Methods of reciting a good poem 1. Choose a good work and understand it deeply.
Poetry. Generally speaking, it can be divided into two categories, metrical poetry and free verse. Metric poetry, also known as old-style poetry, also includes words in a broad sense, collectively referred to as old-style poetry. Free verse is also called new verse. In China, new poetry mainly developed after the May 4th Movement with the rise of vernacular Chinese and the influence of western poetry. Whether it is metrical poetry or free verse, as a professional exam recitation, we must first choose the works and understand them deeply.
Because not all poems are suitable for reading. Choose a good work need to pay attention to the following points:
First, strong feelings, with a certain range of changes and contrast.
Second, the language should be catchy, and the poem itself has a strong sense of rhythm, clear rhythm ups and downs, vivid image and certain impact.
Third, the content of the work is easy to understand and not profound. It looks hard to understand, and it won't be good to recite.
Fourth, the work must be what you like. Even if the works recommended by others are no matter how good, the reciter himself has no feeling, can't arouse the desire to recite, and is not suitable for reading.
Fifth, the length should be moderate, not too short or too long, and complete.
Generally don't choose works with excerpts.
After selecting a work, you must try your best to understand it deeply. In-depth understanding includes not only understanding the original intention of the work, but also understanding the time and writing background of the work, as well as the author's life, creation and other related works, rather than simply understanding the general meaning and then reciting it on stage. The language of poetry is very concise, and the seemingly easy-to-understand sentences often have profound meanings behind them, which are beyond the superficial understanding. A profound understanding is to accurately grasp the feelings of a specific era reflected in poetry and express them accurately. If we don't deepen our understanding of the above background things, it may be an emotion of the present era, which is inaccurate.
2. Feel the artistic conception with true feelings
Artistic conception refers to the realm and artistic conception of poetry and other literary works through image description. No matter whether it is a metrical poem or a free verse, it is hard to say that it is a good poem without artistic conception, and the reciter can't express artistic conception, so it is not good to recite. Recitation without artistic conception, superficial feelings and changeable voice forms can't make up for this fundamental deficiency. Feeling artistic conception requires thinking, imagination, aftertaste, expectation, and grasping specific and subtle ideas and changes. At the same time, on this basis, we should arouse strong feelings and "guide the situation."
First of all, poetry is usually full of metaphors and symbols. If you don't pay attention to artistic conception, you will often be dazzled, such as falling in the clouds and fog, and you will accomplish nothing.
Secondly, the language of poetry is concise, which shows countless phenomena in poetry. Without feeling the artistic conception, it is confined to words, so poetry cannot be expressed.
Thirdly, the language of poetry is jumping, which increases the capacity of poetry. If the reciter can't express the internal procedure in the leap of poetry and read the sentence horizontally, the artistic conception can't be expressed.
Fourth, lyrical context, starting from the whole poem, is triggered under the premise of artistic conception to avoid fragmentation.
Take Prison Song as an example. The author is in prison and indomitable, but he is not confused in the face of inducements and has lofty aspirations.
The contrast between human body and dog hole, "freedom" and eternal life is simple and clear, resulting in a grand and lofty artistic conception. When reciting, you must mention the whole article, convey the sensibility of artistic conception with concrete and vivid metaphors and symbols, and give full play to the appeal of artistic conception.
What needs to be pointed out here is that reading is the most taboo to illustrate metaphors and symbols without overall artistic conception, which makes poetry reading seem boring.
The doors that people come in and out are locked,
The hole the dog climbed out of was open,
A voice was shouting:
"? Climb out and set you free! "
I long for freedom,
But I know,
How can a human body crawl out of a dog hole!
I'm looking forward to it,
The underground fire rises,
Let me and this living coffin,
Burn it all.
I will live in fire and blood forever!
For example, "Climb out and set you free!" It is the poet who speaks what he sees and feels, not the lobbyist, so his expression is full of hatred and negative emotions, which adds to the poet's sincere heart. If the reciter suddenly expresses himself in an enemy's tone, even in a strange tone, the artistic conception will suddenly disappear. For example, "I will live in fire and blood forever!" " "This is an expression of the poet's deep expectations and self-encouragement. If the reciter adopts rising tone to increase the tone weight, it will destroy the artistic conception.
Therefore, we must grasp the artistic conception as a whole and avoid falling into the wrong path of illustration.
3. Grasp the tone and emphasize the rhythm
Tone refers to the color and weight of the whole ideological and emotional movement, and it is the general attitude and emotional tendency. Rhythm refers to the rhythm and rhythm of poetry and its recitation. Tone is a global and holistic problem, so we should pay attention to the overall color, that is, the basic attitude and feelings, which restricts the expression color of every specific sentence, paragraph and line; At the same time, we should also pay attention to the overall weight, that is, the degree of attitude and emotion. Correctly grasping the tone is the approximate color and weight of reciting, that is, the approximate tendency, direction and intention.
The determination of the tone, with special emphasis on the overall feelings of the written works, and then refined into the specific feelings of groups and individuals. Finally, the whole takes care of the individual, and the individual echoes the whole.
The sound expression of timbre is inseparable from pitch, sound length and sound intensity, but it emphasizes the changes of timbre, such as light and shade, tightness, cadence, cadence and vividness.
Grasping the right tone, recitation will have a basic direction and will not deviate from the basic direction.
Rhythm is the life of poetry and the key to the success of poetry reading.
Because the number of words in metrical poems is certain, it is very important to reflect this feature in recitation and let the listener feel it. Pause can't even break her format, can't disturb the rearrangement, that is to say, punctuation in written language is consistent with the position of pause when reading, and can't show the appearance that the number of words seems uncertain.
In addition, metrical poems should also reflect certain stanzas. A node contains the meaning of step and rhythm. There are certain stanzas, which are reflected in the rhythm of the poem, because the density of words in the sentence is roughly similar. Different metrics have different language sections, so we can't mess around.
For example, a five-character quatrain is divided into two parts:
In front of the window | bright moonlight |,
It is suspected that it is frost on the ground.
Looking up at the bright moon,
Bow your head and miss your hometown.
For example, the seven-character quatrain is divided into three paragraphs:
Acropolis | Morning Rain | Light Dust |,
Guest House | Qingqing | Willow New Residence |.
I advise you to do more. A glass of wine |,
Go on a Journey to the West | Yangguan | People without a cause |.
In addition to a certain number of words and a certain number of poems, the recitation of metrical poems should also pay attention to the echo of rhyme and homophonic. In the case of a certain number of words, stanzas and rhymes, even words correspond to each other, so it can become more scattered and rhythmic, making people feel sonorous and beautiful.
The reason why free verse is uncertain is that its number of words, stanzas, levels and even rhymes are uncertain. It is more important to grasp the rhythm and pay attention to the taste of poetry. When reciting, if you don't grasp the rhythm, you will only have "freedom" and lose "poetry", and poetry comes from the rhythm. The rhythm of free verse recitation not only embodies the beauty of artistic conception, but also shows the beauty of phonology. If you are good at grasping the rhythm, poetry will stand out. Here, first, we should pay attention to echo symmetry; second, we should be good at ups and downs and be smart. Of course, we should also avoid subjective and random ups and downs, which will confuse language festivals, verse lines and verse festivals. It sounds like ups and downs, but it actually destroys the form of poetry and disrupts the rhythm of poetry. Due to the reader's subjective and arbitrary handling, it may destroy the poet's rigorous conception and layout.
4. Grasp the key points and see the climax
Poetry recitation in professional examinations, although faced with only a few examiners, also belongs to "public recitation". The most taboo of public recitation is prosaic and indifferent. When reading poems in public, we should pay attention to the "climax", that is, at the most critical moment, we will be shocked by extremely powerful and enhanced expressions, which will make the listeners have a strong "peak experience". The emergence of this effect is to grasp the key points, focus on expressing the key points and climax, and pay attention to:
First, the key points such as the finishing touch, he expounded the spiritual essence of poetry, the high point of emotion, the direction of meaning and the artistic discretion.
Second, the point is not simply to aggravate the sound, but that the sound must be different and the effect must be extraordinary. The point is the axis, not the road sign.
Third, the focus is not a simple intellectual product, but also an emotional product, not only a "semantic interpretation", but also an expression of linguistic interests (rational interests and interests).
Fourth, the key points should be few and precise, and should not be scattered and mixed. Only a few can be outstanding and profound.
Fifth, non-key complementarity still exists in comparison and appears in comparison.
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