First, based on sincere feelings
A truly excellent reciter touches the audience by conveying sincere feelings with his voice. When reading aloud, the voice and emotion should come from the deep heart and properly convey the poem that the reciter really understands. It is not deliberately exaggerated shouting or feminine affectation, nor is the audience infected by the form of strong voice "performance", but a phenomenon of "usurping the role of the host" Therefore, before reciting, the reciter must be clear about the main process and purpose of reciting, and abandon the artificial, exaggerated and disgusting voice expression.
The reciter should deeply feel the poet's emotions with sincere feelings, and then present appropriate vocal skills. This can be achieved through the following three steps:
Interpretation of poetry: The so-called "interpretation of poetry" means correctly analyzing and deeply understanding the thoughts and feelings of poetry, and exploring the poet's creative motivation and conception of poetry. This can be achieved by the following steps:
1, Familiar with Poetry-Mastering the Author: Mastering the author's creative thoughts and ideas about poetry is the best and most direct way.
2. Deep understanding of poetry: it is not enough to analyze this poem literally. In addition to mastering the author, we should also explore the author's creative intention and motivation based on our own thoughts and feelings. Then analyze the inner meaning of every paragraph, every sentence and even every word. Not only that, but also gradually transform the thoughts and feelings contained in the poem into their own thoughts and feelings, and then recite them until they can't help but say something.
3. Mastering the keynote: "Keynote" is the overall way of "theme awareness" and "theme presentation" of the whole poem when reading. The tone of a poem may be sad, cheerful, inspiring, sad and so on.
4, into the poem
The first person to enter the poem should be a reciter. The reciter was deeply moved by the poem because of his profound understanding of the poem, then moved himself with rich and appropriate voice and emotional expression, and finally moved the listener, both of which entered the realm of the poem.
In order not to make the reciter misunderstand the poet and the poem, therefore, the reciter has three tasks before reciting: one is to correct the pronunciation of words, and the other is to imitate the state of words that the author wants to express according to the theme of the poem. For example, "cold" is "biting cold"? Still "ice and snow" cold? Or "cold in spring" cold? As for the third level of abstract experience, the reciter needs more practice and tries to grasp the nuances. For example, "gratitude" in Snow with Cold Body and Cold Heart, or "despair" in Cold World with Cold Body and Cold Heart, think about how these two completely different emotions are presented by sound. Through these three lessons, the attentive reciter can use his voice to properly convey the profound emotional part he feels.
After deeply understanding the meaning, state and realm of words in poetry, the reciter must lead the emotional tentacles to the author or work, and then deeply understand the author and work from the emotional point of view. At this time, it is necessary to accumulate the daily learning experience and life experience of the reciter. Therefore, when choosing the theme of recitation, if we can choose poetry according to the reader's own age, course and life experience, I believe there will be sincere feelings as the backing. On the other hand, if the distance is too large, the reciter may be very difficult and easy to be melodramatic in interpretation.
"Perfect recitation" is an uninterrupted test for the reciter, so we should grasp the importance of "poetic sentiment" and "sound sentiment". What is important is that the reciter is based on sincere feelings, and whether the audience has received the "poetry" conveyed by the reciter. As for the technique of "full of sound and emotion", it is necessary to be competent as a pusher without trace.
Second, to enrich feelings as a method.
The voice is expressive, but most people don't pay special attention to it. Think carefully, we can often find others' happiness, anger, sadness and joy from their intonation and tone. This is the so-called "voice expression".
A way to express poetry.
1, the word is:
2, round cavity: the voice is full, round and beautiful when chanting, and the tone is euphemistic, round and beautiful. "Round cavity" is a new requirement for sound. If the reciter only achieves "correct pronunciation" without "round cavity", then even if the pronunciation is very correct, it sounds unemotional and unpleasant, just like a robot speaking in a flat tone. Therefore, "harmony" is the second important basic requirement of recitation.
(1) Correct breathing mode-It is best to use "chest-abdomen combined breathing" when reciting, with the deepest inhalation and the strongest and longest exhalation, and sufficient breathing power can be given when reciting.
(2) Pay attention to the supplement of breath, that is, pay attention to the use of "breathing" and "stealing gas". The so-called "breathing" usually refers to the inhalation after singing one sentence and before singing the next. Because of the long pause between the two sentences, the breath inhaled during "breathing" is deeper and more. The so-called "stealing breath" usually means that when singing, as long as you feel that your lungs are not full of breath, you will quickly take advantage of the changes in the sound, pitch and feelings of the words and unconsciously inhale a small amount of breath instantly. When "stealing gas", a small amount of breath inhaled is very shallow and only reaches the upper chest.
(3) Sincere feelings
(3) Appropriate sound presentation
1, disconnect:
Refers to the interruption and continuation of sound in the reading stream. Simply put, "pause" is the state of "pause" and "connection" in poetry reading. It should be noted that "pause" is not "rest". When facing a new poem, the reciter should first read the content of the poem clearly, grasp the connotation of the poem, and analyze the relationship between words, sentences and paragraphs clearly. Using disconnect is the first step. The purpose is to make the meaning of this poem clearer and more correct.
For example, the sentence "the most expensive card is worth $800" can be disconnected in the following four ways:
1 The most expensive one is also worth 800 yuan. The most expensive one is worth 800 dollars.
The most expensive one is worth 800 dollars. The most expensive one is worth 800 dollars.
We can see. 1 No pause, unclear meaning; There are too many pauses and fragments, which still have no clear meaning; 3 and 4 have different meanings, but the meaning is clear, but they are the same. 3 means that a painting is the most expensive, selling for 800 dollars; That means there are several expensive ones, each of which can sell for 800 yuan. This is because the hanging position is different, which leads to ambiguity.
The methods of stopping the connection can be divided into "big pause", "small pause", "tight connection" and "slow connection" for mutual application. From the perspective of pause, "big pause" refers to the long-term radio reception and presentation between words, sentences and paragraphs because of poetic needs. But as far as connection is concerned, it is actually a "slow connection". On the contrary, "small pause" is "tight connection", which makes the radio station stay between words and paragraphs for a shorter time. Of course, in the presentation of general pronunciation, discontinuity can not work alone, but must be combined with "stress", "tone" and "rhythm" to fully show the richness of pronunciation.
2. Pressure:
A word or phrase, even a syllable, that needs to be emphasized or highlighted when reading aloud is called stress. The same sentence, with different stress, has different meanings. As follows:
I know he can sing. I know, you don't have to say. I know he can sing. (I mean he will, not others)
I know he can sing. I know he can sing. He can sing, but others can't.
There are five ways to express pressure: seeing strength in strength, seeing height in low, showing slowness in fast, turning reality into emptiness, and stopping halfway. If the reciter can make good use of the level of stress and the contrast effect, he can achieve the purpose of expressing poetry with stress.
3. Tone:
As far as the sentences read aloud are concerned, there are not only the internal colors and components of thoughts and feelings, but also the external sound forms of high and low, strong and weak, fast and slow, and virtual and real. Combining these two aspects, we call it "tune". The same sentence will have different meanings because of different expressions of tone. For example:
No way! (resolutely. You can't do it if you say no)-the tone of refusal.
No? (all right! Say yes! Can you! )-a hesitant tone.
No? (How is it possible! I thought you would say yes. )-the tone of doubt.
No? You are killing yourself! I can't believe I said no)-contemptuous tone.
No way! Sorry, actually I can! )-the tone of expectation.
When we say "the tone is wrong", we should have the following three meanings:
1. Improper use of words and syntax; 2. Incorrect attitude and distorted feelings; 3. Inconsistent voices and disordered breathing.
As can be seen from the above explanation, the discussion tone can be explained by two conditions: internal thoughts and feelings and external voice forms. As far as inner thoughts and feelings are concerned, we should strive to be sincere and touching when reciting, and whether the overall sound and emotional expression are appropriate depends on the colors presented in the timbre. Love, hate, sadness, joy, fear, desire, worry, cold, anger, doubt and other emotions can be expressed through timbre, which also expresses the emotions in the poem. As far as the external voice form is concerned, we should first understand the relationship between tone and language potential. "Language potential" refers to the trend and situation of sentence development or progress in spoken language. In fact, the study of tone, intonation and language potential cannot study the sound form of sentences in isolation, but should analyze and grasp the main body of recitation-poems, paragraphs, sentences and words according to the development trend and trend of poetry, instead of blindly pursuing ready-made formulas, which will lead to monotonous and unchanging tone presentation.
1, rhythm:
The so-called rhythm is characterized by equality, that is, the length of time is the same, and it is recorded through the reinforcement of replication and recovery. The so-called "reappearance over time" is what most people call "shooting". As far as music theory is concerned, the notes in a bar have an equal stress at regular intervals, and the strength of each stress is the same, which is called "beat". The rhythm keeps going back and forth, which also creates the "rhythm". It can be said that beat is the basis of rhythm, and rhythm is based on bars. Therefore, rhythm is the whole backbone of the whole music. And strong notes are the backbone of beats and rhythms. Apply the above music theory to recitation. For recitation, rhythm is the backbone of the whole poem, which controls all the sound elements, grasps the transformation or creation of atmosphere, and expresses the tone of the poem through constant reciprocating. Among them, stress is the most important factor of rhythm change.
When reciting, the reciter will make a "pause" analysis of the poem, which is actually a "syllable" job. How to present rhythm with syllables? For example:
He likes singing. He likes singing. He likes singing.
He likes singing. He likes singing.
These divisions can help us realize that the ball speed is different in tone and rhythm even in the same sentence because of the differences in language purpose, language environment and specific thoughts and feelings.
Therefore, the change of rhythm lies in the application of the tightness of word spacing and sentence spacing. Of course, stress is the most important part of rhythm. The traditional way of reciting makes people feel disgusting and pretentious, because the division of syllables is always a fixed group of two or three words. No matter whether the poem runs through or not, even the last word should emphasize the extension of the ending. No wonder the rhythm of veneering is presented in this way, which is not good-looking or pleasant to listen to.
Rhythm and speed are also closely related. Speed is also the use of word spacing and sentence spacing. Taking small syllables as an example, there are few words in the section and the speed is slow; Memorize more words, and the speed will be faster. For example:
He likes singing. 2 He likes singing.
The same is "he likes it", but "he likes it" in 1 is memorized faster than "he likes it" in 2. 2 "He likes it" is slowly recited. So speed is also a relative relationship, not an absolute relationship. Therefore, when reading aloud, if the speed changes, we must grasp the principle of "fast first and then slow, slow first and then fast".
The presentation of the above four kinds of voices cannot be done alone, and they are indispensable.
Stop linking, solve the density relationship between words, phrases, sentences, paragraphs and levels, so that the meaning is complete and clear, and the feelings are properly hidden. But only when the tone is accurate and appropriate, the position and time of pause will have vitality; And the error of stopping the connection can also cause improper tone.
Stress solves the primary and secondary problems in sentences and paragraphs, making the language purpose clear and focused. However, only driven by tone can stress be more cohesive and expressive; However, inaccurate stress and inappropriate expression will also cause ambiguity in tone.
As for the rhythm, the circulation specific to the abdomen does not depend on the tone, and of course it will be eclipsed and blurred. And rhythm can add luster to the tone in the transition from circle to abdomen.
We can say that tone can dominate pause and stress and form different types of rhythm. At the same time, the different changes of pause, stress and rhythm are mainly reflected by tone.
Third, it is assisted by proper etiquette.
Any art form that needs to be performed on the stage, such as drama, dance, cross talk, etc. The body language conveyed by the performer's overall posture is very important. However, it should be noted that on the stage of drama, expressions and actions are "main"; On the stage of reading poetry, expressions and actions are "things". Expressions and actions can't usurp the master's role and damage the "recitation" of poetry, so the scale of this period must be properly mastered. The so-called "fit" is of great significance. Dull and expressionless is not only bad, but also inappropriate, inadequate and bad; What is particularly terrible is over-exaggeration. As for the "expression", no matter the face, body or limbs, there is no need to exaggerate. As long as you go with the flow and trigger your inner emotions with the situation in the poem, it will naturally affect the whole body and mind, and the dancing of your hands and feet will be reflected.
Generally speaking, the eyes are the most important. Vivid eyes are the most basic requirement of all body movements. If the eyes are trance-like and unfocused, even if the expression is realistic and the behavior is natural, the audience will feel a lack of realism. But as far as group recitation is concerned, if everyone's eyes are vivid and focused, it will be difficult to train.
But after strict training, vivid eyes can have the following three conveying effects:
focus one's attention on
From the reader's eyes, we can immediately see how dedicated the reader is. Through the depth of concentration, we can see whether the reciter's attitude in interpreting poetry is respectful and wholehearted. If the reciter himself is very focused on the poetic realm, it can also lead the audience into the poetic realm. If the reader's own eyes are wandering around, how can he convince the audience? In terms of methods, we can convey the degree of concentration by dealing with the stop of sight and eye movement.
(2) Image communication
In recitation, of course, most of the image transmission is presented through the emotional expression of sound. However, eyes also play an important role. For example, when the reciter is impassioned, the expression of eyes is weak; When the reciter is sad, his eyes are bright. At this time, no matter how rich and appropriate the voice of the reciter is, if the eyes are wrong, the overall feeling will be stale. For the audience, I think sound and emotion are out of tune with poetry. Therefore, when reciting, the eyes should cooperate with the poetic presentation to convey the unspeakable vivid image in the poem.
(3) Enhance the image
For recitation, the presentation of props on stage is not the key. On the stage, it is impossible to get all the props ready one by one. At this time, you can use good eye cues to let the audience imagine. Through imagination, not only can the space of the stage be infinitely enlarged, but the audience can also easily enter the poetic world of his imagination. For example, if you recite "The Mountain", the reader's eyes will naturally look up. If it is a very high mountain, we should extend our eyes continuously and slowly upward to show the image of "very high". In terms of methods, the reciter can make good use of the way of eye movement or the way of eye stop to achieve the effect of increasing images.
In short, if the eyes are vivid and flexible, there is no need to design the movements of the limbs, and the manners can naturally convey poetry appropriately. Expressing with sincere emotions and rich voices and conveying the artistic conception in poetry in an appropriate way can move people's hearts more.