Voice & Speech ELLIE DARVILLE

The Voice 

The voice is one of the actors most important tools. And like any tool that is used to create something it must itself be in good condition and well maintained. 

‘There is place in the theatre for voices of many type, but no room whatsoever for a voice that is incorrectly managed, or for voice and speech that is not appropriate to the play.’1

Personal Voice and Speech Program (LO 3.1)

As an actor there is a need to have in place a weekly regime that focuses on improving and maintaining a high quality of speech. 

I will be negotiating a personal program aimed at developing my voice and speech. Firstly  I will be reading a poem to vocal teacher Ellie Darville who will asses my speech, and then talk me through the areas of improvement I need to focus on.

The areas I need to focus on are

• Syllable  skipping

I have the tendency to miss syllables out of words rather than pronouncing every syllable

• An Uneducated tongue

I need to work on the placing of my tongue as I pronounce certain words. But also extending vowel sounds within the words.

• Ringing “G”   

There is an ringing “G” sound at the end of words that end with the letter G. 

Thin “g” ,  ringing “g” and sometimes  the  “k” sound.  Not thinK but thinG

• Sibilance  “S”  essy sound. 

Taking the “S” sound off the end of words

• “R” sound needs a little work 

• Work on developing lower resonance 

Personal Program Exercises (LO 4.1 & 4.2) INCLUDED VIDEO’s

I have researched exercises from voice and speech practitioners that will assist me in my areas of improvement. 

• Syllable Skipping 

In everyday life unstressed syllables are often dropped, but on stage that cannot happen.

This exercise was taken from “Voice and Speech in the Theatre”
These passages demand much agility when spoken at pace

                             I am the very model of a modern Major-General,

I've information vegetable, animal, and mineral,

I know the kings of England, and I quote the fights historical

From Marathon to Waterloo, in order categorical;

I'm very well acquainted, too, with matters mathematical,

I understand equations, both the simple and quadratical,

About binomial theorem I'm teeming with a lot o' news,

With many cheerful facts about the square of the hypotenuse.

I'm very good at integral and differential calculus;

I know the scientific names of beings animalculous:

In short, in matters vegetable, animal, and mineral,

I am the very model of a modern Major-General.

• Uneducated tongue 

I have a series of exercise and tongue twisters that focus on developing my tongues agility

Run your tongue round the inside of your mouth, push it between your lips, up round the outside of your teeth, over the roof of your mouth and down on the base of your mouth. Do this for 10 seconds.

Say lah lah lah lah lah lah lah ......at an easy speed. Do this 5 times, feeling the tip of your tongue curl up to touch just behind your top teeth.
Then do the same for some back of tongue sounds:

kuh kee kah – kuh kee kah - kuh kee kah guh gee gah - guh gee gah - guh gee gah kuhtahkah– kuhtahkah- kuhtahkah kuh guh kee – kuh guh kee – kuh guh kee 

Tongue Twisters

     The lips, the teeth, the tip of the tongue,
     the tip of the tongue, the teeth, the lips.

     A box of biscuits
     A box of mixed biscuits ,and a biscuit mixer

• Lower Resonance 

Humming exercises are used to develop the voices resonance. 

Standing with good posture, head balance, chin level, jaw relaxed, tongue flat, take a moment to breath inviting throat and neck to relax. Then take a breath a make a mm-hmm sound as if you are agreeing with something, putting awareness on bone in-between the upper lip and nose, the 'maxilla', aiming to feel vibrations there.  Then changing the mm-hmm sound to hmm, as if pondering something imagine the sound arching gently up and down.

This is a link to a 2 minute resonance exercise

http://www.nationaltheatre.org.uk/video/vocal-warm-up-2-resonance

• Ringing G

To correct the ringing g sound I have at the end of some of my words I need to develop the root of the tongue. 

Jaw and tongue root exercise 1:

Speak a descending scale with ‘yaya’ on each note. Firstly do this while gently biting your thumb – this will keep your jaw still and make your tongue work harder. Next place your thumb under your chin, feeling the soft part just behind the jaw-bone and speak the scale again – feel your tongue moving but not pressing down. Keep your jaw loose and not moving forward.

Tongue tension can be felt by placing the thumb under the chin, behind the jaw-bone. Any consistent downward pressure on the thumb indicates tongue tension which will be pressing directly onto the top of the larynx. 

Tongue root exercise 2:
With your tongue sticking right out, bite onto your tongue to make a ‘th’ onset. As you release the teeth/tongue for the vowel, allow your tongue to spring back to a place just behind your lower teeth. 
It’s not easy but it will really get your tongue root stretched and loose. 

• Sibilance  “S”

Say  this:

"SIMPLY SUPER TO SEE SO MANY SCOTTISH SAILORS AT STV'S SUMMER SPECIAL SPECTACULAR!"

Cut down on the length of time you give to the "s" sounds in each word. Do this by psychologically "aiming" at the SECOND syllable not the first if the word starts with "s".    Start off by saying "Imply Uper to ee o many ailors.." etc. Then re- introduce the "s" bit by bit, until the sense returns, but not the sibilance.

 # 2nd exercise

With careful and precise articulation,

well-toned speech muscles, and

proper tongue placement.

Be sure that the tip of the tongue does not touch the back of the upper front teeth.

Ideally, the tip of the tongue should be placed about ¼ inch behind the upper front teeth, almost in position for a "t".

Raise the tongue so the sides press firmly against the inner surfaces of the upper molars.

Keeping the proper tongue position in mind, say the following sentences aloud s-l-o-w-l-y to practice the initial, medial and final "S" sound:

Stan seasoned the salad with salt.

Put the best biscuit in the basket.

In this race, bets on pets are off limits.

• 'R' sound 

With the mouth comfortably opened wide, cup the tongue to hold approximately half a teaspoon of water, without spilling, for 10 seconds. Try to feel the corner of the mouth with the sides of the tongue.

Hold the tongue out steadily for 10 seconds. The tongue must be a) narrow, like an arrow; b) pointed at the tip, like an arrow; c) straight, like an arrow; and d) rounded on top so no water can pool on its dorsum.

Make the tongue narrow and wide 10 consecutive times. Do not move the mouth, lips or jaw.

Tongue twisters for 'r'

Round the rugged rocks the ragged rascal ran.

Reading and writing are richly rewarding.

All of these exercise will be proceeded by a 30 minute general vocal warm up focusing on relaxation, breathing and posture.

Exercise for Relaxation

1. Semi Supine

To begin the process of relaxing the the body most voice and speech, or theatre practitioners on a whole recommend by lying in the Semi Supine position. 

It’s key that it should not be possible to insert fingers between the floor and the spine. All tension should be taken out of the limbs, leaving them limp.  

While in this relaxed position place the hands on the abdominal wall and feel the movement of the diaphragm. Also taking note of how the body feels, so this feeling can be recalled later when the body is in a vertical position. 

Exercise for Posture

Stand in front of the wall with the back of heals about 2 inches away from the wall. Slowly lean against the wall with back in contact with wall, and carefully slowly slide up and down the wall by about 1 foot so the knees bend and pass the toes. Keeping head at eye level, have the head lead the movement up and down. After 4 or so repetitions stand up straight until gravity lifts the body of the wall. 

Exercise for Breathing 1

Basic Rib movement

1. Place fingers on ribs with thumbs behind pointing towards the spine, 3 to 4 inches above the waist, being careful not to draw elbows back. Sensing the lateral movement as the air in drawn in and the back widens, but the upper rib cage and chest remain without movement.

2.  Develop this by breathing to the counts of

Breath In, 2 ,3 - Hold 2, 3 - Breath out 2, 3  (This is to be done without tension)

Exercise for Breathing 2

1. Repeat the breathing exercise increasing the counts of the exhaled breath, For instance
   Breath in for 2, hold for 2, out for 4. Or in 2, hold 2, out 6.
   So the actor controls the pace that the breath is exhaled at. 

Repeat this exercise gradually increasing the exhalation count. 

Here is a table of the specific exercises that i will be doing to improve my vocal ability

Week 1

Areas for development	MON	TUE	WED	THU	FRI	SAT	SUN
Uneducated Tongue	25 minutes of tongue twisters						REST
Sibilance		25 minutes Sibilance exercises					REST
Syllable skipping			25 minutes Syllable skipping exercises				REST
Ringing G				20 minute tongue root exercises			REST
R’ sound ‘rhotacism’					25 minute rhotacism exercises		REST
Resonance						25 minute humming exercises	REST

VOICE AND SPEECH SEMINAR

I will be taking a voice and speech seminar designed to equip the participants with tools that will help them to improve their voice and speech capabilities. 

What I wanted to achieve through this workshop was to equip the participants with some tools that could begin to use immediately. Working as an actor myself and having attended many auditions I now how vital it is to have a regime to keep you at your best vocally, and also improves your vocality. I aim to encourage the participants to investing in their voices by showing them first hand how significant improvements can be made instantly by practicing and applying vocal techniques. 

Focusing on just 4 specific areas of voice and speech, Relaxation, Posture, Breathing and Speech the participants will be able to pinpoint what works for them in improving their voices.

For my voice and speech seminar I will be focusing on Relaxation, Posture, Breathing, and Speech

The Importance of relaxation and posture to the vocal process ( LO 1.1)

RELAXATION 

The opposite to being relaxed is to be tense, and tension is always restrictive. If you are tense in your shoulder it will affect your ability to move your shoulder fluidly, or If tension is in my hand it will make the typing process very difficult and unproductive. This principle is also true in regards to the voice. If tension if present in an actors face, jaw, throat, neck,  shoulders, chest, and the remainder of the body, as an actor is delivering speech that tension will effect the breath, voice and the sound produced. In order for the breath to flow freely through the body to be manipulated by the vocal chords, and articulatory muscles,  relaxation is needed to allow for the greatest productivity. 

Here is an example of a line being delivered with tension applied in the face, jaw, and neck

INSERT VIDEO 

The difference in the quality of sound is extremely apparent. You can hear the difference in the clarity of the words, resonance, and volume, all of which are key to performing on stage. So here you hear first hand the difference the presence of tension in the face and body has on an actors vocal delivery. 

“Breath incorporates the movement of 40 muscles. If the muscles are tense it will stifle the breath.” 2 

Exercise for Relaxation

Relaxation of the larger muscles must first be achieved so that the sense of relaxation eases through to the smaller muscles which are used to shape the voice.  

1. Semi Supine

To begin the process of relaxing the the body most voice and speech, or theatre practitioners on a whole recommend by lying in the Semi Supine position. 

It’s key that it should not be possible to insert fingers between the floor and the spine. All tension should be taken out of the limbs, leaving them limp.  

While in this relaxed position place the hands on the abdominal wall and feel the movement of the diaphragm. Also taking note of how the body feels, so this feeling can be recalled later when the body is in a vertical position. 

POSTURE

The way an actor holds their body will automatically have an effect on the quality of speech they produce. If the body is ill aligned it produces muscle tension, and restricts the flow of the breath traveling through the body, and leaving the mouth. The bodies posture also affects how the head is positioned. If the head held to far back it will cause tension in the back of the neck, and the throat. If the shoulders are hunched or the chest over protruding, this will restrict the bodily organs and affect how the breath flows and is manipulated. The desired posture is one that is aligned with the skeleton, and is free from restriction and muscular tension. 

Having good posture not only benefits the actor physically but mentally also. I find that good posture gives a sense of confidence and ownership, which I think I important as you need to be confident and ‘own’ your characters lines as you deliver them. 

Exercise for Posture

Stand in front of the wall with the back of heals about 2 inches away from the wall. Slowly lean against the wall with back in contact with wall, and carefully slowly slide up and down the wall by about 1 foot so the knees bend and pass the toes. Keeping head at eye level, have the head lead the movement up and down. After 4 or so repetitions stand up straight until gravity lifts the body of the wall. 

Exercise for Posture feedback

I found that this exercise makes slight adjustments to posture that occur quiet naturally helping me to stand with a better posture, without experiencing any discomfort. 

The voice functions it’s best when it is in tune with the rest of the body. When the body is free from tension, properly aligned and alert, this is when the body has the greatest vocal capability.

How respiration is controlled and its function in the formation of sound (LO 1.2)

BREATHING

We cannot speak unless we have breath to produce the sound on. It is ‘How we use the breath’ that is all important to the actor. How do we use the breath so we can deliver that long phase within that monologue, reach that high notes, or perform a stage-whisper loud enough for the audience to hear? How do we control the breath?

We have a natural breathing cycle which takes place while we are listening, resting, sleeping etc. Breathing is a ‘reflex act’, which means it happens automatically without our will having to be involved, the breath simply takes itself. Our natural breathing cycle is adequate for speaking normally, but this cycle does not provide the support needed for speaking on stage. For the actor the challenge is to alter the breathing pattern slightly in order to be able to control the outward breath so it can be manipulated by the articulatory muscles, to produce speech suitable for the stage.  

Exercise for Breathing 1

1. Take a breath in and deliver a line of text
2. Take a breath in, blow out half of the breath then deliver the same line of text

The second time around it will be difficult to complete delivering the line as adequate air support is lacking. 

This exercise highlights the importance of having control over the distribution of the breath in speaking text. 

Exercise for Breathing 2

Basic Rib movement

1. Place fingers on ribs with thumbs behind pointing towards the spine, 3 to 4 inches above the waist, being careful not to draw elbows back. Sensing the lateral movement as the air in drawn in and the back widens, but the upper rib cage and chest remain without movement.

2.  Develop this by breathing to the counts of

Breath In, 2 ,3 - Hold 2, 3 - Breath out 2, 3  (This is to be done without tension)

Controlling the breath is about controlling the intake and outlet of the breath. One of the needs for an actor is to develop the ability to take a quick intake of breath, and a slow exhalation of the breath, without it looking obvious to the audience. 

Exercise for Breathing 3

1. Repeat the breathing exercise increasing the counts of the exhaled breath, For instance
   Breath in for 2, hold for 2, out for 4. Or in 2, hold 2, out 6.
   So the actor controls the pace that the breath is exhaled at. 

Repeat this exercise gradually increasing the exhalation count. 

This is not to be forced but done at the individuals own pace. The aim is to direct the intake of breath to the correct place, and gain control over the outlet of the breath.

This exercise is aimed at developing the actors breathing technique that will allow them to control the distribution of the outlet breath when delivering speech. Giving them the ability to to finish lines of dialogue, or inject extra support for volume.  

Breathing exercises actually disrupt our natural breathing pattern. It is better to be done with slow regular practice than to try and force the pace of development. 

Recognize the functions of the organs of articulation; how and where different sounds are formed (LO 1.3)

SPEECH

There are 6 Articulatory muscles

1. Soft Pallet
2. Hard Pallet
3. Tongue
4. Teeth Ridge
5. Teeth
6. Lips

When the breath is reaches the throat it is manipulated by the articulatory muscles producing Speech. Do not use throat to manipulate sound, bring the breath as far forward as possible before manipulation, it starts from soft pallet.

Different words are formed differently using different articulatory muscles. The job of the actor is to be aware of the muscles needed to correctly articulate speech. 

Exercise

Try saying the word ‘Pop’ but focusing on the soft pallet, or tongue. How does it sound? Now repeat the exercise this time focusing on the lips. How does it sound now? The sound is much clearer the second time around, this is because the ‘P’ sound is formed on the lips.

When a word is being formed it is done so using the articulatory muscles. Depending on the word being voiced different muscles are engaged. The word ‘Pop’ engages the Lips, while ‘ Hunger’ lifts the Soft pallet. 

The actor must be aware of which organs are being engaged when speaking, and correcting any slurred speech by engaging the correct articulatory organs for speaking the right words. 

The Soft Pallet

The soft pallet is important for speaking because you want it to lift for a resonant tone. If the soft palate doesn’t lift, you make a sound that has too much resonance in your nose, or a “nasal” sound.

Say 'ng' as in the end of the word 'sing'. All the air is coming out of your nose. Check this by holding your nose closed with your fingers and saying 'ng' again. 

While pinching nose say these words to see the effects of the soft pallet

Weather, Leather, Singing

You feel a vibration in the nose as you say singing because you engage the soft palate on the ‘ng’ sound

ng-Gee, Ng-Gee, repeated

The sound should stop. This is a sign that you’ve opened your nasal port, and the sound has stopped because the fingers have stopped it coming out of the nose. The back of the tongue is touching the soft palate, and the soft palate has moved away from the back wall of the throat to allow air and sound into the nose

The soft palate moves up at the beginning of a yawn.

The soft pallet is used to form the ‘K’, ‘G’ sounds. 

The nasal consonant sound that's made at the back of your mouth is heard in the "ng" sound heard at the ends of words like "thing" or "song." 

Say the words ‘Song’ and ‘Thing’ while touching the nose to feel the resonance

The aim is to loosen the soft pallet

‘Hunger’ - ‘Hung ah’

‘King’

Kuh - Kee - Kaa whisper Kaa. Feel the difference from explosive to soft movement

The Soft pallet engages on ‘K’ ‘G’ and ‘Y’ sounds

King

Hunger

Gargoyle 

Tongue twisters I could use that will engage the soft pallet are, 

Girl gargoyle, guy gargoyle

2.  Hard pallet sounds  ‘D’ ‘T’

Decoy

Define

Tackle

Do daily deeds diligently

3.  Tongue sounds ‘L’

Lovely

Lazy

Draw circles with the tongue

Lovely lemon liniment

1. Teeth Ridge (Alverolar Ridge) sounds ‘L’ ‘N’ ‘T’ ‘D’ ‘R’ ‘J’ ‘S’ ‘Z’ 

Light

Never

Typical

Daring

Rabbit

Juliet

Snake

Zip

5.  Teeth sounds  ‘SH’ ‘CH’

Share

Chair

6.  Lips sounds ‘P’ ‘B’ (Plosives & Bilabial)

Better

Bubbles

Properly

Puppies

Peter Piper picked a peck of pickled peppers

Betty better butter Brad's bread.

Articulation should be SHARP and  BRILLIANT and not Slurred

Playing different characters in performance could mean different ways you manipulate the voice through speech. E.g with accents you will use different articulatory muscles than you would if you where speaking in your own voice

There are cases where the speech is unclear because the articulatory organs are not doing enough work, and the stream of the breath smothers the consonants. The cure is to get the organs to make speech shapes clearly and firmly. An exercise for this is to speak using a whisper. The aim is to use the organs to produce clear defined speech on the whisper.  

MY VOICE AND SPEECH SEMINAR 

For today’s voice seminar we looking at Relaxation, Posture, Breathing and Speech. To start this we will be visiting a parallel universe. So come on lets go. 
(spin around)

Welcome to the parallel universe where everything is backwards!

Backwards

So in the parallel universe how do we do do a voice seminar on Relaxation, Posture, Breathing and Speech?

We do it Backwards

So instead of being 

Relaxed = Tense

Good Posture = Bad Posture

Good Breathing = Bad (Shallow) Breathing

Good Speech = Bad (Slurred) Speech

TENSION

Everybody say this line: To be or not to be that is the question

Now tense yourself up as much as possible. Feet, legs, torso, arms, shoulders, but not neck and face. Now say the line again. 

What difference did you notice?

Tension effects the flow of the breath and the use of articulatory muscles

POSTURE

Everybody say this line: To be thus is nothing, but to be safely thus

Now slightly adjust your posture so your not aligned properly

Tilt head, shift torso, take yourself of the central line

Now say the line again.

What difference did you notice? 

Bad posture produces tension in the body which then effect the flow of breath. And also the bodily organs can be effected by hunching over or protruding. 

BREATHING

Everybody say this line: Romeo Romeo where for art thou Romeo

Take a breath in and deliver a line of text

Take a breath in, blow out half of the breath then deliver the same line of text

What difference did you notice?

Speech is formed on the breath itself, we need to be able to control a breathing cycle that supports our vocal demands. No breath - no speech - Capish? 

SPEECH

Everybody say this line: Now is the winter of our discontent

Deliver the line again but try to keep the tongue still and in the centre of your mouth without touching the sides of your mouth

What difference did you notice?

The tongue is just 1 of 6 organs in the mouth used to form Speech. So we need to give these muscles a workout

OK back to the UnParallel Universe
There’s gonna be about 10 minutes where I’m gonna need you to work in silence so just to prepare you for that. Run around the room telling everyone

We’re gonna have to work in silence On No! 
Go!

So were gonna reverse all this backwards behavior starting with relaxation.

If you could all get into the semi supine position for me please

Relaxation of the larger muscles must first be achieved so that the sense of relaxation eases through to the smaller muscles which we use to shape the voice.  

It should not be possible to insert fingers between the floor and the spine. Roll knees to chest if needed

Relax here for 1 minute

Place hands on stomach and see if you can notice the movement of the diaphragm 

Everything is softening

Be aware of how the body feels, so you can recollect it later

Now put knees down, roll to side then stomach and slowly bring yourself up

Now that you are relaxed

Find yourself a piece of wall and stand with the back of your feet 2 inches away from the wall

Keep your eyes and head level

Gently ease back to the wall so most of back is in contact with wall

Slowly and genlty slide 1 foot down the wall, and back up slowly 4 times

Now gently allow gravity to stand you up right without effort

this exercise makes slight adjustments to posture that occur quiet naturally

Having good posture not only benefits the actor physically but mentally also. I find that good posture gives a sense of confidence and ownership, which I think I important as you need to be confident and ‘own’ your characters lines as you deliver them. 

Moving away for the wall 

Place your hands on waist fingers on stomach thumbs on the back

Notice the movement taking place during breathing

And how the chest is stationary  

Repeat to counts of in 4     hold 4 out 4

Slowly developing your capacity to take in hold on expel air

How we develop control of the breath is by controlling the intake and outlet of the breath

In 2 hold 2 out 4 out 6 out 8 out 10etc 

Don’t force it but develop gradually by regular practice

Now we’ve got the breath to travel freely without restriction to the mouth we can start to manipulate it into speech

How do we do that?

When we speak we engage our articulatory muscles, and different syllables engage different muscles

Going through the alphabet phonetically (Ah Bh Ch) which sounds engage the soft pallet?

The Soft pallet engages on ‘K’ ‘G’ and ‘Y’ sounds

King

Hunger

Gargoyle 

Tongue twisters I could use that will engage the soft pallet are, 

Girl gargoyle, guy gargoyle

2.  Hard pallet sounds  ‘D’ ‘T’

Decoy

Define

Tackle

Do daily deeds diligently

3.  Tongue sounds ‘L’

Lovely

Lazy

Draw circles with the tongue

Lovely lemon liniment

Teeth Ridge (Alverolar Ridge) sounds ‘L’ ‘N’ ‘T’ ‘D’ ‘R’ ‘J’ ‘S’ ‘Z’ 

Light

Never

Typical

Daring

Rabbit

Juliet

Snake

Zip

5.  Teeth sounds  ‘SH’ ‘CH’

Share

Chair

6.  Lips sounds ‘P’ ‘B’ (Plosives & Bilabial)

Better

Bubbles

Properly

Puppies

Peter Piper picked a peck of pickled peppers

Betty better butter Brad's bread.

To be continued with

• Choral speaking, RP, and Actioning