relegated to the background and erased. "

for example: And again / it became boring, / quiet / and dull around.

The circumstances of the course of action in this example "outweigh", since they characterize the situation.

Stanislavsky asserts: “Even the smallest independent phrase, taken separately, has its own short perspective. A whole thought, which is made up of many proposals, is even less complete without it. "

So, even a small phrase has its own perspective. What does this mean? This means that a short phrase has its own "goal" - the main stress word that carries the main idea - and there are secondary stress. eg:

Larissa. This business is over: he does not exist for me. (A. Ostrovsky. "Dowry".)

With these words, Larisa denies her fiancé - Karandyshev. The main word, without which her renunciation cannot be expressed, is “does not exist”. Secondary stress falls on the word "finished." “It's finished” taken separately may seem like a word that better expresses the end of the relationship between Larisa and Karandyshev. But we must not forget that Ostrovsky after the word "finished" is not a full stop, but a colon, and he wants to say by this that the thought of the end will still be revealed and Karandyshev will be completely destroyed by Larisa's subsequent words.

Indeed, after the colon there is the main word that crosses out Karandyshev from Larisa's life - he “does not exist”. The very weak emphasis on the word "deed" can be completely removed; then there will be one speech measure before the colon, and another one after the colon. The words "this" and "he is for me" are obscured, without stress. All this helps to highlight the important for thought word “finished” in the first part of the phrase and, most importantly, “does not exist” in the second part.

Thus, the stress in this phrase will be as follows:

It's over: / he doesn't exist for me.

6. Rules for reading complex sentences

A complex sentence is a syntactic whole, complete in terms of meaning and intonation. It can consist of two or more parts (simple sentences).

Complex sentences are divided into complex and complex sentences. The constituent parts of complex sentences can be connected with each other by composing ("and", "a", "yes", "but", "or", etc.) or subordinate ("what", "to", "how", " when "," if "," though "," because ", etc.) unions.

There may also be non-union complex sentences. In them, intonation takes on a special role.

Compound sentences are a combination of two or more relatively equal simple sentences into one whole.

Parts of such a sentence are linked by creative unions. These can be connecting conjunctions ("and", "neither ... nor ...", "too", "also"), adversary conjunctions ("a", "but", "yes", "but", " same "," however ") and separating unions (" or ... or ... "," then ... that ... "," not that ... not that ... ").

Parts of complex sentences are sometimes independent, as if they form a chain of simple sentences. When analyzing and reading such sentences, it is necessary to analyze each simple sentence, not forgetting about the logical perspective of the whole sentence (complex).

A compound sentence very often has a main phrasal stress I and several secondary stress. Each honor is separated from the other by a connecting logical pause. Accents are ascending, and the last part receives the heaviest stress.

for example: Several minutes passed, / and Silvio / broke the silence.

In this example, there are two simple sentences separated by a comma. The first simple sentence is one speech bar, the stress in it falls on the last word - "minutes". In the second simple sentence, there are two speech bars, the second speech bar of this sentence can carry the phrasal stress I. It will be the main stress of this compound sentence.

When an adversarial union is encountered in a compound sentence, this indicates the opposition of one phenomenon to another contained in the sentence. Opposed phenomena are always stressed. In this case, stress on what is being opposed is usually associated with raising the voice, and stress on what is being opposed is associated with lowering the voice; this last stress is stronger.

for example: On her dress / weren't flowers sewn on ?, / but some kind of dried mushrooms ?.

A complex sentence is a complex sentence that has a main part and a subordinate part associated with the main part using a subordinate union or union word.

Both the main and the subordinate parts of this sentence are subject to analysis: there must be logical pauses of the corresponding duration in them or between them. Each complex sentence has a main stress, a secondary stress, a logical perspective.

In many complex sentences, the main stress most often falls on the end of the subordinate clause.

DO NOT! pause close to a pause at the period before the comma subordinate clause.

In complex sentences, the rule of reading by commas is most often violated, it is here that they are most often "not read".

for example: I ran home, / proud / of (,) that I was able to complete the assignment.

In this example, the first comma is "read". In the first speech bar, the emphasis is given to the circumstance of the place “home”. But if you pause after the second comma, then the pause will be the pronoun "themes", which does not carry a semantic load in the sentence. It is important here - what exactly is "proud".

Therefore, it would be more correct to pause after the word “proud” and a slight stress on this word, and then read the second half of the sentence as one speech bar with the main stress on the addition (“assignment”). This is how the thought will most fully convey: "I was proud that I fulfilled the assignment."

There may be times when a subordinate clause should be read as an introductory clause (this most often refers to attributive clauses).

for example: On a snowy cliff, / where spots turned yellow / and stripes from ash (,) which was removed from the stoves this morning, / small figures were moving.

Here, the first subordinate attribution ("where the spots and stripes of ash turned yellow") is separated from the main part by a pause, and the second subordinate attributive ("which has been raked out of the stoves today") joins the first without a pause.

There may be such types of complex sentences, where subordinate clauses are usually separated from the main part, although they are not read by an introductory technique.

for example: How everything - / and poetry loses its holy simplicity, / when poetry is turned into a profession.

If a subordinate clause of the same type comes first, then a pause after the subordinate clause is also required.

for example: And when the moon rises, / the night becomes pale and languid.

When in a complex sentence there are subordinate conditionals ("if", "if") and subordinate tense ("when", "since",

"After", "bye", etc.), they always have a certain sound pattern when read aloud.

Stanislavsky called the conditional clauses "two-knee period". He argued that in such an intonation figure "after a sound rise, at the very top, where the comma merges with a logical pause, after bending and temporarily stopping speech, the voice drops sharply down to the very bottom."

In reading conditional clauses and clauses in the process of training, one should feel their characteristic active course of the voice "to the top" and its obligatory fall down at the end.

for example: If imagination disappears ?, / will a person / cease to be a person ?.

When a subordinate comparative ("how", "exactly", "like", etc.) is encountered in a complex sentence, this subordinate gets preponderance and the main stress in the sentence always falls on it, especially if it is at the end of the sentence. When this subordinate clause is placed before the main part of a sentence, the main stress is usually retained on it, and not on the main part.

for example: The girl / sat on a chair so carefully, / as if she was afraid (,) that the chair / would fly away from under her.

In this example, the comparative clause is separated from the main part by a logical connecting pause, which makes it possible to compare the main part with the subordinate clause. The main emphasis also falls on the second part of the subordinate clause: "the chair will fly away from under it."

When in complex sentences there are comparative relative clauses with the union words "what ... so ...", "just like", etc., the emphasis falls on both compared phenomena. In this case, the one of the compared phenomena, which is in the first place, usually receives a slightly lower emphasis associated with raising the voice. The main stress associated with lowering the voice receives that of the compared, which is in last place.

for example: The higher the sun, / the more birds / and the more fun their twittering.

Here two phenomena are compared: "the sun is higher" - on the one hand, and "more birds" and "more cheerful twitter" - on the other. They are all stressed. Of these, the main stress falls on the second word from the second group of comparable ones - "twitter", which is in last place.

Unionless complex sentences, in terms of the nature of their constituent parts (simple sentences), are close either to complex sentences or to complex sentences. In the first case, their parts are relatively independent and reading them most often requires enumeration intonation (with small uniform pauses), comparison or opposition (in the latter two cases, with a longer pause between parts of different pitch: from rising to falling).

for example (enumeration intonation): The snowstorm / did not subside ?, / the sky / did not clear up ?.

Unionless complex sentences, close in meaning to complex ones, express the interdependence of phenomena (conditionality, causality), reveal the content of one part of the sentence in another, etc. The intonation of these sentences is close to the intonation of the corresponding complex ones, but with a sharper melodic break between the parts, since it is intonation that binds the sentence into one whole, without the help of alliances conveys the ratio of parts.

eg: Fight alone? / - Can't you turn life around ?.

All parts of a non-union complex sentence are subjected to the same analysis as we do to a simple common sentence. In each of its parts, there are different strengths of stress, and all of them are subordinate to the main phrasal stress I, which is usually in last place and is the last part of a non-union sentence.

Reading a non-union sentence with an enumerative connection is in many ways similar to reading homogeneous members: the entire penultimate part, and especially its stressed word, rises, and the last part, as the last of the homogeneous ones, all goes down to a point.

for example: But the sunbeam / went out; // frost / grew stronger / and began to pinch the nose; // twilight / thickened; // gas / flashed from shops and shops.

There are four parts to this sentence. Each of them is a simple sentence, and the accents within it correspond to the rules for placing accents in simple sentences.

The entire sentence should be read with the intonation of the enumeration, as homogeneous members of the sentence are read. The whole last part - "gas flashed from shops and shops" - is close to reading with phrasal stress II, but the main stress word in this case is not at the end of the sentence. The meaning is better to emphasize the subject "gas". This word carries the main semantic load, since it means a sign of the evening, light in the windows of shops.

A special type of complex sentence is a period. A period is a very branched complex sentence, with many subordinate clauses. This kind of proposal gives the author the opportunity to state in detail and develop any idea, to paint a big picture. A period is an independent part, complete in content, within a literary work. The construction of the period resembles a vicious circle, a ring. For the author, the period is a special stylistic device. The very construction of the period contains a special rhythm, which is created with the help of a certain organization of the text within each of its parts, as well as with the help of raising and lowering the voice, slowing down or accelerating the tempo of speech when reading the period.

A period always consists of two parts. The first part of a period is usually longer than the second and contains a complex enumeration, consisting of several relatively small parts.

The entire first part is read with a gradual raising of the voice on the stressed words within each part. The maximum voice rises on the main stressed word at the end of the first part.

Between the first and second parts of the period there is the longest pause (the author often puts a dash here). This pause is like a border between the parts. After this pause, a sharp melodic break occurs. In the transition to the second part, the voice drops sharply compared to the first part.

The second part of the period is called the conclusion ("withdrawal") of the period. It is usually much shorter than the first part. Inside it, the voice on the stressed words slightly rises, but these rises are less than in the first part, and the maximum voice lowering occurs on the main stressed word of the entire period, located at the end of the second part. The final point is put here.

Typically, periods are conditional ("if ...") and temporary ("when ..."); there are also periods of concession ("no matter how ...", "although ...").

Stanislavsky gives practical advice on how to prepare for reading the period. Analyzing the reading of Othello's monologue, he says: “I make sure that the second bar is stronger than the first, the third is stronger than the second, the fourth is stronger than the third! Do not shout! Loudness is not power! The power is in the rise! .. However, if you raise each bar by a third, then for forty words of the phrase you will need a range of three octaves! He's gone! Therefore, after the increase, I do a downward pull! Five notes - up, two - quickdraw! Total: only the third! And the impression is like a fifth! Then again four notes up and two downward! Total: only two boost notes. And the impression is four! And so all the time. "

for example: If you are eight years old, / and you have blue eyes, / and one hand is in compote, / and the other is in putty, // and if you have a brother / who is five years old / who has a runny nose / and who every five minutes loses his handkerchief, // and if your mother / has left for the whole day - /// then / it becomes very difficult for you to live.

In this example, the first part, as usual, is significantly longer than the second. The author puts a dash on the border between the first and second parts. The first part is divided into three parts, each of the parts is a conditional clause. The pauses between chunks of the first movement will be longer than the pauses between speech measures within the first movement. The pause separating the first part of the period from the second and indicated by a dash will be longer, and the voice on the stressed word preceding it ("day") will rise most strongly, since this is the main stressed word of the first part.

On such a relatively short text, the reader should have enough range of his voice in order to raise his voice on each new piece of the first part. But if it turns out to be difficult, then even in this text, you can apply Stanislavsky's advice about "pulling" down after a rise. Then, raising your voice on the word "putty", you need to start again from an average pitch on the words "if you have a brother." Having reached the "top" of the second piece - "handkerchief", raise your voice again, but the increase will be only slightly higher than it was on the word "putty".

The same should be done in the third piece ("and if your mom ..."), but here you need to sharply raise your voice on the main stress word of the first part - "day". It is necessary to maintain a pause between the first and second parts and only after that you can proceed to the second part of the period. After a pause from the words "then then" the voice drops sharply (compared to the pitch on the word "day") - here begins the second part of the period, conclusion, result, conclusion. The word "difficult" is the end, the maximum voice reduction, full point.

References

1. V. N. Aksenov The art of the artistic word. M. "Art", 1954.
2. Artobolevsky G.V. Essays on artistic reading. M., Uchpedgiz, 1959.
3. Golovina O.M., Verbovskaya N.P., Urnova V.V. The art of speech. M., "Soviet Russia", 1954.
4. Zaporozhets T.I. The logic of stage speech. M., "Education", 1974.
5. "Sounding Word". M., "Art", 1969.
6. Saricheva E.F. Scenic speech. M., "Art", 1955.
7. Saricheva E.F. Work on the word. M., "Art", 1956.
8. Stanislavsky K.S. The work of the actor on himself. M., "Art", 1951.
9. Shevelev N.N. The logic of speech. M., 1959.

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LOGIC OF STAGE SPEECH

MOSCOW "ENLIGHTENING" 1974

795.7 3-33

3-33 The logic of stage speech. Textbook. manual for theater. and cult.-skylight. study. institutions. M., "Education", 1974.

128 p. with silt.

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.

Present study guide describes the content of the course on the logic of stage speech, studied at the Theater School nm. at the theater nm. Eug. Vakhtangov

The manual has carefully and tastefully 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 Yev. Vakhtangov. For thirty years she has been teaching the students of this school the skill of expressive stage speech.

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

These successes are largely due to the inclusion of a special section in the curriculum of stage speech, developed by the same person, which is the content of this study guide. This section was named "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 artistic speech. By itself, it does not provide a high artistic quality of the sounding word - its emotionality and vivid imagery, but it 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" in the curriculum of the entire course of stage speech takes the middle place between two sections: the initial - "Technique of speech" - and the final - "Artistic reading".

Disregard of the laws and regulations that govern 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 oratorical speeches, lectures, etc., interest in speech is growing. But along with this, it should also be noted that the average level of artistic quality of stage speech is still far from the level that can satisfy us. True, there are actors who have excellent stage speech, there are renowned 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, while listening to the radio or sitting in the theater, in the cinema, in front of the TV screen, we are annoyed by the poor 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.

Recently, however, the cause of annoyance is more often not these, but opposite disadvantages: speech slurred, its colorlessness, gray, non-musical, inexpressive ... “What did he say? What did he say?" - the spectators sitting in the theater often ask each other, until one of them finally loses patience and starts asking: "Louder! .. Louder!"

But it's not about loudness at all. You can shout on stage, but the viewer still won't 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 stage one should speak “as in life”. But in life too often they speak badly, hastily, indistinct patter, dividing each phrase into many parts, and thus turning any text into some kind of "chopped cabbage".

It is possible to speak like that on stage only in those cases when they want to make bad speech a characteristic feature of the given character, having in mind her satirical ridicule. In all other cases, you need to speak better, brighter, more expressively on stage than in real life.

Life speech is often trivial, boring, monotonous. Imitating her on stage, the actor involuntarily falls into that “muttering realism” that so annoys the audience. Becoming a phenomenon of art and submitting 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, clarity and beauty than in life.

Russian speech is characterized by musicality and melody. Unfortunately, in real life, Russian speech often turns from musical-melodic into rude knocking: vowel sounds are crumpled, "eaten", and consonants sound like a drum roll.

The task of theatrical art is not to descend to the level of shortcomings, sometimes inherent in life speech, not to copy its imperfections in a naturalistic way, but to give positive examples, inspiring examples of the highest quality, to infect viewers and listeners with love for the beauty of the Russian language and thus contribute to the improvement of 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 that are discussed in this manual "is not an easy task. Success can be achieved through numerous exercises, the implementation of which should gradually become easy, unconstrained, 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 educational institution).

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

The study of the section of the logic of stage speech 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 excerpts for artistic reading and when working on roles in educational performances.

The basis of our work on the logic of stage speech is the provisions of Stanislavsky, proposed by him in the book "The work of an actor on himself." Stanislavsky gave actors, students of theatrical educational institutions and everyone who deals with the sounding word, the basics of all the sections that make up the subject "Stage speech".

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

“I gave you to understand in a little practice how many techniques of voice development, sound colors, intonations, all kinds of drawings, all kinds of stress, logical and psychological pauses, and so on. and so on. artists must have and develop in themselves in order to respond to the requirements that our art makes for word and speech "

Our textbook is structured in such a way that those who work on the study of the rules of the logic of stage speech begin their acquaintance with this or that rule with a description of its features and methods of practical mastery of it. After the statement of the rule, specially selected examples follow, analyzed by the author and clearly confirming the rule. They serve to train and firmly learn the rule. Only after these examples have been worked out can you 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 imperative to perform a graphical analysis of the text, as shown in our figures. It can also be useful to independently select texts for an exercise for each of the rules. Such texts should be worked out in detail: the place of logical pauses and stress in each sentence is determined, a graphical analysis of each of them is performed.

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

In order to divide speech into bars, you need stops, or, in other words, logical pauses.
As you probably know, they have two opposite purposes at the same time: to combine words into groups (or in speech beats), and to separate groups from each other.
Do you know that the fate and life of a person can depend on a particular arrangement of logical pauses? For example: "Forgiveness cannot be sent to Siberia." How can one 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 | - can not be sent to Siberia! " or “You can't forgive | - send to Siberia! " In the first case - pardon, in the second - exile.

When working on a public text (it does not matter if it is a role or a story, a lesson, a lecture), each 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 pause is determined by the atmosphere and mood. Between these pauses, the text is pronounced. Each time after a pause, the tone and rhythm of the speech changes. Between two logical pauses, you need to pronounce the text, if possible, indivisibly, together, almost like one word.

There are, of course, exceptions that make you stop in the middle of a beat. But this has its own rules, which will be explained to you in due time.
Take more often a book, a pencil, read and mark up what you read in terms of speech. Stuff your ear, eye, and hand with this. Reading on speech beats hides another more important practical benefit: it helps the experience itself.
Marking speech bars and reading them are also necessary because they force you to analyze phrases and delve into their essence. Without delving into it, you will not say the phrase correctly.

How to parse the text by measures
As an example showing how the text is parsed in bars, we offer you an excerpt from K. Kurakina's book "Fundamentals of speech technique in the works of KS Stanislavsky."

Even a simple logical pause, defined either by a punctuation mark, or by the need to highlight a word indicating the direction of thought, requires 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 disassemble all of the above using the simplest verbal example. Let's take the first lines of I. Krylov's fable “The Crow and the Fox”.

To a crow somewhere God sent a piece of cheese;
On the Crow spruce, perching,
Yes, she was thoughtful, and kept cheese in her mouth,
To that misfortune, Fox ran close by.

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. We will designate accents in bold italics, and pauses V. The ratio of stronger and weaker accents will not be denoted in the same way as the duration of pauses.

To crow V somewhere god V sent a piece of cheese;
On a spruce crow V perching V
I was about to have breakfast,
Yes, V became thoughtful, and kept cheese in her mouth.
Unfortunately, V fox V ran close by.

Let's analyze the meaning and significance of accents.
1. "Crow": who is it 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 she got and her attitude to the delicacy.
4. "On a spruce a crow, perched": where exactly she is comfortably located.
5. “I was just getting ready for breakfast”: her intention and desire to fulfill this intention.
6. “Yes, I’m thinking”: anticipating pleasure, she began to dream.
7. "Unfortunately, the fox ran close by": a new piece - an event associated with the appearance of a new character, with a warning from the author-storyteller that "this" appearance does not carry anything good for a dreaming crow.

Punctuation marks in the text
In oral speech, we, of course, do not think about punctuation marks, but only denote them with logical accents. However, in a written text (whether the author's, or his own), punctuation is indispensable. Otherwise, the text will be impossible to read - neither silently, nor, even more so, aloud. Punctuation marks are important pointers when reading text. They can help you find the only intonation that will make your speech natural and lively.

Punctuation marks require obligatory vocal intonations for themselves. 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 reduction, and the listener will not understand that the phrase is over and there will be no continuation. Take away from the question mark its characteristic sound "croak", and the listener will not understand that he is being asked a question to which they are waiting for an answer.

The study of punctuation marks, the construction of an intonation pattern according to them, helps to fight one of the main troubles of public speaking people, namely, haste. The intonation property of punctuation marks contains precisely what can keep the actor from being too hasty. And yet - to attract the attention of the listener, to cause his reaction.

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

Knowledge of the laws of speech, attention to punctuation marks and the construction of the intonation pattern of 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, a stop. But in front of it, on the last syllable of the last word, you want to bend the sound up (without putting stress, if it is not logically necessary). Then let the top note hang in the air for a while.
With this bend, the sound is transferred from the bottom up, like an object from a lower shelf to a higher one. These phonetic lines rising upward receive a wide variety of bends and heights: by a third, by a fifth, by 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 miraculous properties. Its bend, as if a hand raised for warning, makes the listeners patiently wait for the continuation of the unfinished phrase. If only you believe that after the sound bend with a comma, the listeners will certainly patiently wait for the continuation and completion of the phrase you have begun, then you will have no need to rush. This will not only calm you down, but also make you truly love the comma with all its inherent natural properties.
If you only knew what a pleasure it is with a long story or a phrase like the one you just said, to bend the phonetic line before the comma and wait confidently, knowing for sure that no one will interrupt or rush you.
The same thing happens with all other punctuation marks. Like a comma, their intonation obliges a partner; so, for example, a question obliges the listener to answer ...

Pauses are 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 place meaningful stops, or logical pauses. Quite 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 goal.

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

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

Metropolitan Filaret said: "Let your speech be stingy, and your silence eloquent."
This "eloquent silence" is a psychological pause. She is an extremely important communication tool. You yourself have felt today that you cannot but use such a pause for your creative purpose, which itself speaks without words. She replaces them with glances, facial expressions, radiation, hints, subtle movements and many other conscious and subconscious means of communication.

Despite the fact that the actor must necessarily withstand 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 logical and psychological pause should depend entirely and entirely on the proposed circumstances, events, tasks. Mechanical operating time will lead to a stamp. Pause is a very powerful weapon. It is necessary to work on it for a long time and hard so that the pause is speaking.

They all know how to finish what is inaccessible to the word, and often act in silence much more intense, subtle and irresistible 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 consciousness, but also from the subconsciousness itself, which does not lend itself to specific verbal expression.
These experiences and their revelations, as you know, are the most valuable in our art.
Do you know how highly a psychological pause is valued?
She does not obey any laws, and all the laws of speech, without exception, obey her.
Where, it would seem, logically and grammatically impossible to make a stop, there it is boldly introduced by a psychological pause. For example: imagine that our theater is going abroad. All students are taken on the trip, except for two. - Who are they? - you ask Shustov in excitement. - Me and ... (a psychological pause to soften the impending blow or, on the contrary, to increase the indignation) ... and ... you! - Shustov answers you.
Everyone knows that the union "and" does not allow any stops after itself. But the psychological break does not hesitate to break 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 given a more or less definite, very short duration. If this time is delayed, then an inactive logical pause should rather degenerate 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 speech as much as it needs to perform a truly productive and purposeful action. It is directed towards a super-task along the line of subtext and cross-cutting action, and therefore cannot but be interesting.

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

Nevertheless, the psychological pause counts very strongly with the danger of protraction, which begins from the moment the productive action stops. Therefore, before this happens, the psychological pause hastens to give way to speech and word.
The trouble is if the moment is missed, because in this case the psychological pause degenerates into a simple stop, which creates a stage misunderstanding. Such a stop is a hole in a piece of art.

Everyone who is going to speak to the audience must make out 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, with the help of what arguments this thought proves its supremacy. What words are main and what are secondary? The main words are highlighted with the help of intonation patterns 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
Using punctuation marks, graph the intonation pattern in the following passages. Read the text following this picture.

Pushkin
Gypsies

Everything started together - and now
The crowd tumbles in the empty plains.
Donkeys in reversible baskets
Play children are carried;
Husbands and brothers, wives, virgins
Both old and young follow;
Scream, noise, gypsy choruses
The bear is roaring, its chains
Impatient clatter
Rags of bright variegation,
Children and elders are naked,
Dogs and barking and howling
Bagpipes talk, skip carts,
Everything is poor, wild, everything is out of tune,
But everything is so lively, restless,
So alien to our dead negs,
So alien to this idle life,
Like a song of slaves, monotonous!

Shakespeare
HAMLET

Wait! Look: he has appeared again!
Let the vision destroy me
But I swear I'll stop him.
Vision, stop! When human speech
If you are in possession, speak to me.
Say: or I can do a good deed
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 suggested phrase. And what psychological pauses can there be? Where would you place them?

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

Exercise # 3
Read the passage and, using punctuation marks, divide the text into speech bars.

M. Saltykov-Shchedrin
IN THE HOSPITAL FOR THE INTELLIGENT
Outside the limits of service, he had only four complaints: 1) that, when bending at the elbow of the arm, the muscles of its upper half would form a completely round and hard, like iron, core; 2) that behind the scenes of the Buff and Berg theaters all cocottes understand him as an educated young man; 3) so that the Tatars of all restaurants, without bothering him with questions, directly serve him the same menu that he used to eat at the given time, and 4) so \u200b\u200bthat not to skimp on a single performance in the Ginne circus.

Exercise 4
Read the passage aloud as follows:
a) monotonously, together, without observing pauses.
b) in the same monotonous manner, 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 dictaphone. Listen. Which option do you think sounds the most natural?

I. Makarov
BELL RUNNING ONE SOUNDLY

And the road is slightly dusty
And sadly across a flat field
The song of the driver is spreading.
So much sadness in that sad song
So much sadness in a native melody,
What's in my soul cold, cold
The heart was kindled with fire.
And I remembered other nights
And native fields and forests,
And on the eyes, which have long been dry,
A tear came like a spark.
The bell rings monotonously
And the road is a little dusty.
And my driver fell silent, and the road
Far, far before me ...

Exercise 5
Pause psychological breaks in this passage. Do they match the logical ones? Why did you put psychological pauses in this way and not otherwise?

G. Uspensky
MORALS OF RASTERYAEVA STREET
Rasteryaev 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 skill, an old soldier, a "puppeteer". National sculpture blooms under her decrepit fingers; on fine summer afternoons, a few clay officers and ladies and countless whistle horses with only front legs are sure to dry on the heap of her shack. The Rasteryaevsky boys stock up on these whistling horses and, for a whole year, diversify their woeful existence with a deadly piercing whistle. In the same hovels, there are drills, sand-men, women and girls working in factories. In the same street live accordionists, turners, naviiyatsiks, etc. At the end of the street, which abuts against the wide Voronezh highway, you can see a square building made of dark red bricks - a samovar factory. All these skills give Rasteryaeva Street a slightly different physiognomy compared to other backwoods. On days of rest, her silent face is enlivened by fights and drunks, scattered here and there. On weekdays, the sound of chickens is joined by the sound of hammers, alternating, then suddenly suddenly falling on the metal mass being minted; the sounds of harmony, on which the master touched for the test with "interception"; the whirring of the 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 signs, create an intonation pattern of the text.

Sholem Aleichem
TEVIE-MILKER
They say something to me in gibberish language I thought all in some kind of roundabout and dead men come to mind witches jesters evil spirits stuffed fool I think what are you standing like a stump climb on the beam scare the horse with a whip and go wherever your eyes look but as a sin me against my will breaks down, climb into the cart, and when they heard, they did not force themselves to beg for a long time, I followed them to the beam, I turned the drawbar and began to whip the horse once or twice, went but where, as it were, it doesn’t move from its place, even if you cut it, I think now it’s clear what kind of women are these, and it was not easy to stop for no apparent 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 effect on the listener if the actor is not able to find all the variety of colors and devices that reveal the soul of the work. Only by highlighting the stressed words and phrases can you 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) are drawn towards the super-task of the work along the line of subtext and through action, then their meaning in speech becomes exceptional in their importance, because they help to fulfill the most important, basic in our art: creating the role and play of the human spirit.

Stress
Stress exists in every word. But if we spoke, emphasizing the stress 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 most important. It is incredibly important for an actor to know which word should be emphasized. “Stress,” Stanislavsky wrote, “is love or spite, respectful or contemptuous, open or cunning, ambiguous, sarcastic emphasis on the stressed syllable or word. This is his presentation, then exactly on a tray. "
However, the emphasis on stressed words should not be exaggerated, deliberate. The shock word becomes such if we follow the logic of the text, if we are led to this by a chain of visions. The calculation of stressed words in the work on the text, of course, should be, but it will be a big mistake to rely only on this calculation. Another big mistake is self-obedience to the intonation pattern.

It is in vain that you listen so much to your voices. "Self-obedience" is akin to narcissism, self-demonstration. It's not how you speak yourself, but how others listen to you and perceive you. Self-obedience is not the right task for an artist. Much more important and more active is the task of influencing another, transferring 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-obedience", which is harmful to creativity, as it dislocates the actor and deviates him from the effective path.
It often happens that the best way to highlight the stressed word is to remove the stress from all secondary words.

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

Nevertheless, haste, nervousness, chattering words, spitting out entire phrases do not obscure, but completely destroy the stressed words, even if this was not in your intentions. The speaker's nervousness only annoys the listeners, the unclear pronunciation makes them angry, as it makes them tense and guess about what they did not understand. All this attracts the attention of the audience, emphasizes in the text exactly what you want to shade. Fussiness makes speech heavy. Lightens her calmness and self-control. To obscure the 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 instills calmness in the listener.

Clearly highlight the main word and skip easily, clearly, slowly what is needed only for the general meaning, but that should not stand out. This is what the art of stress relief is based on.
Imagine that you have moved to a new apartment and that your belongings, of different purposes, are scattered throughout the rooms, ”Tortsov began figuratively explaining. - 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 in accordance with their purpose, etc.
After this is done, it will become somewhat easier to navigate.

The same preliminary disassembly should be done in the words of the text, before distributing the stress to their real places.
Accent in a series of adjectives

Let us assume that in the text or monologue we are analyzing, we come across a long line of adjectives: "dear, good, glorious, wonderful person."
You know adjectives are not stressed. And if this is 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 nice and so on. almost the same thing, with the same characteristics.
But, fortunately, thanks to the laws of speech, you once and for all know that such adjectives with common signs do not accept stress. Thanks to this information, you do not hesitate to remove the stress from all adjectives and only the last of them merges with the stressed noun, thanks to which you get: "wonderful man."

When we deal with several adjectives, we need to think about whether there is a comparison here. You can talk about comparison if there are several adjectives with a noun that are not related to each other in any way.

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

Having sorted out large groups, it becomes easier to navigate the individual stressed words.

Here are two nouns. You know that the obligatory stress takes the one that is in the genitive case, because the genitive case is stronger than the word that it defines. For example: "brother's book, father's house, icy waves of the Pontic waters." Without hesitation, emphasize the genitive noun and move on.
Here are two words repeated with increasing energy. Feel free to emphasize the second of them precisely because we are talking about a surge of energy, exactly the same as in the phrase: "forward, forward rush to the Propontis and the Hellespont." If, on the contrary, there was an outflow of energy, then you would put emphasis on the first of the repeated words and this would convey degradation, as in the verse "Dreams, dreams, where is your sweetness!"
The proposal with one percussion head is the most clear and simple, - explained Arkady Nikolaevich. - For example: "A person you know very well came here." Accentuate any word in this phrase, and the meaning will be understood in a new way every time. Try to put not one, but two stresses in the same sentence, 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 put into it: firstly, that not someone, namely a "familiar" person, came, and secondly, that he did not come anywhere, but precisely "here."
Put the third stress on the word “came”, and the phrase will become even more difficult for justification and for speech transmission, because a new fact is added to its previous content, namely that “a well-known person” did not come, but “came” on his own two feet ...

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

For example, - Arkady Nikolaevich took a note out of 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, count her love for Antony."
“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.
How many of you would undertake to read this tirade so as to highlight thirty-six sentences in it? - he turned to us. The disciples were silent.
- You're right! I, too, would not undertake to fulfill the task set by Jevons. I would not have enough speech technology for this. But now it's not about the problem itself. We are not interested in it, but only in the techniques of highlighting and coordinating many accents in one sentence.

How to highlight in a long tirade one of the 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, quarters of colors or chiaroscuro, so in the field of speech there are whole gamuts of different degrees of strength and accentuation. All of them must be combined with each other, combined, coordinated, but so that small accents do not weaken, but, on the contrary, emphasize 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 a perspective in individual sentences and in this speech.
Creating perspective with accents

You know how the depth of the painting is conveyed in painting, 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 inward, into the depths of the canvas itself, and the foreground just crawls out of the frame and the canvas forward to the beholder.
In our speech there are the same plans that give perspective to the phrase. The most important word stands out brightest and is brought to the very first sound plane. Less important words create a series of deeper plans.

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 stress. So, for example, it is important: whether it falls from top to bottom, or, conversely, is directed from bottom to top, whether it lays down hard, heavy, or flies off from above easily and pierces sharply; Whether a hard blow or soft, rough or barely perceptible, whether it falls immediately and is immediately removed, or it lasts for a relatively long time.
In addition, there are so-called masculine and feminine accents (not to be confused with feminine and masculine endings).

The first of them (masculine accents) are definite, complete and sharp, like a hammer blow on an anvil. Such blows are cut off immediately and have no continuation. Another kind of accents (feminine) is no less definite, but it does not end immediately, but continues. For an example of their illustration, let us assume that, for one reason or another, it is necessary, after a sharp blow of the hammer on the anvil, to immediately drag the hammer back to you, if only to make it easier to pick it up again.
Here is such a definite blow with its continuation, we will call "feminine stress", or "accentuation".
Or, here's 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 hand and finger; he resorts to the "masculine stress" in speech and movement.
If a delicate person has to do the same, then his exorcising exclamation "out" and the gesture are decisive and definite only in the first second, but immediately after the voice slides down, the movement is delayed and thus softens the harshness of the first moment. This blow with a continuation and a quickdraw is a "female accentuation".

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

You can combine intonation with stress. In this case, the latter is colored by a wide variety of 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 also different ways to highlight a word. For example, you can put it between two pauses. At the same time, for greater amplification 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 words. Then the untouched highlighted word will become strong in comparison with them. First of all, you need to choose one of the most important words among the entire phrase and highlight it with stress. After that, you should do the same with less important, but still highlighted words. As for the non-main, non-distinguishable, secondary words, which are needed only for the general meaning, they must be relegated to the background and erased.
Between all these highlighted and non-highlighted words, it is necessary to find a correlation, a gradation of strength, quality of stress and create sound plans and perspective from them that give movement and life to the phrase. It is this harmoniously regulated ratio of the strengths of the stress, allocated to individual words that we mean when we talk about coordination. This creates a harmonic form, a beautiful phrase architecture. Just as sentences are formed from words, whole thoughts, stories, monologues are formed from sentences. In them, not only words in a sentence stand out, but whole sentences in a long story or monologue.
Everything that has been said about the accentuation and coordination of stressed words in a sentence now refers 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. You can emphasize the most important sentence in a stressed way, pronouncing an important phrase with more emphasis than other secondary sentences. In this case, the stress on the main word in the highlighted phrase should be stronger than in the rest, non-highlighted sentences. You can highlight a stressed phrase by setting 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 more vivid phonetic pattern of intonation that colors 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 their usual strength and color, but obscure the rest of the story or monologue, weakening their shock 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 icy waves of the Pontic waters ...” he read quietly, relatively calmly, and immediately explained laconically:
- I don’t give everything that is inside at once! I give less than I can! We must cherish and accumulate emotion!
I scold 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 with a comma (there will be a lot of them in front), I will start raising my voice more until I reach the highest note!
Vertically! Not horizontally! Not just, but with a picture!
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 for forty words of the phrase, a range of three octaves is required! He's gone! Five notes - up, two - quickdraw! Total: only the third! And the impression is like a fifth! Then again four notes up and two downward! Total: only two boost notes. And the impression is four! And so all the time. With such savings, the range is enough for all forty words!
And then, if there were not enough notes to raise, strengthened tracing of bends! With savor! This gives the impression of amplification!
"... not knowing the return ebb" ...
"…go-go
rush to the Propontis and the Hellespont. "
Delaying the psychological pause!
Not expressed everything!
How delay teases and rekindles!
And the pause has become more effective!
Coming to the high note: "Hellespont"!
I will say and then omit the sound! ...
For a new last run!
"So my insidious plans
Furiously rush, | and already back
Will never join | and to the past
They won't come back, |
And everyone will rush uncontrollably ... "
I draw the bend harder. This is the highest note of the entire monologue.
Absolute freedom! And I hold back, tease with pauses.
The more you hold back, the more it teases.
The moment has come: do not regret anything!
Mobilization of all expressive means!
Help everyone!
Both the tempo and the rhythm!
And ... it's scary to say! Even ... the volume!
Don't cry!
Only on the last two words of the phrase:
"... rush uncontrollably"
Final completion! Final!
"... until they are swallowed up by a wild cry."
Slowing down the pace!
For greater significance!
And I put an end!
Do you understand what this means ?!
A point in a tragic monologue ?!
This is the end!
This is death !!
Do you want to feel what I'm talking about?
Climb the tallest rock!
Over the bottomless precipice!
Take a heavy stone and ...
Drop it down to the bottom!
You will hear, feel how the stone will fly into small pieces, into the sand!
You need the same drop ... voice!
From the highest note - to the very bottom of the tessiture!
The nature of the point requires it.

Exercise 2
Highlight the stress in the following sentences. Sort them out by comparison.
Slim, tall, athletic girl.
Blue, deep, rolling sea.
Restless, stubborn, difficult character.
Delicate, scented baby soap.
Loud, intrusive, unpleasant music.
Dirty, sticky, sad road.

Exercise # 3
Listen to audio recordings of the theater at the microphone - poems, poems, stories performed by famous actors. Recommended list:
Bernard Show. Rural matchmaking. Performers: V. Gaft, E. Koroleva.
Margaret Mitchell. A 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 Moliere. Scapen's crooks. Performers: Z. Gerdt, E. Vesnik, A. Papanov, V. Etush, M. Kozakov, K. Protasov, G. Anisimova.
If you cannot get any of these recordings, listen to an excerpt from the TV show (just listen, do not watch). Analyze the passage, note how the pauses are placed, where the emphasis on stressed words is made. How would you pause and highlight words?

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

Homer.
ODYSSEY

Pallas Athena answered in indignation:
“Woe! I see now how distant Odysseus is to you
I need to put my 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 a feast he was having fun, sitting at a cup,
Arriving from Efira from Ila, Mermerov
son:
Also there was Odysseus on his ship
fast;
Poison, deadly to people, he was looking for, so that he could
smear
Your brass arrows. However, Il refused
Give him poison: he was ashamed of the soul of the gods
immortals.

Exercise 5
Find the main stress word in these sentences and highlight it by removing the stress from all secondary words.
The beauty of our heavenly tongue will never be trampled by cattle. M.V. Lomonosov
As a material for 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; another - 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 unskilful writers, is rapidly falling into decline. Words are distorted. The grammar fluctuates. Spelling, this heraldry of the language, changes at the will of each and every one. A. S. Pushkin
A person's morality 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 also to think somehow: approximately, inaccurate, incorrect. A. N. Tolstoy
The dictionary is the whole internal history of the people. / N. A. Kotlyarevsky
Not a single spoken word has done as much benefit as many unspoken ones. Plutarch
Language is an image of everything that existed, exists and will exist - everything that can only embrace and comprehend the human mental eye. A.F. Merzlyakov
In literature, as in life, it is worth remembering one rule that a person will repent a thousand times that he said a lot, but never that he said little. / A.F. Pisemsky
Only one literature is not subject to the laws of corruption. She alone does not recognize death. M.E.Saltykov-Shchedrin
The ability to read good books is not at all the same as literacy. A. Herzen
Speech must comply with the laws of logic. Aristotle
Language is the confession of the people, His soul and life is native. P. A. Vyazemsky

MOSCOW "ENLIGHTENING" 1974

Zaporozhets T.I.

3-33 The logic of stage speech. Textbook. manual for thoseatr. and cult.-skylight. study. institutions. M., "Education", 1974.

128 p. with silt.

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

This tutorial describes the content of the course on the logic of stage speech, studied at the Theater School nm. B. In Shchukin at the theater nm. Eug. Vakhtangov

The manual has carefully and tastefully 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.Schukin Theater School at the Yevgeny Theater. Vakhtangov. For thirty years she has been teaching the students of this school the skill of expressive stage speech.

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

These successes are largely due to the inclusion in the curriculum of the stage speech course, developed by TI Zaporozhets, a special section, which is the content of this textbook. This section was named "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 artistic speech. By itself, it does not provide a high artistic quality of the sounding word - its emotionality and vivid imagery, but it 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" in the curriculum of the entire course of stage speech takes the middle place between two sections: the initial - "Technique of speech" - and the final - "Artistic reading".

Disregard of the laws and regulations that govern the logic of speech entails an extremely sad consequence: lack of skill. TI Zaporozhets at the very beginning of his book rightly notes that in connection with the development of radio broadcasting, television, cinema and the increase in the number of oratorical speeches, lectures, etc., interest in the sounding 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 the level that can satisfy us. True, there are actors who are superbly fluent in stage speech, there are renowned 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, while listening to the radio or sitting in the theater, in the cinema, in front of the TV screen, we are annoyed by the poor 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.

Recently, however, the cause of annoyance is more often not these, but opposite disadvantages: speech slurred, its colorlessness, dullness, non-musicality, inexpressiveness ... “What did he say? What did he say?" - the spectators sitting in the theater often ask each other, until one of them finally loses patience and starts asking: "Louder! .. Louder!"

But it's not about loudness at all. You can shout on stage, but the viewer still won't 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 stage one should speak “as in life”. But in life too often they speak badly, hastily, indistinct patter, dividing each phrase into many parts, and thus turning any text into some kind of "chopped cabbage".

It is possible to speak so on stage only in those cases when they want to make bad speech a characteristic feature of the given character, having in mind its satirical ridicule. In all other cases, you need to speak better, brighter, more expressively on stage than in real life.

Life speech is often trivial, boring, monotonous. Imitating her on stage, the actor involuntarily falls into that “muttering realism” that so annoys the audience. Becoming a phenomenon of art and submitting 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, clarity and beauty than in life.

Musicality and melody are characteristic of Russian speech. Unfortunately, in real life, Russian speech often turns from musical-melodic into rough knocking: vowel sounds are crumpled, "eaten", and consonants sound like a drum roll.

The task of theatrical art is not to descend to the level of shortcomings, sometimes inherent in life speech, not to copy its imperfections in a naturalistic way, but to give positive examples, inspiring examples of the highest quality, to infect viewers and listeners with love for the beauty of the Russian language and thus contribute to the improvement of 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 that are discussed in this manual "is not an easy task. Success can be achieved through numerous exercises, the implementation of which should gradually become easy, unconstrained, 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. Shchukina, People's Artist of the USSR, Doctor of Arts

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

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

The study of the section of the logic of stage speech 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 received when analyzing excerpts for artistic reading and when working on roles in educational performances.

The basis of our work on the logic of stage speech is the provisions of Stanislavsky, proposed by him in the book "The work of an actor on himself." Stanislavsky gave actors, students of theatrical educational institutions and everyone who deals with the sounding word, the basics of all the sections that make up the subject "Stage speech".

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

“I gave you to understand in a little practice, how many techniques of voice development, sound colors, intonations, all kinds of phonetic patterns, all kinds of stress, logical and psychological pauses, and so on. and so on. artists must have and develop in themselves in order to respond to the requirements that our art makes for word and speech "

Our textbook is structured in such a way that those working on the study of the rules of the logic of stage speech begin their acquaintance with this or that rule with a description of its features and methods of practical mastery of it. After the statement of the rule, specially selected examples follow, analyzed by the author and clearly confirming the rule. They serve to train and firmly learn 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 imperative to perform a graphical analysis of the text, as shown in our figures. It can also be useful to independently select texts for an exercise for each of the rules. Such texts should be worked out in detail: the place of logical pauses and stress in each sentence is determined, a graphical analysis of each of them is performed.

After it was possible to analyze and read the text, observing all the rules passed through, it is useful to add to the logical (semantic) reading the performance of certain verbal actions and the work of fantasy, that is, 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. It should be remembered that even with the introduction of assessments and verbal actions into the exercise, the semantic intonation of this sentence will remain.

As you know, semantic intonation consists of various increases, decreases, amplification or weakening of the sound of the voice, of pauses of different lengths, etc. In life, intonations (semantic and emotional) are born by themselves, but when 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.

This textbook deals only with prose; reading poetic texts is a serious and large topic that should be considered separately.

ABOUT 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 increase in the number of professional and folk theaters, an increase in the number of oratory, lectures, etc., interest in the problems of sounding 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 most successfully, accurately, clearly and expressively conveying the thoughts inherent in the text they pronounce.

The section of the subject "Stage speech" - the logic of stage speech - develops the ability to convey the meaning in sounding speech. Possession of the logic of stage speech makes it possible to convey in sound the thoughts of the author, the roles, stories, lectures contained in the text, 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 that are alien to our spoken language. They have developed as a result of the observations of writers, linguists and theater workers on the 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 revealing 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, to determine the place and duration of logical pauses, to determine the main stress word, to mark secondary and tertiary stresses. In other words, for this you need to know the rules for placing pauses and accents.

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 Stanislavsky's work with his students in his studio, testifies that in the last years of his life Stanislavsky especially stubbornly strove for the most accurate observance of the rules of the logic of stage speech - the arrangement of logical pauses, accents, correct transmission in the sound of punctuation marks, etc. She says: "Every year Stanislavsky demanded more and more insistently 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 us 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 stress he needs. He does not need to learn this - he expresses his thoughts. But on 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, a student can and should artificially separate logical reading from effective speech as a whole.

This will be helped by the most detailed study of all the components of logical reading of the text. Free orientation in the rules will lay the foundations of 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 unimportant and do not return to work on the logic of stage speech after leaving the theater school. Meanwhile, a simple application of certain rules of the logic of stage speech in many cases would help to correctly play the scene or piece. Toporkov says: “When an actor fails to find active action in his speech, he can sometimes come to the desired result by applying the laws of speech familiar to him, the laws of constructing phrases, the techniques of verbal action techniques familiar to him, at least, for example, by simply trying "Straighten" the author's phrase, the thought according to its logical sound, that is, to determine the effective center of the phrase - its stress, pronounce the phrase as precisely as possible according to the laws of speech, observing the 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 genuine feelings. And almost none of the actors tries to turn to this simplest technique, considering it too discipleship next to the difficult difficulty that arose in the work ”1.

It is necessary to systematically work on the study of the rules of the logic of stage speech, on the study of the author's thought. One should not expect the thought to “speak itself” when the speaker's feelings are deep. If you do not pay special attention to conveying a thought, then it can slip away, random 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 orator is talking about.

Although in this textbook we somewhat artificially separate thought from verbal action, teachers working with students on the section of 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 the disassembled text, to introduce a verbal action corresponding to the content of the text: to condemn, praise, ridicule, demand, etc.

For example, here is a sentence from Chekhov's story “Anyuta”: “She said very little in general, she was always silent and kept thinking, thinking ...” To define a verbal action, even in such a short sentence, it is necessary to know very well the content of the whole story. The heroine of the story, Anyuta, is sympathetic to 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, to justify her.

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

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

It should be remembered that even with the introduction of verbal action into the exercise, the logical melody (semantic intonation) of this sentence will remain.

The correct logical melody is created when the content of a sentence (or fragment) is transmitted in sounding speech, provided that certain rules of the logic of stage speech are observed.

The logical analysis of the text is the first, preparatory stage of work on the text. Continuous application of such analysis in practical work, of course, in no way 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 the audience of the opportunity to understand and perceive the work in its entirety. MO Knebel writes: "... neither the prospect of conveying a complex feeling, nor the prospect of 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 workers of cultural and educational institutions to master the logic of stage speech, to study its rules.

SPEECH RACES AND LOGICAL PAUSES

Each individual sentence of our sounding speech is divided according to the 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.

Each speech bar contains a word, which, according to its meaning, should be highlighted in the sounding speech by raising, lowering or amplifying the sound of the voice. This intonational emphasis of a word is called logical stress. A separate speech bar rarely contains a complete thought. The accents of each speech measure should be subordinate to the main stress of the whole sentence.

In sounding speech, each speech beat is separated from the other by stops of varying duration. These stops are called logical pauses. In addition to pauses-stops, speech beats 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 bar to another give the intonational variety of our speech.

There can be no pause inside the speech bar, and all the words that make up the speech bar are pronounced together, almost like one word. In writing, this or that 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 backlash pauses (pauses for air intake - "air", from the German Luft - air) and, finally, psychological pauses.

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

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

I - a pause between speech bars or sentences closely related to each other in meaning (connecting);

Longer connecting pause between speech beats or between sentences;

An even longer connecting-separating (or dividing) 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 disconnecting pause.

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

"Marya Gavrilovna closed the 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?)”.

Groups of words have formed within the sentence, because, first of all, the sentence is divided into a group of a subject and a group of a predicate; adverbial words also constitute separate groups; there is usually a logical pause before the conjunctive unions "and", "or", "yes".

In this sentence, the subject group is composed of the words "Marya Gavrilovna", the predicate group - "closed the book"; there is a group of the second predicate - "and lowered her eyes" (before the conjunction "and" - pause); adverbial words "in agreement" also constitute a separate group.

Let's analyze one more sentence:

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

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

Read the two parsed 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 placement of logical pauses leads to nonsense. For example, if you arrange logical pauses in the next sentence in the following 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 bars.

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

KS Stanislavsky in his book "The Work of an Actor on Himself" wrote: "Take more often a book, a pencil, read and mark up what you read in speech steps. Fill your ear, eye and hand with this ... Marking speech bars and reading from them are necessary because they force you to analyze phrases and delve into their essence. Without delving into it, you will not say the phrase correctly. The habit of speaking in bars will make your speech not only harmonious in form, understandable in transmission, but also deep in content, since it will make you constantly think about the essence of what you are speaking on stage ... Work on speech and word should always begin with division into speech beats, or, in other words, from the arrangement of pauses "1.

By inviting his students to take a pencil and, while reading, make 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 with defining the boundaries of speech beats and with the placement of logical pauses.

They organize speech - as it were, they build a sentence, give it clarity and clarity, help to delve deeper into its meaning. Logical pauses divide a phrase into certain groups of words - speech beats, as we have already spoken about, and they also simultaneously connect speech beats, combine them into a whole sentence. Although the pause is a certain break in the sound, the main idea of \u200b\u200bthe sentence should not be interrupted with it. If a thought breaks off along with a pause, then a "hole" will form in the text and speech will lose its meaning. In addition, since the Russian language is inherent in smoothness, fusion 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 the voice on certain words (for example, a melodic break between sentences, speech slowdown, etc.). ).

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

Connecting pauses, not marked with punctuation marks, are in a sentence:

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

"Daughter I listened with curiosity." (M. Lermontov. "A Hero of Our Time".)

Between two subjects or between two predicates before the connecting conjunctions "and", "yes", before the separating union "or", etc.:

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

"Yearning I and heat I intensified." (A. Tolstoy. "Nikita's Childhood".)

"Kiselnikov. If you are forced to beg for fifteen rubles, I or twenty, I, and even then reproaches I and breaks." (A.N. Ostrovsky. "The Deeps", sc. 2.)

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

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

Before the 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 pause arises between such sentences, we will call it a separating (dividing) logical pause. Such a pause marks the boundaries of plot compositional pieces in a literary work. Before the disconnecting pauses, a decrease in voice is characteristic. In essence, a disconnecting pause is often a connecting-disconnecting pause, since even after such a pause, the narration continues.

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 little 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.

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

“Once, driving past the Turkins' house, he remembered that he should have stopped by at least for a minute, but he thought and ... did not.

And he never visited the Turkins again. III

Several more years passed. Startsev has grown even more stout, obese, breathing heavily and already walking with his head thrown back. " (A. Chekhov. "Ionych".)

Several years pass between chapters IV and V in the work. Such a disconnecting pause is, in essence, implied events, but not told by the author; it must be filled with the performer's fantasy.

When the development of the same thought occurs within a sentence or a plot piece, connecting logical pauses appear between speech bars, groups of speech bars, a group of sentences. Before each of the connecting pauses, there is a slight increase in the voice on the word bearing the stress.

For example:

“Vozhevatov. I got a horse out of the village, I some kind of motley nag; II the coachman is small, I and the caftan on him is large. II And carries on this camel I Larisa Dmitrievna; II and sits so proudly, I seems to be riding on thousandth trotters. " (A. Ostrovsky. "Dowry".)

In this passage Vozhevatov condemns and ridicules Karandyshev. He talks now about his nag, now about the coachman, now about Karandyshev himself. According to the meaning, this is one plot piece, therefore connecting logical pauses must be made inside it. These pauses will be of different lengths: in the first sentence after the commas - shorter, after the 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 coachman to describing Karandyshev himself. Inside the second sentence, a longer pause is again after a semicolon, since after the condemnation of an inappropriate departure for Larisa, 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 to make pauses of the required length.

There is, as we already know, another type of connecting pause - play pause, which 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 can help clarify. It completely depends on the intentions and tasks of the performer.

Apart from 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 field of verbal action. “Where, it would seem, it is logically and grammatically impossible to make a stop, a psychological pause boldly introduces it,” Stanislavsky said. Psychological Powers shlare most often introduced into the text by the actor in the process of working on the role. In writing, such a pause may be indicated by an ellipsis.

For example:

"Astrov. I do not love anyone and ... I will not love any more." (A. Chekhov. "Uncle Vanya".)

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

For example:

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

Instead of a pause indicated by an ellipsis, Gogol could, obviously, write: “I was unusually stupid,” but he leaves these words closed with ellipsis, which gives him an additional opportunity to make fun of Manilov's wife more angrily.

We have already said that a pause in the wrong place destroys the meaning of a 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.

AD Dikiy tells about it this way: “But the most amazing find of Chekhov was his speech by Khlestakov. It was illogical, torn, with unjustified intonations, with pauses in impossible places, she irrefutably testified to the meager mind of this Khlestakov.

Gogol's remark about "extraordinary lightness in thoughts" was clearly realized. One got the impression that in Chekhov-Khlestakov's work, the word outstripped thought for a split second. She did not keep up with the words that jumped out involuntarily, lagged behind him, like a bad conductor from a well-coordinated orchestra.

“You just gave me ... four hundred rubles ... So now give me ... More. Four hundred. So that it was exactly ... eight hundred. " Khlestakov spoke, and it was impossible to predict which next word and for what reasons would be born in his seedy brain ”1.

Of course, an actor can afford such rearrangements of logical pauses only as a result of tremendous preliminary work on the image and only if it helps to reveal the essence of the image through the inaccuracies of his speech.

1 A. D. Dikiy. The Story of theatrical Youth. M., "Art", 1957, pp. 319-320.

Obviously from memory, Gogol's text quoted by Dikim contains inaccuracies. Gogol's text is: "Khlestakov. Then you gave two hundred, that is, not two hundred, and four hundred, I do not want to take advantage of your mistake, so, perhaps, now the same, so that it was exactly eight hundred." Despite A.D. Dikii's mistake, the very principle of deliberate violation of the logic of speech of an image by means of incorrectly placed pauses remains in force.

In all other cases, it will be just a formal device, a trick that distorts the author's intentions.

However, neither deliberate violations of the logic of the analyzed texts, nor issues related to psychological pauses, will be considered in this textbook - this is not included in its task.

Below are the exercises that you should do on your own in order to practically master the rules that were mentioned in this chapter.

Have a practice

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

“Here Chichikov went completely beyond the boundaries of all patience, grabbed a chair on the floor in his hearts and promised her the devil. The devil landowner was frightened unusually. " (N. Gogol. "Dead Souls".)

"Princess Mary saw all this better than me." (M. Lermontov. "A Hero of Our Time".)

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

“Berkutov. Just try not to be noticed; do not be very frank at all and do not blabber. Did you give fifteen rubles to Mikhail Borisych? " (A. N. Ostrovsky. "Wolves and Sheep".)

"On the shore, women and soldiers washed clothes, splashing with rollers." (G. Uspensky. "Morals of Rasteryaeva Street".)

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

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

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

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

"The orchestra was already thundering in the big hall and dancing began." (A. Chekhov. "Anna on the neck.")

"An icy cold marked its entry into history in 1924." (N. Ostrovsky. "How the steel was tempered.")

"Long before the light, Ilyinichna lit the oven and by morning had already baked bread and dried two bags of crackers."

"Young French lieutenants began to see cold notes of condescension and arrogance in conversations with the Cossack generals through the veneer of decency and feigned French courtesy." (M. Sholokhov. "Quiet Don".)

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

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

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

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

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

“Wait, I'll open it myself,” said the blacksmith and went out into the entrance, intending to break off the sides of the first person who came across from his 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, wishing to somehow warm up his frozen hands. (N. Gogol. "The Night Before Christmas".)

End of Chapter XXX:

“When Pierre left and all family members got together, they began to judge him, as it always happens after a new person left, 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 whole 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. I spent most of my time in St. Petersburg and abroad, and if when I did visit my village, it was not more than 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 once again accidentally met Balavin. He was walking with some kind of young lady. " (I. Bunin. "Life of Arseniev".)

PUNCTUATION MARKS

Russian punctuation is associated with grammar, with Russian syntax. At the same time, punctuation is reflected in oral speech. In the logical analysis of 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 intonation structure of a sentence. Then punctuation marks remain only a part of written speech, and are not conveyed in sounding speech. When we say: the comma is "not readable", it means that in oral speech there should not be a pause in this case that coincides with this comma.

For example:

"All began to disperse, I understanding (,) 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 "reads" coincides with a logical pause, and the pause that coincides with the comma before the subordinate clause - before "what" is absent in the speech, since otherwise the words "understanding" and " that ", not carrying 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 written into the text by the writer. Without this, correct reading and understanding of the text is impossible ”1.

Here it is necessary to say about two sides of the very question of intonation.In this tutorial, we will talk about intonation that expresses the semantic side of speech. The other side of intonation - "intonation of emotions", that is, the intonation of lively, direct human speech, unusually rich and diverse, cannot be fixed.

People's Artist of the USSR V.O. Toporkov writes that "to memorize, memorize certain intonations with which we meet in life, and mechanically transfer them to the stage is a useless and hardly possible task." He recommends "the right path, prompted by life itself" - it is good, in detail, vividly to "see" mentally what we are talking about. As a result, "a genuine live intonation will appear, filled with a subtle, unique charm of nuances ... No effort, no artificial search for intonation can achieve the accuracy that our nature creates" \\

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

Stanislavsky called the logical-syntactic intonation corresponding to each punctuation mark a "vocal figure". He demanded that students master the correct phonetic pattern for each punctuation mark. Future actors and everyone who deals with sounding speech should learn the obligatory rules of "sounding" punctuation marks for mastering the melody of the Russian language.

In addition, reading the text by punctuation marks disciplines the speech of “hurrying actors,” as Stanislavsky called those who bring their irregular tongue twister to the stage. For such actors, he considered an exaggeratedly clear, slow reading of the text in speech and punctuation marks useful.

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

Each author has his own style, his own system of images and, what is important for us in this case, his own language, his own way of building a sentence. You cannot read a work of any author without delving into every punctuation mark. In some cases, we also meet with subjective author's punctuation. The desire to convey the meaning and intonation as accurately as possible forces the writer to add additional punctuation marks to the text.

This can be found especially often in the works of A.M. Gorky and A.N. Tolstoy.

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

“Not only the phrase, replica, words of each character in the play“ Vassa Zheleznova ”in Gorky are necessary, unchangeable, 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. blood runs fast through the veins (the rhythm of the phrase makes it possible to hear how a given person is breathing at a given moment of life) "

In addition to the punctuation rules, 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 reveal many of the author's "secrets" to the actor. For example, if you look closely at the punctuation of the short excerpt 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 to achieve the semantic accents he needs - oppositions. In addition, "additional" dashes will cause, when pronouncing the text aloud, a change in the pitch of the voice.

“Aestheticism is prettiness, not beauty, admiration, not love, anger, not anger — cold blood 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 ”1.

Let's move on to studying 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 mandatory increase or decrease 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 ending point like this:

“Imagine that we climbed the highest rock above a bottomless cliff, took a heavy stone and threw it down to the very bottom. This is how one should learn to put points at the end of a thought. ”2 In place of such a point in a sounding speech, a disconnecting pause must necessarily appear.

When we talked about disconnecting pauses, we meant the final point.

For example:

“Following these words, the door slammed shut, and you could only hear the iron bolt slammed with a squeal. III