Lesson on stage speech. Exercises for a weakened lower jaw. Exercises for diction

Event

It is important to teach a child not just to speak, but speak competently, clearly and understandable. This requires a teacher on stage speech.

Perhaps many parents will ask questions, and for what to torment the child, leading to classes on stage speech, if in the future the crumb does not plan to enter the theater school? This is an absolutely incorrect assumption. Training of scenic speech allows the child to develop language, lips and voice. He himself without noticing, he will start controlling his speech. The words he says will be clear and understandable. You do not have to ask for people around several times.

Many people breathe wrong, and the sound of voice is distorted. Listen to others, someone says squeakly, someone is ringing, and someone barely audibly says words. The teacher on stage speech will be able to teach to breathe correctly, and a pleasant and melodious voice will be formed from the right feed and intake of air. In the future, this will affect the communication of the child in any team, if he can always correctly and clearly express. Confidence in the voice will give confidence in his further action.

Try to spend a small test:

Invite a person who has a quiet and monotonous voice, and a man with velvet and solid.
Listen to their speech.
Make conclusions to whom would you trust more?

Practice Classes on acting and scenic speech for children

Classes usually pass in mini groups or individually. Thanks to this, the child ceases to be fed and is not afraid of the public, which is very important in communicating with people and the disclosure of his own "I".

The lessons of theatrical art go along with the lessons on stage speech, as both of these skills are interconnected in their functionality. In class, the child will be able to learn to completely relax, it will help him to cope in the future with stress, freely express his thoughts before the audience.

An individual learning approach allows to concentrate on the rapidly developing potential of the child.

In addition, we teach plastic on our lessons of theatrical skill. Thanks to the plastic, grace is developing in movements and flexibility.

How are classes in mini groups?

Classes are held in fascinating game form. Under the guidance of teachers and without parents. With the help of musical and creative games, hearing is developing, memory, a sense of rhythm. Moving games, rhythm, breathing exercises. Articulating gymnastics, speech therapypeeds, songs, rhymes that promote the development of speech and the articulation apparatus. Games in a fairy tale: Children together with the teacher discuss all fabulous heroes, distribute roles and create a small scene.

And finger paints, sand, dough, plasticine, clay, paper, rice, peas, manka, natural material, design from bulk and flat figures, lacing, clothespins and much more. In our lives, nothing passes without a trace, it will be useful to the child in the future. After all, everyone knows that the more the person knows and knows how, the higher he appreciates others.

Our children are a product of our upbringing, so to the whole of a certain set (classes at school, additional classes with mathematics tutoring, dancing, drawing) can still be added classes with a teacher on stage speech and acting. In any case, this child will never be superfluous!

Scenic speech is one of the leading expressive means of any actor, and the people engaged in the theater or movie, it is possible and even to practice the main exercises on stage speech every day. But today we would like to talk not about speech on stage. And about what techniques and exercises on stage speech should use the "simple" person.

Tongue Twisters

Species - this is a tool for disking diction and articulation. Simply put, with their help, you can improve the clarity of the pronunciation of sounds, strengthen the fusion of your phrases, and in general - to pull your speech logic. "Sing the thought", "said the great actor and director K.S. Stanislavsky, having in mind that it should be a connected, fusion and clear. So, patterings will allow you to solve the tasks. Here are some of the highest quality spells:

Cook Peter, Cook Paul

Peter Pek, and Paul Paril,

Pavel Paril, Peter Pek,

Cook Paul, Cook Peter.

And another one:

From the topot of hoofs

Dust on the field flies.

In the courtyard - grass,

On the grass - firewood,

Firewood of the yard,

Firewood deep yard,

Do not contain the yard of firewood,

It is necessary to expel firewood

On a woodwood courtyard

When typical pronunciation, it is necessary:

- do not hurt, try to speak slowly, pronouncing every sound,

- try to speak ponyly (without pauses and nothing),

- Try to speak loudly.

Sound Exercises

As it follows from the name of such exercises, they are called to strengthen the volume (sonicity) of your speech. It depends on how your diaphragm works. The diaphragm, this muscle located at the level of your abdomen, from the reduction of which depends on how you hear. You can detect her work if you put your hand on your stomach and laugh. The strength of your abdomen shudders with a laugh is digging your hand.

How to train the diaphragm? For this there are several exercises:

Put your hand on your stomach and draw as much air as possible so that your belly is inflated. Next, start slowly pulling the sounds "A", "O". "And", "y" (alternately, of course). It is very important that your chin will be raised, and your eyes are directed to a point located on the opposite wall or object, slightly above your macushkin. Of course, the point must be imaginary.

Each sound is desirable to "pull" at least 7 seconds.

After the scenic speech exercise described above - go to the next one described above. Now - you need to alternate the sounds listed above on the same exhale. That is, to pull not one sound, and more, to obtain:. "Aaaaaaaaaaaaaaa-oooooooooooooooo-iiiiiiiiiiiiiiiiiiii-uuuuuuuuuuuuuuuuuu"

Each sound on a single exhalation - should be drawn about 3 seconds.

After mastering the first first exercises - the so-called "sound accents" should be made. This is a rapid strengthening and lifting sound at the end, with its final "promise" in an imaginary point. For example, take the sound "A". We begin to pull it slowly, then gradually accelerate and enhance the sound, bring the sound to the maximum and, as it were, "spoil" it. With sound send, your stomach must greatly and quickly shrink, which will show your hand lying on it.

Since the start of the sound until the sound selection must pass 3-4 seconds.

Remember that if you begin to root or twisted for the diaphragm at the diaphragm - it means that the main audio load should have for throat ligaments, and this is an error. Then try to sound a little quieter so that the bundles are comfortable. As you can see, the scenic speech exercises need to be performed, periodically tracking its condition, and not overstraining at the initial stage.

Articulating gymnastics

Species and exercises on the diaphragm should prevail the articulation workout. List some of her exercises:

"Smile-tube". Stretch your lips as widely as possible (so that it is similar to an unnatural smile, but you can not erode the lips), and then quickly collect them into the tube (like a kiss). This exercise needs to be done quickly at least 1 minute,
"Spear language". The tongue with the tongue, we care about one of the cheeks and put on the cheek at the inside. Then - just need to do with another cheek. Quickly alternate. The duration of this exercise is also 1 minute,
"Balabolka". Open your mouth and swallow up and down the tongue to the top and bottom lips alternately. It turns out the sound, something like "RLA-RLA-RLA". It is important to relax language and rotate them quickly. This exercise is worth do from 30 seconds to minute.

Newbies consider this exercise rather difficult: some already for 15 seconds begin to "reduce the language". If this is your case - start seconds from 10-15, but gradually increase the time

"dumb". Break your lips inside so that only the gap of the mouth can be visible on your face. Slightly push on the lips, squeezing the mouth (but not to pain). And then, as it were, "spool" lips back. This exercise should also be performed a minute,
"Grimasi". Come to the mirror and make yourself five of the most terrible and funny "rye". Try to make sure that all the muscles of the face are used at the grimace.

Good luck when techniques and exercises on stage speech! And if you want to practice exercises on stage speech under the guidance of experienced professionals - you

5 Exercises of the Initial Level of Studying and Practice of Stage Speech

Exercise number 1. Workout Language

Theory

Many speech problems are defects, fuzziness, incomplete sounds, appears due to a weak language. Language is one of the strongest muscles in the human body. Like any muscle, for clear and good work, language requires attention and special exercises for development.

It is necessary to do exercises to the characteristic strong fatigue at the root of the language (at the base). If fatigue appears - it means everything is done correctly, and the results will not make yourself wait.

Be sure to work the language to the spectacle and any other performance in the public where a clear and intelligible speech is important.

Description of the exercise

1. Imagine that your beloved berry in your mouth. And begin to give this berry about the upper sky. With force, press the tongue on the sky, then relax. And so 10 times. At this time, clearly imagine the taste of the juice of these berries.

The teeth are open.

2. Mix your teeth from the outside. The lips are closer. We give the tongue to the teeth clockwise 5 times, and 5 times counterclockwise. At the same time, try to make the maximum amplitude.

3. Shocks in the cheeks. Teeth open. Make accented strong injections in the cheek. Putivified - Half a second second - let go. Then double injections in the cheeks. The same, but we make two accented injected cheeks. Total 20 single and 20 double injections.

4. Open your mouth; We engage the language for the base of the lower front teeth; With force, squeeze the base of the language forward, holding the tip of the tongue at the base of the lower front teeth; Keep so tongue 2 seconds; put the language in your place at the bottom of the mouth; Close your mouth. We make 5 repetitions.

5. Opening your mouth and carefully pour a tongue along its entire length. Going a few times all the length of the language.

Exercise number 2. Workout face

Theory

The human eye is able to distinguish a huge number of facial expressions, shades of change of mood, etc. But the untrained person is able to issue no more than 20-30 of these most expressions of the face.

The weak muscles of the face are the cause of the flabby skin and the appearance of "bags" under the eyes and a large number of wrinkles. This is due to the fact that many muscles on the face are connected directly to the skin. So the good muscles of the face give not only better expressiveness and emotionality, but also a beautiful healthy face.

Description of the exercise

Exercises are better to perform in front of the mirror

1. Pull the lips forward with the tube, then stretch in a smile to ears. The teeth are closed and the jaw does not move. Forwards as far as possible pull lips. And I pull a smile as far as possible to the ears as possible. Forward - to the side. 30 repetitions.

2. Pull the lips forward with the tube. The teeth are closed and the jaw does not move. At the maximum amplitude, rotate the elongated lips clockwise 10 circles, then counterclockwise 10 circles. We try not to strain the neck and other muscles of the face.

3. We divide the face vertically on 2 halves. It turns out the left and right half. And we start moving the muscles of only one half of the face. Exercise is performed before the fatigue of the muscles of one half. Then go to the other half of the face.

Exercise number 3. Bao Wao Gao.

Theory

Very often, when speaking on bundles, clamps are formed. This is expressed in voices' squeaks, uncertainty and other deviations from the desired voice. Also, a lot of voltage accumulates in the neck, which leads to problems with memory, head pains and nervousness.

This exercise removes clips from ligaments and from all over her neck. Performing this exercise every two days, you will give voice softness and velvet. Exercise lasts only 3-4 minutes.

Description of the exercise

1. Raise the most high shoulders clapping the neck. Head Do not throw up the top, it should be straight. In this position, say 2 letters: "Bao Wao Gao". When pronuncated, the jaw opens as much as possible. Head does not move. Moves only the lower jaw.

Then we lower your shoulders and pronounce the same lettering with head slopes. Those. There is a turn of the head to the side, and then nod. As if with someone with a nod. First, the tilt of the head right and pronounce Bao, then tilt forward: "WAO", the slope to the left "Gao".

Thus, you need to go through all the consonants of the alphabet. Those. Woofing You will have the following: Bao Wao Gao, Dao Zao ZAO, Kao Lao Mao, Nao Poo Rao, Sao Tao Fao, Hao Cao Chao, Shao Schao Yaya.

It turns out every letterproof is uttered 2 times. First with raised shoulders, then with a nick's head.

2. After completed with the raised shoulders and with nodes, you will need to do this exercise with a little change.

Now we should not move the lower jaw. You need to fix the chin. To do this, clamp your chin with hand. Top pressed the thumb, bottom - fist. As if you showed someone "everything is fine," putting a thumb up, then the hand turned my hand and clung to the chin between the fist and the thumb.

They climbed the chin and lower their heads down until the bottom of the fist will be in the chest. From this position it is necessary to pronounce letters, lifting the whole head, but fixing the lower jaw.

Again, pronounce 3 lettering and then pronounce them with nodes, as in the first part of the exercise. Writeness the same.

Exercise number 4. Proper breathing

Theory

Breathing properly - it is breathing with belly. With abdominal breathing (when inhale - the stomach is inflated) it becomes possible to speak "Support" - when you breathed in the stomach, then start talking, and the stomach remains in the inhalation position. The diaphragm remains stretched, and in the abdomen is formed by emptiness, which sound with your ligaments. It makes the voice richer, velvet and beautiful.

Also in abdominal breathing, you can pronounce long speeches, do not get air.

Description of the exercise

Just inhale through your mouth or nose. Imagine that you drink air like juice, and it snaps on the tube at the bottom of the abdomen, in such an imaginable lake of juice. When inhaling the chest should not rise, only the stomach comes forward. To track it - put one arm on your chest, another on the stomach, and watch the correct exercise.

Thus, the written speech is the most complete, a large structural complexity is characteristic. Unlike written, oral speech enriched with non-remedy can be more abbreviated, situationally determined.

In communication, we are a means of achieving the attention facing in front of the speaking tasks. Uncontrollability, automatism in the use of expressive devices is one of the most important qualities of speech.

Previously, the canonized speech manner limited the possibility of truthful, true existence of the actor, led from live interaction, "the students read unusually correctly, on the comma and points, in all grammatical laws, and everyone was similar to each other on the external form, which accurately Mundir hid the inner essence man and personality. "

A.V. Efros: "Text analysis starts with an attempt to feel emotional and effective meaning."

In working on the role, the analysis begins not with the membership of the proposal for the tact and alignment of the stress. All actors and directors in responses to the appropriate questionnaire note that the text analysis is based on mastering the logic of thought and action in this situation, on which the main word depends on the distribution of pauses and stress. Logic depends on the understanding of thought, from how to open the phrase. Only then will be born, which will emphasize the main thing in thought. Emphasis should be powered by the natural logic of thought and behavior. In working on the role go from the subtext and visions. Text analysis begins not with pauses and stress, it is necessary to feel the integer, the proposed circumstances. We must try to feel emotional and effective sense.

Everything finds out in the work on the stage, along with partners, at the rehearsal. Through relations and circumstances occur, depending on the context. The logic of the phrase is always different than grammatical.

The only acceptable analysis is semantic.

Special importance K.S. Stanislavsky attached to the laws of speech, the rules of logic, the intonation drawings of punctuation marks. However, it is impossible, however, to forget that Stanislavsky delimited knowledge of laws and ways of their use in live speech. That is why he called the laws of speech, "a double-edged sword, which equally harms and helps." First of all, we must understand what we are talking about in the text that we want to say, but still not forgetting about the rules of logic. And then there can be no mistakes.

In a logical aspect, the main thing in the proposal is its ability to form and express the "meaning": a thought-judgment, thought-approval, the idea of \u200b\u200bthe question, thought-prompting, thought-exclamation. Based on its leading properties of the proposal and are divided into narrative, affirmative, questionative, motivating and exclamations. The main means of implementing thoughts are the melodic, stress, pauses and the order of words that create an intonational "formula" of the type of sentence.

The meaning of words is diverse, and their real, the only inner meaning in any scenic collision is individual, concrete, unique and is determined by the tasks of this action in these conditions and circumstances of communication. A word having a familiar value - for example, the denial "No" - may have the abyss of shades, solve different effective tasks, express different meaning, in a particular situation this word can be asked to refuse, prevent try to achieve sympathy or help, try to destroy or establish relations.

A.N. Mushrooms: "In working on role I go from the subtext and visions."

Unlike life conversation on stage, dickening purity is required, clarity speech intelligibility. In contrast to life speaking, stage speech requires strict compliance with the norms and rules of ORFOPII.

G. Tovstonogov says: "N. under what circumstances the word does not have the right to sound in itself as an end in itself, it should be perceived only through an effective process, as the final expression of this process ... When the idea is brought to the maximum manifestation of activity, when you are not on the text logic of a piece, but on an effective, then Word, as it were, becoming secondary. Evstigneev said: the word should be "subhead" by action. "

P.S. Mochalov wrote: "First of all, the actor should take consideration of thoughts and intentions of the writer, that is, to find out true that he wanted to express such words and what kind of purpose it is."

It is necessary to transmit the content, the idea of \u200b\u200bthe idea through an effective collision. Theater nature is an action carried out before our eyes, born from confrontation, clashes of ideas and actions expressed in specific actions of specific people.

The task in mastering the art of the stage speech is to make the meaning of what is happening on the stage, the performance of the performance was detected, first of all, through how people think and act, and not through how they say. This is an objective pattern of human living behavior.

It is necessary to avoid fixing the intonation pattern, speech "finish", it is necessary to rely on the authenticity of the inner life, the truth of the relationship and accuracy of the tasks. But this calculation is justified only with the very high internal technique of the actor. Otherwise, we are talking into a gravity, becoming inexpressive, poor and inconclusive.

The intonation pattern can not be fixed. There must be a living chat with the audience: here, now give birth to the text. The text is born in the stream of thoughts, and the verbal action is the result of my attitude to this problem.

R.Ya. Plyatt: "Text parsing roles starting with the searches of the subtext. Pauses come in action when the role is already "on the legs". There are no theories for them. "

Simplicity of speech - by no means "truthful intonation", not "nozzleness", but "high truth". It is born from the immersion in the essence of the image, from the correctly seized emotional grain, from his thoughts, from a deeply seized inner feeling, from loyalty to the author's style. For simplicity, every artist is complicated, difficult paths. Easy is not the result of improvisation or happy inspiration. Simplicity is not the shortest direct from the artistic plan to its implementation. On the contrary, for the artist to gain simplicity - it means to undergo a long stage of overcoming creative contradictions, spots of many of their disgraceful and contradictory techniques and skills, thoughts, ideas. But, overcoming this "element" and giving it a strict and continued form of expression, the work of a genuine artist acquires the highest meaningability and expressiveness.

For simplicity, it is primarily an image, a vision, a visible feeling of what a person says about. The poetic copyright word is born not only direct understanding of the content, but also a huge reservoir of associations.

The principle of creating a live speech is the synthesis of three truth - everyday, social and theatrical.

The speech on the stage is a process controlled from within, depending on the tasks, conditions, circumstances of communication, individual characteristics and psychophysical well-being speaking.

Living soul phrase is learned from the inside, but is checked in an honed form.

The speech characteristic is by no means reduced to the dickening and voice adaptation, which can be imitated by individuality. We are talking about the characteristics coming from penetration into psychophysical nature, the image of the thoughts and actions of a person in the proposed circumstances. This plan of the speech image is born as a manifestation of the faithful inner life of the actor in the role and in turn actively affects the formation of the truth of behavior.

Very many qualities in the speech characteristic of the image determines the top-defense role.

E.A. Evstigneev: "Empitions should eat natural logic of thought and behavior."

Speaking of expressiveness of the stage speech, it is necessary to emphasize the most important feature of modern acting art: the lack of fixation of the intonation pattern of the role.

That's how it tells about the search for speech expressive role A.I. Stepanova: "I don't think about intonation never, it is born from visions and evaluations, changes from different relations to people - up to details - to their age, degree of acquaintance, situations and tasks. However, in the process of rehearsals, "Kanva" is born the role, as its K.S. Stanislavsky; The logic of behavior, thinking, relationships, affecting and in the miceanzé, and in general, tone, and in the speech drawing of the role. Already to the general there is a schematic speech score, but the subtleties of its new paints arise improvisational on each successful performance. "

The word does not begin with pronouncing it out loud. It is caused to life with life itself, a continuous flow of reactions to facts of reality, an assessment of the proposed circumstances, thoughts, desires, people's communion.

Perception, understanding, the assessment is in close dependence on its own experience, are determined largely by his personal assessments and are always felt as objective "in their sense", depending on the context.

In essence, in the exchange of "meanings" and the interaction is the active process of communication between people, "the action of one on the other", as V. Belinsky said, a specific, purposeful, organic verbal action.

O.P. Tobacco: "The analysis of the text role is just not with pauses and not from stress - it gives rise to an inanimate process, normalized behavior."

In every text, life or scenic, there is a mystery of the subtext (which I really want to say) and the mystery of an effective task (which I want to achieve this to get from the parters).

All the time at rehearsals is specified by the subtext, "the meaning" is deepened.

Nemirovich-Danchenko deliberately opposes the logical meaning and effective sense of the phrase, it warns against the superficial perception of words, unequivocal, extraimatic, extractive existence.

Speech on stage, as in life, belongs to a person - an individually unique personality, with it inherent in characteristic features, emotions, temperament, his personal expressive qualities. The unique perfect phenomenon is the most interesting on stage.

There is no good speech "in general", it does not happen in different circumstances and conditions. The characteristics of speech are mobile, are not stable, closely related to the situation and the motives of speech, the psychological and physical condition of a person, the nature of the relationship between partners.

Externally, the grammatical content is much poorer than the subtext transmitted along with the text expressing the "meaning" of the message.

In writing speech in the transmission of "meanings" also helps the context, and signs of punctuation, and syntax, and the author's remark. In oral speech, "meaning", the decoding of the subtext occurs, first of all, using all non-non-non-non-speaking codes. Together, they express all the complexity and wealth of the psychophysical life of a person, the content of the subtext, the specificity of effective tasks.

A genuine discovery appeared in theatrical practice, the idea that the inner state of the person, merged with his physical well-being, determines, forms the sound of the text.

It is necessary to transfer the essence of the nature of their hero, revealing its individual, personal "way to think", the thinnest internal processes behind the simple plot events.

In the work on the role, the analysis begins with the analysis of the text based on mastering the logic of thought and action in this situation, on which the main word depends.

E.A. Lebedev: "The logic depends on the understanding of thought, from how to open the phrase, only then the emphasis will be born, which will emphasize the main thing in thought."

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Speech - the decoration of the soul. Lutions Anne Seneca

Stage speech is a mandatory discipline in program preparation programs, pop artists, actors of theater and cinema, speakers, sports commentators and other specialists related to public speeches. The voice and speech of the artist is a flexible multifunctional tool that serves in both informative and expressive purposes. Exercises on stage speech on diction help improve voice sound, make it pleasant for listeners.

The minimum requirements for the speech of the artist:

Speech should be loud, correct and picky: even a whisper from the scene should be heard and understood on the last row of the amphitheater.

The artist must own the technique of proper breathing, which allows you to speak loudly and even scream without taking ligaments. Skillful artists do not break the voice even with long loads.

Unfortunately, talent from God in this area does not happen in general, except for the talent of a pleasant voice voice. Everything else is achieved by daily workouts and regular practices. Morning most artists begins with articulation and respiratory gymnastics, many of them have a useful habit of reading out loud.

Exercises for beginners

Before those who are just going to make the first steps towards the development of the stage speech, there are two priority tasks:

Strengthening and developing the speech apparatus.
Evaluation of the shortcomings of speech and selection of exercises for their correction.

To understand which problems are inherent in your speech, read a small prosaic passage to the voice recorder. Get ready for what you heard will not please. Most people do not make the sound of their voice in the record. In addition, all the shortcomings of the diction, which you used to ignore in everyday life, are heard and noticeable. It is very important to cope with the first disappointment: you start from scratch, an imperfect speech is normal. People are not born with ideal diction, all the greatest artists and speakers passed through the process of speech formulation.

Very often the ineffective pronunciation of individual sounds is associated with the weakness of the muscles of the articulation apparatus and facial muscles, etc. "Lazy" articulation. Impeccable dictation is like posture: it is impossible to slouch in everyday life and be slim on the ball or on a soul in the evening. To be slim, you need to monitor each minute and not allow yourself to relax. The same applies to speech: if in everyday communication you allow yourself negligence, then over time they will steadily grow into speech flaws.

Articulating gymnastics for strengthening and developing the speech apparatus

Pull the lips with a tube as stronger and slowly, with the voltage, make circular movements into one, then to the other side.
Pull the lips with a tube, pull them into the nose, then to the chin, to the right cheek and to the left cheek. Through all my might, do not spare yourself. In the process of exercises, the muscles of the face must be tired to pain.
Imagine that your face will stretch first horizontally into a wide smile, then vertically in a grimace with an open mouth and lowered by the lower jaw.
Tighten the language of your mouth and pull them forward as you can.
Wide open your mouth, drop the language as far as possible from the mouth, move the language from one corner of the lips to another and back.
Take turns strongly slightly tongue into the right and left cheek.
Make circular movements in the outer surface of the teeth, under the lips, in both directions.

Classes for advanced

Under the word "advanced" means a person who has already mastered voice and diction. The next step is to work with text material for it. The priority task here is not only a temporary and correct, but also expressive. This includes:

Logical analysis of text.
Work with intonation.

Logical analysis of text

In life, we do not think about the logic of speech, since by default we are wearing a speech in accordance with the logic. Otherwise, it simply cannot, because we express our own thoughts and invest our own emotions. We intuitively allocate intonation the main and reinforcement of their minor words, withstand logical pauses, keep the right rhythm, etc. It is simply, since this is our. But the text we're going to read before the public is not born in our heads here and now, however, it was exactly the impression in the ideal of the listener. Exit - to analyze the text, decompose it on logical components and work in accordance with them. What they happen, these logical components:

logical block - a self-sufficient segment of the text, carrying its own completed thought, in prose usually corresponds to paragraph;
logical pause - there are several species, corresponds to the punctuation signs (pause after the comma, after the point, after a question mark, after a logical block - different);
emphasis - meaning a strong word that is accentuated in the text, the strokes are paramount, secondary and third-haired;
temporithm - This acting term means a combination of internal action (rhythm) and external expression (tempo). Speaking easier, this is the speed of reading, justified by internal motivation. If your speech is a philosophical monologue of a bored person about the fraternity of being, the speed will be alone. If the inner speech of the prisoner running away from the chase is the speed is completely different. If you change these two speeds in places, both monologues will sound fake and unconvinc.

Exercises for intonation flexibility

The number of intonation shades that you can use in speech depends on the flexibility of the voice and the latitude of its range. Intonation exercises and exercises to extend the voice range can be combined.

Throughly and continuously pull each vowel sound from the vowel table (and, e, o, o, a, s) from the lowest notes that can be taken, to the highest and back. To this exercise, add a simple action, for example, to be outrageous, surprised, get frightened, appease, disappear, die, etc. Each of these verbs corresponds to its intonation.
Choose a word, phrase or a small offer and beat as many intonations as possible corresponding to various actions (verb in an indefinite form). Infertise yourself unexpected actions, find the best shades of intonation, change words, combine different actions between yourself, etc.

Exercises for children

For kids, the concepts "stage speech" does not exist, or rather there is no difference, whether the exercises for the general development of speech or exercise on the development of the stage speech are carried out for children. The speech apparatus is still fragile and vulnerable, it is easily harmful to too large loads, and the result of these loads at an early age will be almost impaired. Intensive classes for voice and speech should be started when the voice is formed and strengthened, i.e., in 16-18 years at least. Now it is much more important to give the development of the child's speech to the right direction. First priority should be given:

strengthen muscle muscles and facial muscles;
staging and correct articulation of sounds.

Articulating gymnastics for children

The lips are closer, the child smiles wide. The position is fixed for a few seconds.
A child smiles wide, showing all the teeth. Fix for a few seconds. You can alternate with the previous exercise.
The child folds the lips with a tube and pulls out as far as possible.

For muscles of the language:

The child opens his mouth, suits the tongue, alternately lifts it to the upper lip, then lowers to the bottom.
The child sucks a narrow language as far as possible from the mouth, then hides it as deep as possible in the mouth.
The tip of the language concerns the upper lip and, without breaking, moves along it from side to the side.

For sub-band ligaments:

Casting language, as a horse runs.
Language is needed with force to press alveola and fix the position. The mouth is open.
The language is pressed to Alveola, the child opens and closes the mouth. Opening your mouth should be as wide as possible, it is impossible to pull out the language.

The presented scenic speech exercises for children will help strengthen the facial muscles, which will later serve as a good base for voice formulation.

To obtain an objective assessment and recommendations regarding your voice, the lessons of stage speech with a good pedagogue are needed. He will teach properly to extract sounds, puts his breath, improve the voice and vocal data.

Lesson on stage speech. Exercises for a weakened lower jaw. Exercises for diction