Speaking of reciting, many people always think of the stage, or the classroom, or related chat rooms. In fact, recitation really needs specific occasions and contexts to set off an artistic conception. Let me talk about my superficial views on recitation.
First, the relationship between Mandarin and recitation. I compare Mandarin to the root of a big tree. With roots, the trunk can be firmly tied to the ground, but many friends will ask, why do you learn Mandarin well but can't recite it well? In fact, Mandarin is the basis of articulation and pronunciation. For reciting, we need to understand the use of breath, the sliding of words, the way of sentence breaking, the grasp of artistic conception of the article, and even the combination of music. If we carefully study the teaching books of Putonghua, perhaps the problem will go deeper, especially the problem of leveling and intonation. Pronunciation is often strict in exams, and the examination of emotional application and timbre control is not so detailed. Therefore, any art or skill needs in-depth understanding and practice to understand the difference between birth and major. Great Mandarin doesn't mean great reading, nor does it mean strong dubbing or other professional skills. This should be clear, the foundation is there. This is the key to open the door.
It's not a martial arts secret. . .
Second, what are the main points of reciting? What I said just now is more general, so the answer to this question needs details. First of all, our premise is that you have a foundation of speaking Mandarin, so do you have literary literacy, or do you have a good sense of reading words? This is related to reading and personal accomplishment. Why do you ask? Because you must master the meaning of words and even the writing background before reciting. How to express the scene in the text with sound has become a problem that we have to think about. For example, we usually choose modern poems or ancient poems to choose materials. Then we should deeply understand the artistic conception in the poem and the author's creative period. If your reading experience is integrated into the text, you can be there, so that you and the audience can slowly and quietly experience the scene, the person, the event and the moment of writing in your voice. Secondly, there should be ups and downs in the emotion of sentences, and there should be obvious contrast between coherence and fault. What is often said is cadence, but what is mentioned is not climax, and what is frustrated is not foreshadowing, which will cause a big drop. Reading should be combined with the understanding of words, and even one's own understanding can conform to the logic of language, so as to truly appreciate the ups and downs and emotional trends in this article, so that people's ears can hear the main idea and let people follow your voice. In addition, some friends put too much emphasis on enunciation in recitation, ignoring the transition of feelings, slips and paragraphs, and a little lost the meaning of watermelon picking sesame seeds. Pay attention to recitation, which also has its melody and sense of language. You can't forget important feelings just to pronounce words.