Bridal bouquet

Basics of speech technique breathing voice diction. Stage speech: features, simple exercises, effective teaching methods. Exercise for lips and tongue

Introduction……………………………………………………………………………….2

General characteristics of the sections of speech technique…………………2

Breathing……………………………………………………………………………….3

Diction…………………………………………………….……….….9

Orthoepia…………………………………………………………….………………10

Conclusion……………………………………………………….17

References………………………………………………………..18

Introduction

Learning speech technique is the first and necessary step in mastering the art of spoken words. Any public speech must first of all be sufficiently audible, and this depends on a well-trained voice and the ability to use it in various speaking conditions. The ability to control the voice, in turn, is closely related to the development of phonation (sound) breathing. The sound of speech at the same time depends on the clarity and distinctness of pronunciation - diction.

And, finally, public speech must be quite correct, that is, comply with orthoepic pronunciation norms, namely, the norms of the Russian literary language. Only the presence of these conditions makes it possible for the speaker to convey all the aesthetic and emotional richness of his speech.

Thus, speech technique as a practical discipline includes four main sections: breathing, voice, diction and orthoepy.

General characteristics of sections of speech technique

As a preparatory stage when teaching speech techniques, the following are introduced:

hygienic and vibration massages;

exercises for muscle relaxation and mastery of the elements of autogenic training - “posture” and “mask” of relaxation (relaxation).

When teaching speech technique, training exercises for the development of speech breathing, voice, diction and orthoepy should be carried out simultaneously. Why? Because breathing, articulation and voice formation are single interconnected and interdependent physiological processes. The coordinated (complex) work of these three systems under the control of the cerebral cortex ensures the normal function of voice formation. In this case, the main conditioned stimulus is the semantic meaning of the word.

Let's consider the main sections of speech technique.

Breath

On the one hand, breathing is a reflex act and occurs without the intervention of human consciousness, fulfilling its main physiological function of gas exchange in the human body. But, on the other hand, breathing is a controlled process when it is directly related to speech pronunciation. This type of breathing is called speech (phonation, or sound) breathing, and it requires special training.

Modern man has often lost the rhythm of natural breathing, which our ancestors mastered perfectly. Their simple lifestyle in the open air, hunting, fishing, farming, long walking, cutting wood, etc., provided natural exercise for the muscles involved in the respiratory process.

In the age of scientific and technological progress, mechanization, automation of work and everyday life, a person often does not receive enough natural exercise for the respiratory muscles, which leads to a weakening of the functions of some organs, and as a result - shallow breathing. In addition, intense mental work forces scientists, researchers, and students to spend many hours in a row in closed, stuffy rooms, sitting at a table, which has a bad effect on physical development (narrow shoulders, stoop, sunken chest), leads to disruption of the respiratory process and, as a consequence of the latter, to diseases of the upper respiratory tract, lungs, bronchial asthma, atherosclerosis, etc.

So, social factors caused biological changes in the human body. Physiology does not have time to adapt to changes in the environment, and therefore we must artificially help ourselves, especially since breathing is one of the main functions of the body, the most important condition of life. Since breathing is also associated with voice formation and speech formation, mastering proper breathing is necessary for every teacher, lecturer, whose work involves a heavy load on the speech apparatus, especially in conditions of monologue speech.

Depending on which muscles are involved in the respiratory process, we can talk about four types of breathing.

Upper breathing, when inhalation and exhalation are accomplished by contracting the muscles that raise and lower the shoulders and upper chest. This is weak shallow breathing, with only the tops of the lungs actively working.

Chest breathing. In this case, the breathing process occurs due to a change in the transverse volume of the chest due to contraction of the intercostal muscles. At the same time, the diaphragm - the main respiratory muscle - is inactive, so exhalation is not energetic enough.

Diaphragmatic breathing, when the breathing process occurs due to a change in the longitudinal volume of the chest due to contraction of the diaphragm (in this case, a contraction of the intercostal respiratory muscles is observed, but very insignificant).

We usually use all three types of breathing, but different people have a predominant type. Thus, in the process of evolution, women's breathing has developed as predominantly chest breathing, while men breathe mainly using the diaphragm.

Diaphragmatic-costal breathing, when inhalation and exhalation are performed due to changes in the volume of the chest in the longitudinal and transverse directions due to contraction of the diaphragm, intercostal respiratory muscles, and also the abdominal muscles of the abdomen. This breathing is considered correct and is used as the basis for speech breathing.

Let's consider the mechanism of diaphragmatic-costal breathing. Inhalation and exhalation are carried out due to the respiratory muscles, because the lungs themselves are a passive organ. The right and left lungs are cone-shaped, with their widest parts facing down and resting on the diaphragm. The sides of the lungs are adjacent to the walls of the chest, which can expand and contract. This change in the volume of the chest, and with it the lungs, is achieved by the work of the respiratory muscles: the diaphragm, intercostal, abdominal muscles, as well as the smooth muscles of the bronchi.

Each lung consists of a huge number of tiny vesicles - alveoli - and a network of tube-shaped airways - bronchioles and bronchi. The lungs are covered with a thin elastic membrane - the pleura. The pulmonary vesicles are penetrated by capillary blood vessels, and the vital process of gas exchange takes place in the alveoli of the lungs.

The ribs are attached at the back to the vertebrae of the spine, and at the front to the sternum; the lower ribs are shorter, they do not reach the sternum, but are successively attached by cartilages - each to the one located above it. This fastening ensures their mobility. The ribs are connected to each other by intercostal muscles, due to the contraction of which the transverse volume of the chest changes and gas exchange occurs in the middle part of the lungs. Contraction of the diaphragm helps fill air mainly in the lower, most capacious part of the lungs.

The diaphragm is a strong dome-shaped elastic muscle, which with its convex side faces the chest and separates it from the abdominal cavity. This impressive muscle area during forced (accelerated) breathing or breathing exercises “lowers like a perfect pressure pump, compressing the liver, spleen, intestines, stomach... The diaphragm empties the venous system of the abdomen and pushes blood forward to the chest. This is the second venous heart." Thus, the movement of the diaphragm provides a natural massage to all abdominal organs. During inhalation, under the influence of impulses from the central nervous system, the diaphragm, contracting, lowers, thereby increasing the longitudinal volume of the chest, and due to the contraction of the intercostal respiratory muscles, the transverse volume of the chest simultaneously increases, and as a result, the total volume of the chest increases, and the pressure in it falls. Atmospheric air rushes into the lungs, straightening them like bellows. Contraction of the abdominal muscles helps keep the diaphragm in a tense state, while tightening the lower walls of the abdomen. This is how inhalation occurs.

During exhalation, under the influence of impulses from the brain, the diaphragm, relaxing, rises, protruding into the chest cavity, the longitudinal volume of which decreases, and the ribs descend, thereby reducing the transverse volume of the chest. Thus, the total volume of the chest decreases, the pressure in it increases, and excess air escapes.

What is the difference between speech breathing and normal breathing? Breathing in life is involuntary. It performs the function of gas exchange in the human body. Inhalation and exhalation are performed through the nose, they are short and equal in time. The sequence of physiological breathing is inhalation, exhalation, pause.

For speech, especially monologue, ordinary physiological breathing is not enough. Speech and reading aloud require more air, a constant respiratory supply, its economical use and timely resumption, regulated by the respiratory center of the brain. In the initial stage of mastering speech breathing, will and consciousness are involved, aimed at performing the desired breathing task. Such voluntary speech breathing, achieved only through training, gradually becomes involuntary and organized.

Let us remind you that you must breathe through your nose. The habit of breathing through the mouth has a very harmful effect on the human body, leading to diseases of the thyroid gland, tonsils (tonsils), and the entire respiratory system. Nasal breathing protects the throat and lungs from cold air and dust, ventilates the lungs well, the cavity of the middle ear, which communicates with the nasopharynx, has a beneficial effect on the blood vessels of the brain. It is imperative to breathe through your nose in everyday life and when performing breathing exercises. The role of proper nasal breathing and breathing exercises in a person’s life is enormous. Breathing exercises are successfully used as an effective way to treat diseases of the upper respiratory tract (runny nose, laryngitis, pharyngitis, bronchitis), bronchial asthma, and neuroses. Healthy people can use breathing exercises to prevent many diseases.

During public speaking, we can use nasal breathing only before the start of speech or during long pauses. During short pauses, air is taken in through the mouth, since it is impossible to quickly, fully and silently inhale through the long narrow nasal passage. In speech breathing, inhalation and exhalation are not equal; the latter is much longer than the inhalation. The breathing sequence is also different. After a short inhalation, there is a pause to strengthen the abdominal muscles, and then a long sound exhalation.

Speech sounds are formed during exhalation. The flow of exhaled air through the trachea (windpipe) enters from the lungs into the larynx and from there into the oral cavity, passing through the vocal cords located across the larynx and separated by the glottis. The vocal muscles, under the influence of brain impulses, move the vocal cords, which vibrate the air flow passing through them and create sound vibrations. Articulatory muscles contract under the influence of impulses from the brain, and sound vibrations turn into speech sounds.

Since speech sounds are formed during exhalation, its organization is of paramount importance for the establishment of speech breathing and voice, for their development and improvement. Therefore, the ultimate goal of training speech diaphragmatic-costal breathing is to train a long exhalation (and not at all to develop the ability to inhale the maximum amount of air), to train the ability to rationally spend the air supply during speech. To do this, it is necessary to train the muscles involved in the respiratory process and holding the chest in an expanded state not to relax passively immediately after inhalation. Their relaxation should occur gradually, as needed, submitting to our will. To develop this type of breathing, educational and training exercises will be given below to develop and strengthen the diaphragm, abdominal and intercostal muscles.

You can often hear complaints from teachers and lecturers about their voice, which “let them down” - they develop hoarseness, hoarseness, a sore throat, and their voice “sags” towards the end of the speech. Improving speech technique can correct the situation. True, there are voices supplied by nature itself, but such cases are extremely rare. And yet we can say that every person is endowed with a voice that can become strong, mobile, flexible, sonorous and have a wide range. To do this, it must be “educated”, “set”, that is, developed and strengthened.

a) train the skill of correct diaphragmatic-costal breathing;

b) learn to use resonators (sound amplifiers).

How to do this will be shown in the material of voice exercises.

Diction

Clear, precise diction is the first and mandatory condition for good speech. Carelessness in pronunciation makes speech slurred and illegible. This is expressed in “eating” the final consonant or sounds within a word, sounding “through the teeth.” A fixed upper lip and a flaccid lower lip interfere with the clear and precise pronunciation of many whistling and hissing consonants. Speech is often unintelligible due to patter, when words seem to “bump” into each other. You need to speak smoothly, learn to open your mouth well, since a well-opened mouth is an important condition for the formation of sound and its “message”. Good diction prepares the speech apparatus for the creative process, makes accurate articulation of all speech sounds habitual, and helps the expressiveness of words.

The basis for the clear and accurate pronunciation of each sound, that is, the basis of diction, is the coordinated and energetic work of all muscles involved in the speech process. Educational and training exercises make it possible to develop and maintain their elasticity and mobility.

Diction training includes articulatory gymnastics:

a) exercises for warming up and training the active muscles of the speech apparatus, which develop and strengthen the muscles of the mouth, jaw, lips, tongue;

b) exercises for correctly practicing the articulatory structure of each vowel and consonant sound.

Orthoepy

This is the section where the rules and laws of correct pronunciation are studied, in contrast to spelling - the science of correct spelling. The word orthoepia comes from the Greek words orthos - straight, correct and epos - speech, and means “correct speech”. It is obvious to everyone what inconsistency and illiteracy in writing would lead to. Compliance with general rules and laws in pronunciation is just as necessary as in writing. Deviations from generally accepted norms interfere with linguistic communication, distract the listener from the meaning of what is being said and interfere with its understanding. Therefore, teaching Russian literary pronunciation is just as important as teaching spelling and grammar. Nowadays, when oral speech has become a means of widespread communication at congresses, conferences and meetings, in theater and cinema, on radio and television, it must be impeccable in linguistic and pronunciation.

Pronunciation norms of the modern Russian language developed in the first half of the 17th century, simultaneously with the formation of the Russian national language. Moscow, the political and cultural center of the Russian state, developed its Moscow pronunciation on the basis of northern Russian dialects and southern dialects. This speech has become the norm of the Russian literary language. Moscow speech was transmitted to other cultural centers and acquired there on the basis of local dialects. At the beginning of the 18th century, when St. Petersburg became the capital of the Russian state, it gradually developed its own dialect, which was called “letter by letter.” As it was written, so it was said. But this pronunciation was widespread mainly among the highest St. Petersburg officials and did not go any further. Thus, Moscow pronunciation continued to be considered the literary norm of the language.

Currently, a huge role in preserving exemplary literary pronunciation belongs to the Moscow Art Academic Theater. M. Gorky and the Maly Academic Theater.

Orthoepy covers the following sections: stress; norms of pronunciation of individual sounds and their combinations; intonation-melodic structure of speech.

We often have a question: where to put the emphasis, on which syllable? The French, for example, always place the stress on the last syllable of a word. In the Russian language, the stress is not only variable, that is, it can fall on any syllable, but it is also flexible and when the grammatical form of the same word changes, the stress changes place. For example, in the words “city”, “city”, but “city”, “city” or “accepted”, “will accept”, “will accept”, but “accepted”, “will accept”.

Sometimes we hear “ringing” instead of “ringing”. It is correct to say “alphabet”, “agreement”, “sentence”, “quarter”, “institute of foreign languages”, “catalog”, “obituary”, but “philologist”, etc.

If there is any doubt about where to put the emphasis in a word, you should turn to the dictionaries: Russian literary pronunciation and stress. Ed. R.I. Avanesov and S.I. Ozhegova; S.I. Ozhegov. Dictionary of the Russian language; Dictionary of accents for radio and television workers. Under. ed. D.E. Rosenthal.

People from different regions of our country often speak local dialects and dialects. There are “cursing” and “acacing” dialects. In Moscow, the Moscow region and the central regions of the country, “acquainting” is moderate. This moderate “akan” has become the norm of literary pronunciation, a sign of a culture of speech.

In orthoepy, there is a law of reduction (weakening of articulation) of vowels, according to which vowel sounds are pronounced without change only under stress, and in an unstressed position they are reduced, that is, they are subject to weakened articulation. For example, milk. Of the three vowels of this word, only [O], which is under stress, is pronounced without change. The sound [O], which is closer to the shock sound, is reduced - it is something between [A] and [O], let's denote it [a] - small. And finally, the sound [O], which is in second place from the percussive [O], is almost not pronounced at all, as if “eaten up”; let’s denote such a sound as [ъ].

If a word has vowels that are in the 3rd and 4th place from the stress, then they are also reduced to [ъ].

For example, a [b]ro[b]tnik.

All sounds behind the percussion are reduced to [ъ].

For example, ho[b]ho[a]carcass[b].

If the unstressed sound [O] is at the beginning of a word, then it is always pronounced as [A].

For example, about [a] window, about [a] on, about [a] mistake [b], about [a] laziness.

In orthoepy, there is a rule according to which the voiced consonants B, V, G, D, Zh, 3 at the end of a word sound like their paired voiceless P, F, K, T, Sh, S. For example: forehead - lo[p], blood - cro[f"], eye - eye[s], ice - le[t], fright - fright[k]. (The sign " denotes the softness of the consonant).

In orthoepy, the combinations Зж and Жж, located inside the root of the word, are pronounced as a long (double) soft sound [Zh]. For example: I’m leaving - I’m leaving, I’m arriving - I’m coming, later - it’s burning, reins - reins, rattling - rattling. The word “rain” is pronounced with a long soft [SH] (SHSH) or with a long soft [Zh] (ZHZH) before the combination ZhZH: doshsh, dozhzha, dozhzhichek, dozhzhit, dozzhem, dozzhevik.

Combinations of MF and ZCH are pronounced as a long soft sound [Ш"]: happiness - happiness, count - schet, customer - customer.

In some combinations of several consonants, one of them falls out: hello - hello, heart - heart, sun - sun.

The sounds [T] and [D] are softened before the soft [V] only in some words. For example: door - door, two - two, twelve - twelve, movement - movement, Thursday - Thursday, solid - solid, branches - branches, but two, courtyard, supply.

In the words “if”, “near”, “after”, “unless” the sounds [S] and [Z] are softened and pronounced: “if”, “took”, “posle”, “razve”.

In the words ordinary, majestic, special and others, two “H”s are pronounced.

The reflexive particle SY in verbs is pronounced firmly - SA: washed, boyals, dressed. The combination of ST sounds before the soft sound [B] is pronounced softly: natural - natural, majestic - majestic.

There are a lot of rules in orthoepy and to master them you should consult the relevant literature.

The preparatory stage in teaching speech technique, as we have already said, includes self-massages and muscle relaxation exercises.

Sometimes we notice that the lecturer’s face is tense, he frowns his eyebrows, forehead, nose, suddenly an inappropriate smile appears, one eyebrow rises higher than the other. All these are muscle “clamps”. Such a tense state of the face distracts the speaker from the main idea, takes away physical and mental strength, which directly affects the quality of the speech.

To relieve tension from your face and relax it, you can use so-called self-massages. Here we will get acquainted with their two types: hygienic and vibration.

Hygienic massage is performed by stroking, which activates the nerve endings located close to the skin. This massage performs a dual role: it relieves tension and stiffness of the facial, facial muscles of the speech apparatus, muscles of the arms, neck and increases the tone of these muscles if they are sluggish and weak.

Vibration massage is done by vigorous tapping, which activates the work of nerve endings located deeper in the thickness of the skin.

Self-massage causes a moderate dilation of peripheral blood vessels and has a beneficial effect on the nervous and other systems of the body. Vibration massage is also a kind of voice tuning. Just as a musician tunes his instrument before a performance, like a ballerina or gymnast does a warm-up before a performance, just like a singer tunes his voice while singing, so a reader, lecturer, or speaker needs to tune his “instrument.” During a vibration massage, the upper (skull, nasal and oral cavity) and lower (chest cavity) resonator systems are turned on, which enhance and enrich the sound of the voice.

And finally, exercises for muscle and emotional relaxation are elements of autogenic training. Look carefully at fig. 2, which shows the representation of the movements of the human body in the cerebral cortex - the projection of the body in the cerebral cortex.

Rice. 2. Representation of movements in the human cerebral cortex (according to Penfield). 1 - legs, 2 - torso, 3 - hand, 4 - face

It can be noted that the face, mouth and hand occupy a disproportionate amount of space in the cortical representation of the body, while the torso, thigh and leg are much smaller. We can say that speech activity is determined by the activity of most of the cerebral cortex. The face, muscles of the mouth and hands send the greatest number of signals to the brain about their condition. The more signals, the more excited the brain is, and, conversely, the more excited the brain is, the more impulses it sends to the periphery.

That is why relaxation (relaxation) exercises are absolutely necessary for people whose work is constantly associated with spoken language, therefore, with great tension in the facial, chewing, and speech muscles, as well as with tension in the muscles of the hands, with great emotional and mental stress.

The autogenic training method allows a person to control his mental and physical apparatus. Autotraining is a set of various techniques for mental self-regulation of the human body. From the entire autotraining system, we will take two simplest elements for our work - a “pose” and a “mask” of relaxation, with the help of which we will relieve tension or “clamps” in the body and on the face. Practice has shown the effectiveness of the autogenic training method as an active method of psychoprophylaxis and mental hygiene. Currently, it is used in a number of professions associated with frequently recurring stressful situations: in the aviation and space fields, in training athletes, in teaching acting, etc.

So, we have given general concepts about the basics of the art of speech and, in particular, the technique of oral speech. In the future, the material will be presented in the form of practical classes on mastering speech technique.

Some tips for practical lessons.

For everyone who begins to independently study speech techniques, for successful work it is necessary to remember that:

1. All classes must begin with complete muscle relaxation - this is a necessary condition for working on your voice and speech.

2. Observe the principle of consistency when working. You need to start with the simplest and move on to more complex ones, slowly, without effort and tiring tension. If you rely on quick results, you will not be able to achieve any results. That's why:

a) you need to practice every day for 20 minutes (10 minutes for breathing and voice exercises, 10 minutes for “dictionary exercises”);

b) each practical lesson lasts one or two weeks; only after mastering one lesson move on to the next;

c) repeat each exercise 4-5 times.

d) when performing exercises, be sure to set tasks for them: praise, justify, persuade, condemn, etc.

Compliance with the principle of consistency will not only bring success in work, but will educate and strengthen the will, discipline, and strengthen the nervous system.

3. Consistency and systematicity are a necessary condition in working on speech technique. Reasonable and persistent consistency will help achieve good results. Don’t be scared or despair at the first failures, repeat the exercises again and again, but be sure to do it meaningfully, and not mechanically, “all your actions must first go through your head.” When you do an exercise, think only about what you are doing. Remember that you are working with a voluntary, conscious method, at the highest stage of development of the human psyche, at the stage of conscious regulation of speech activity and behavior. This is the path of self-improvement and personality development.

4. Follow the rules of hygiene and prevention of the voice and all everyday life. (For hygiene and prevention, see p. 69).

5. Do not use the acquired skills of speech breathing and diction in professional speech until the entire course of training has been completed and these skills have not become involuntary.

6. Constantly monitor your speech in everyday life.

7. Before starting practical exercises, read this book carefully to the end, understand the structure of the lessons and methodological instructions, if necessary, read it again, only after that you can master the training exercises.

Conclusion

A beautiful, sonorous voice, clear, precise and correct speech, varied and deep intonation are absolutely necessary means of expressive living speech. But let’s not forget about such seemingly insignificant moments in the lecturer’s work, such as his appearance, gestures, facial expressions, which are additional means of expressive speech and necessary conditions for establishing contact with the audience.

Public speech, be it a lecture, report or performance, is to some extent perceived purely visually. Listeners pay attention to the speaker’s clothes, how he stands, and what his facial expression is. Because all this is not indifferent to the audience and ultimately also affects the effectiveness of the performance.

However, no external techniques will ensure the success that comes from the lecturer’s deep knowledge, sincere conviction and inner need to convey his knowledge to the audience. This forms the skill of a speaker, which is achieved by the lecturer’s constant and systematic work on himself.

Bibliography

Bodalev A. A. Personality and communication. M., 1983.

Dobrovich A. B. To the teacher about the psychology and psychohygiene of communication. M., 1987.

Zimnyaya I. A. Pedagogical psychology. Rostov-on-Don, 1997.

Znakov V.V. Understanding in cognition and communication. M., 1994.

Voices set by nature itself meet... voice, i.e. develop and strengthen. Technique speeches- an important element of the culture of speech activity - includes work on breathing, voice, diction ...

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Monograph >> Psychology
Staging speech breathing, diction and orthoepy (i.e. correct literary pronunciation). The essence technology speeches- in coordination breathing, vote, articulation subject to...

K.S. Stanislavsky wrote: “We don’t feel our language, phrases, syllables, letters, and therefore we easily distort them... Add to this the languor, lisp, lisp, burr, nasality, squealing, squeaks, creaks and all kinds of tongue-tiedness. Words with substituted letters now seem to me like a man with an ear instead of a mouth, with an eye instead of an ear, with a finger instead of a nose.

A word with a crumpled beginning is like a person with a flattened head. A word with an unfinished ending reminds me of a man with amputated legs.

The loss of individual letters and syllables is the same as a collapsed nose, a knocked out eye or tooth, a cut off ear and other similar deformities.

When some people, out of lethargy or carelessness, merge words into one shapeless mass, I remember flies caught in honey: I imagine autumn slush and thaw, when everything merges in the fog. ‹…›

Bad speech creates one misunderstanding after another. They pile up, obscure or completely obscure the meaning, the essence...

All sounds that make up a word have their own soul, their own nature, their own content, which the speaker must feel. If a word is not connected with life and is pronounced formally, mechanically, sluggishly, soullessly, emptyly, then it is like a corpse in which the heart does not beat. The living word is saturated from within"

. The above quote talks about the importance of working on speaking technique.

Speech technique determined Firstly, as a set of skills and abilities used for optimal speech sound, and, Secondly, as mastery of techniques for effective use of the speech apparatus.

Working on speech technique includes the following sections: “Breathing”, “Diction”, “Voice”, “Psychotechnics”, “Orthoepy”, “Nonverbal means of communication”. The main part of the lesson is devoted to expanding the range and strength of the voice, eliminating the tension accumulated as a result of intellectual, emotional and spiritual pressures.

Breath – sound source. “Being in voice” means mastering the skill of phonation (speech) breathing, relieving muscle tension, acquiring flexibility, endurance, sonority, composure and stability of sound. The support of breathing is the spine, so the first step to freeing the voice is developing the habit of maintaining posture, being aware of the work of the muscles that ensure the speech process. It is important to learn to observe yourself as if from the outside, while focusing on the wrong thing. What you do, but then How you do it. Liberation (relaxation) generates energy and ensures the productivity of the speech apparatus. Proper breathing helps us support the sound and speak with the message. The goal of breathing exercises is not to develop the ability to inhale the maximum amount of air, but to train in the ability to rationally spend a normal supply of it. Since sounds are created during exhalation, its organization is the basis for staging breathing, which should be full, calm and unnoticeable.

Diction - this is the clarity and correctness of pronunciation of individual sounds, which are ensured by the correct functioning of the speech organs. The moving parts of the articulatory apparatus should work actively, but without unnecessary tension: the lower jaw should open the mouth well (smoothly, without twitching); tongue and lips accept and change with the required speed this or that required position; a small tongue, when necessary, rises, closing the passage into the nasal cavity, and when necessary, opens the path into the nose for the exhaled stream of air. All sounds and their combinations must be pronounced clearly, easily and freely, at any tempo.

Speech therapists deal with the correction of speech disorders. However, there are so-called diction disorders, not of pathological origin, associated with sluggishness of the articulatory apparatus (lips, tongue, jaw), small mouth opening when pronouncing vowels, unclear pronunciation of consonants (the so-called “porridge in the mouth”). Such problems can be eliminated with the help of special exercises. The purpose of diction exercises is to develop clarity, correct pronunciation of sounds and activation of the articulatory apparatus.

Voice - the main expressive means of oral speech. “Nothing influences people’s attitude towards us more than the impression of our voice. But nothing is so neglected and nothing needs constant attention like the voice.”

. The voice has various properties, which can be developed and improved through training: strength, height(range), timbre, flexibility(mobility), euphony and flight.

Voice strength should be understood as greater or lesser intensity of the speech apparatus. The strength of a voice is not equal to its volume. If the strength of the voice is given by the activation of the speech apparatus, then the volume is achieved by the activation of exhalation. The voice can be amplified even in a whisper. It is the strength of the voice and clarity of pronunciation that ensures good speech audibility.

Height voice is its ability to tonal changes, i.e. its range, which is not the same for different people. Usually it includes one and a half octaves. The voice range is conventionally divided into lower, middle and upper registers. In the lower register, the sound of the voice is amplified by the chest resonator, in the upper register by the head resonator, and on middle notes both should work. A well-produced voice does not have sharp transitions from one register to another.

Timbre- This is the coloring of the voice that overtones give it. It is determined by the individual psychological structure of the speech apparatus. The timbre is finally established after the child’s voice is “broken” and does not change throughout life. You cannot change the timbre, but you can “clean” it from hoarseness, hoarseness, nasality and other errors.

Flexibility, or mobility, voice is his ability to freely change strength and pitch at different rates of speech. By actively pronouncing tongue twisters or texts, changing the pace of their pronunciation, raising or lowering our voice, we train its mobility, the ability to change without effort or tension.

Whether our voice makes a pleasant or unpleasant impression depends on its quality, such as euphony. A euphonious voice is a voice that is clear in sound, without hoarseness, hissing, or nasality. The concept of euphony also includes sonority and metallicity.

Flightability voice is its ability to “fill” the space in which it sounds, to ensure good audibility even with little strength. When training flight, you must first of all look for the correct direction of the sound (forward). Flight also requires an active willpower. It is necessary to learn to sense distance: the further away the object, the more active the message should be. There is a deep connection between voice and body.

Speech techniques also include exercises on psychotechnics: to develop the skills of verbal action, observation - the “gateway” to creativity, as Stanislavsky put it; on the formation of the ability to convey subtext, etc. The teacher is the subject of speech influence. He makes “live” contact with children. One of the main tasks of its pre-planned impact is to change the attitudes, attitudes, and behavior of the object of communication - the listener.

Intonation is the main means of speech influence on listeners. Some authors of manuals on speech technique and expressive reading believe that “it is necessary to teach children the necessary intonation”

, and offer them tasks, for example, to read the text, conveying joy, sadness, pride, affection, fear, etc., depending on the work.

However, psychologist N.I. Zhinkin always opposed teaching intonation: “The question is how intonation is found and whether it is possible to learn good, correct intonation. The answer to this question is negative. You can't learn intonation. This is the same as learning to cry, laugh, grieve, rejoice, etc. The intonation of speech in a certain life situation comes by itself, you don’t need to think or care about it. Moreover, as soon as you try to do it, it will be seen as false.”

. In everyday life, intonation is born involuntarily, by itself, as a person expresses his thoughts and feelings. In the pedagogical process, it arises as a result of deep penetration into the meaning of the statement. Intonation not only expresses the emotional-volitional relationships of people, but is also determined by them, therefore it is correct, for example, to ask students to try to read the text for some purpose (to please, surprise, upset, warn, etc.) In this case, one must think about the impact, which you want to influence the listeners, and not about intonation.

Strengthen the expressiveness of speech and reading such nonverbal means of communication, How gestures, facial expressions, body movements, mise-en-scène, light, accessories, phonation(crying, laughing, laughing, etc.), which are organically related to intonation and depend on the speech situation and the content of the statement. Psychologists have found that 60–80% of communication is carried out through nonverbal means.

Gestures and facial expressions act on the visual channel of perception, focus the attention of interlocutors on the content of information coming through the auditory channel, and contribute to better assimilation of the material. Although the gesture is an arbitrary phenomenon, it must be used very carefully and with restraint. It must correspond to the meaning of the statement, since not every phrase needs to be emphasized with gestures. Fussiness and excessive gestures can ruin the impression, tire you, and irritate your interlocutor.

Depending on their purpose, gestures can be: pointing, imitative, pictorial (or descriptive), psychological, rhythmic, physical (for example, you extend your hand to take something). A type of imitative gestures are symbolic: a finger at the lips, calling for silence; threatening finger, calling, etc.

But the best gesture is one that, without being conspicuous, organically merges with the word, enhancing its impact on the listener.

The connection between gesture and logical stress is interesting. It lies in the fact that “gesture always accompanies emphasis”

. For example, someone angrily says the phrase: “It was you who did so much harm to me!”. When pronouncing the word “you,” the reader will make an expressive movement of his hand towards the imaginary offender.

Facial expressions(facial expression) is even more important for the teacher than hand movements. It is the main indicator and a wonderful stimulator of emotions, capable of conveying a whole range of feelings and experiences. With a “stationary” face, 10–15% of information is lost

. Facial expressions should always correspond to the nature of the speech and express a friendly attitude towards the listeners. To learn to control your facial expression, it is useful to observe yourself in front of the mirror.

The eyes give special expressiveness to the speaker. They should actively communicate with their interlocutors, but they should not look down, sideways or upward.

The famous scientist V.M. Bekhterev believed that the whole variety of expressions is essentially a mixture of two basic tones of facial expressions - positive and negative. A positive tone is characterized by a smooth, wrinkle-free forehead, a smile, and a lively facial expression. Negative can be recognized by a slightly drooping lower jaw and corners of the mouth, and knitted eyebrows. It is useful to practice a pleasant, light smile in front of a mirror and appear with it in front of your listeners, radiating the internal energy of goodwill.

The peculiarity of body language is that its manifestation is determined by the impulses of our subconscious. However, most means of nonverbal behavior, according to A. Pease

, acquired by us and culturally conditioned. For example, his gait says a lot about a person’s age, temperament, and physical condition. The emphasized clicking of shoes reveals unceremoniousness and lack of restraint of character, while the dancing gait reveals frivolity and forgetfulness. An astute person can read a lot from “talking” hands, which is reflected in such expressions as “clasp one’s hands”, “wave one’s hand”, “as if with one’s hand”, etc.

“We must ensure that we always, constantly, speak correctly and beautifully. Only under this condition will a habit develop that will turn into second nature... Technology should be nature’s approach and stimulant to creativity.” (K.S. Stanislavsky)

The proposed set of exercises with methodological recommendations under the guidance of an experienced teacher will help improve your speech technique.

Surely you want to be listened to with an enthusiastic look and an open mouth? Or maybe your field of activity is unthinkable without public speaking, in which voice training and precise pronunciation are so important? But due to the lack of certain skills and knowledge, you don’t even try to improve yourself? Next, we will tell you how, with the help of simple voice training exercises, you can hone your speaking technique, which will help you achieve success both in the professional sphere and in your personal life.

Speech technique is a science in the field of speech production, articulation, diction, intonation, facial expressions and other elements. People of certain professions need to study this science throughout their lives. Their task is to make their speech technique correct, beautiful and understandable.

A significant indicator that characterizes the quality of a person’s speech technique is diction (this is how clearly he pronounces sounds). This element of speech is comparable to handwriting. A message written in crooked, illegible handwriting will be incomprehensible and uninteresting to the addressee, just as a crumpled, inarticulate speech is unlikely to interest the listener or will raise a lot of counter questions. Next, we will tell you how to strengthen your voice and improve your pronunciation with the help of regularly performed exercises.

One of the methods was used by the main character from the film “Carnival”; she honed her speech by repeating the tongue twister about the cuckoo, while stuffing her mouth with walnuts. In addition, there are a number of breathing exercises, which we will talk about a little later.

Voice

A pleasant voice is one of the main indicators of correct speech. The voice can also be trained and can be mastered. Each person is capable of learning to control the power of his voice, raising or lowering it depending on the situation, sufficiently restraining emotions, being calm and speaking measuredly. An important factor is a healthy throat and you need to quit smoking.

Timbre

The next indicator is voice timbre. In this case, the main thing is not to overdo it, since an excessively low or high voice is perceived as false. To practice voice timbre, the most important point is breathing and you need to work with the diaphragm.

Intonation

Watch the intonation and correct pronunciation; it is important to correctly place stress in words and make logical pauses. This gives you the opportunity to take a breath, properly structure your further speech, and also attract the attention of your listeners.

So, before you start doing the exercises, you need to create a working environment. Sit comfortably in front of a mirror in a spare room, remove unnecessary objects and ensure the necessary acoustics. Complete all tasks for about 5–10 minutes, proceed to the next one after you have mastered the previous task. Record a video in order to correct errors in the future.

Lessons to improve speech

Breath

To complete this task, you need to remember to breathe through your nose, this is important!

Practicing breathing:

Place your feet shoulder width apart;
Place your palms on your waist and slowly exhale so that you feel the air counteracting your lips (at the same time you need to repeat the quatrain).
Do the exercise while walking, accelerating into an easy run, imitating cutting grass, chopping trees and sweeping the floor. When performed accurately, the exhalation should be smooth and not stray.
Keep your back straight, lean forward and take a deep breath.
When straightening to the original position, exhale and slowly say “gi-mm-mm-mm.” synchronously combining with light running.
Return to the straight stance position. Taking a deep breath, bend straight and clasp your hands behind your head. In the same position, exhale and straighten up, saying “Gn-n-n...”, combining with light running; Next, you need to complete a task to improve nasal breathing.
With your mouth covered, take a small nasal inhalation, widening your nostrils, and while exhaling, lightly hit them with your fingertips. Based on the previous example, as we exhale, we slowly pronounce the letters “M” and “N” and lightly hit the nostrils in turn with the edges of our fingers.

Preparing the muscles of the palate

Say the consonants “K” and “G” three times without stopping. Next, say the vowels “A”, “O”, “E” also three times, but when yawning.
Inhale the air through your mouth, as if rinsing it. Open your mouth and say: “AMMMMM...AMMMMM”, “A” should be barely audible, “M” should be sonorous and then do it three times.

Exercise for lips and tongue

To practice the upper lip, say: “GL”, “VL”, “VN”, “TN”, for the lower lip - “KS”, “GZ”, “VZ”, “BZ”.
Relax your tongue and repeat the shovel shape, placing it on your lower lip, pronounce: “I”, “E”, five times.
With your tongue, take the shape of a curved hook and run the tip of your tongue across the sky, synchronously pronouncing “O”, “U”.
Extend the letter “M” with your mouth closed and your tongue moving towards your lips, cheeks and roof of the mouth.

Exercises to help open and strengthen the voice of the main speech

Speak a random tongue twister using exclusively consonant letters; the vowels will therefore be dull and long.
After this, say the same tongue twister, only in a perfect voice. By diligently listening to yourself, you will feel the epicenter of your own speech voice, establish in what state the articulatory apparatus sounds free and genuine. Repeat the exercise with head tilts, alternately back/forward, right/left.
Read the tongue twister using the indicated technique, but putting your tongue on your lips, lowering it and thereby replacing the pronunciation of vowels.
Take a deep breath and slow down your breathing (you can squeeze your nose with your palms) and read some text out loud. Exhale and inhale through your nose again in those passages of text where this is required by grammar and semantic pauses.

After completing all the work, read the text again, in a relaxed voice, and listening to the sound, understanding the difference in pronunciation before and after completing the tasks.

Exercises to improve diction

These exercises for developing diction are performed only after practicing the tasks described above, which are aimed at eliminating common errors in pronunciation caused by the underdevelopment of the speech apparatus. If you have any questions about completing the tasks, you can find a video on YouTube and watch it clearly.

Exercises for a weakened lower jaw

Say “PIE”, “BAY”, “MAY” while holding your chin in a constant state with your palm, your head should lean back. With the sound “Y” it takes on its initial state. Next, do this step in your usual position, comparing whether the feeling of muscle independence has arisen.
Repeat the exercise, but with your head turned left/right, try to reach your chin to your shoulders. When you hear the sound “Y”, return your head to its original position.

Pliable sky

Bow your head back and rinse your larynx with air, pronouncing the sound “M” at length, but do not stick out your lower jaw. Try to yawn with your mouth closed.
Inhale air through your nose and draw in your cheeks, in addition, keep your jaw down and your lips compressed; as you exhale, extend the letter “M”.

Exercises to strengthen your tongue and mouth

Be sure to repeat each of the listed activities three times in a row.

pronounce “BYA”, placing your tongue on your lower lip;
pronounce “AS”, actively working your tongue forward/backward;
pronounce “TKR”, “KTR”, “DRT”, “RKT” in a row, repeat three times;
in order to correct the activity of the lips, say “MB”, “TV”, “BM”;
Curl your lips and make the sound “M-M-M-M”, then smile.

Exercises to correct the lack of sound in the speaking oral cavity

with a straight and direct state of the body, on a leisurely exhalation, say: “SSSSSSSS...”, “SHSHSHHHHHHH...”, “ZHZHZHZH...”, “RRRRRRRR”, “RRRRRRR...”;
in the same position, with a tense, constant exhalation, say: “F!” F! F! F! F! F! F! ", which is transmitted into the unchanged sound "FFFFFFFF...";
Cover your nose and mouth with your palm, in this position try to pronounce the sound “M”, then remove your palm and read some text with the maximum number of “M”, “N”.

Exercises to develop undeveloped sound in the chest

Take a comfortable body position, place your palm on your chest to feel the pulsation, and close your mouth with the other to examine your own breathing. Try to make different vowels: a gentle exhalation - a sound ("UUUUUU") - a gentle inhalation. If you do everything correctly, you will feel a desire to yawn and lightness in the throat area.
The next step is similar, the only thing at the moment of groaning is to try to stretch it out and pronounce the emphasis with a light blow of the diaphragm deep into it, then gently exhale.

Any subsequent task increases the number of stresses by one and, in the same way, you need to bring up to five stresses one after another.

Fighting heavy breathing during a fast-paced conversation

It is necessary to assume an inclined state and begin to look for an imaginary object, while at the same time reciting a random poem loudly, but watch your breathing evenly.
Jumping rope with synchronized pronunciation of quatrains so that the jumps correspond to the syllables of the words. If the task, at first glance, seems difficult, speech and breathing will be confused, it is recommended to reduce the speed and step by step increase them, bringing them to the maximum.

Developing range and raising your voice

Choose some poetic text consisting of eight or more lines, and begin to pronounce it in such a way that the weakest level of your range falls at the beginning of the line and with each line it gradually increases, reaching the limit at the final one.
After you have practiced this exercise, start with the highest and end with the low range of your own voice.
Based on the results of successful performance, increase the number of lines of the poetic story.

This also quite effective technique is called “voice chanting.” Choose and sing any verse you like, first using exclusively vowels, and then only consonants.

Another way (we already talked about it at the very beginning) is to repeat tongue twisters by filling your mouth with walnuts, reciting the text and singing songs using a wine cork, holding it between your teeth. The first time you should pronounce it slowly, gradually speeding up, watch carefully so as not to swallow endings and sounds.

Speech must sound correct and loud, you need to work on it. For this purpose, select your favorite quatrains and read them alternately, one line loudly, the next quietly, then vice versa.

Don’t forget about the intonation of your voice, read the texts with changing feelings, sad, happy, angry, passionate, reproachful, surprised. The more often you do this exercise and the more emotions you work out, the richer your speaking technique will become.

Increasingly, in professional activities, much attention is paid to speech technique; it becomes a kind of tool of labor. Therefore, it is imperative to develop and improve diction, voice production and business and daily communication skills. This way you can create a positive image, because people around you instinctively fall under the influence of a person who knows how to express his speech beautifully and clearly.

Clear speech is the ability to quickly tense and relax different muscles of the articulatory apparatus. Relieving unnecessary tension in the muscles of the face and body can significantly and most importantly immediately improve speech and voice. Today I will tell you how to get rid of this tension.

There are terms “lazy tongue” and “lazy lips”, which are considered to be the cause of slurred speech. In fact, the tongue and lips are not lazy, but cannot relax and therefore cannot be easily moved. The “voice system” has three levels: the face, the larynx (including the tongue, which is attached to the larynx) and the diaphragm. Tension accumulated in any of these departments prevents the voice from sounding, crumples speech and takes away the importance of what is said. The exercises listed below are part of what I have collected from working with the best speech and voice coaches, which is suitable for self-study.

Relaxation exercises to improve your voice

1. Part your lips

This exercise releases tension from places where it often hides - the jaw muscles, the muscles around the mouth and the eyes (when the mouth is open, we stop squinting and wincing).

Parted lips are the easiest exercise, but it works. It relaxes all facial muscles, directly or indirectly.

Photographers ask girls to open their mouths slightly to give their image more sexuality and sensuality. With their mouths open, girls not only look sexy, they look more relaxed and therefore more attractive.

2. “Snorting Horse”

Another effective exercise for the lips, leading to relaxation of the entire face.

Close your lips together and move them forward slightly, keeping them together on the inside.
Exhale with lip vibration.
Let your lips vibrate, like a horse exhales in the cold (while they shake their head, you don’t have to do this).

The exercise will relieve tension from the lower part of the face (tense lips cannot vibrate, which means you will have to relax them), and also allows you to feel the boundaries of your lips so as not to make unnecessary efforts to close them during speech.

A good boxer does not dodge a blow by half a meter, he goes 10 - 15 centimeters, this is just enough for the enemy’s blow to not reach him. This way he can launch a counterattack faster and does not waste extra energy on dodging.

Like a boxer, too much force when closing your lips will only hinder you. When speaking the sounds B, P, M, you just need to close and quickly open your lips, to do this you need to feel their boundaries and they must be relaxed.

3. “Radio Operator”

Cover your ears with your palms and make small circular movements, massaging your head in the ear area. A lot of tension often accumulates in this area of the head.

To avoid being attacked from behind, our animal ancestors had to keep their ears sharp. “Prickly ears” is not just an old-fashioned expression, it is a description of the situation when, during times of stress, we experience a spasm of the muscles around the ears.

Today, many people have lost the ability to move their ears, but those who can do this even a little must learn to relax these muscles.

Exercises to relax the larynx

4. “Yawning Lion”

The best exercise to relax the jaw muscles and relieve tension from the vocal cords.

Tilt your head back and open your mouth as wide as you can.
At the same time, make a sound that resembles a loud yawn with a change in tone.

If you feel like actually yawning, yawn. Yawning is better than just keeping your mouth open; it relaxes the larynx, which controls the vocal cords.

On a subconscious level, baring the throat and raising the chin is the behavior of an individual in a state of complete safety, when it cannot be attacked. Our body reads its own signals and calms down.

Think of a yawning lion and a fearful dog in a pack and you will immediately understand the connection between an open throat and calmness (and therefore relaxation and a better voice).

5. Singing the letter “M”

This exercise will create vibrations in the head and relax the muscles of the larynx (the muscles of the larynx are attached to the vocal cords), followed by relaxation of the facial muscles. You will feel the timbre of your voice, and what is also very important is that it will lengthen your exhalation (read point number 9).

The criterion that you are doing this exercise correctly will be a slight tickling sensation from vibration in the area of the nose and lips.

Exercises to relax the diaphragm

If the diaphragm is tense, it reflexively transfers tension to the vocal cords and the voice sounds weak. The muscles of the face and lips try to take all the load on themselves, compensating for the poor functioning of the lower part of the “voice system” and the speaker begins to look unnatural, as if he or she is grimacing.

The result is either a severe loss of diction or excessive facial expressions and loss of confidence.

Without a relaxed, freely moving diaphragm, the voice lacks “support.” The diaphragm for speech is like roots for a tree, and neglecting its role in working on your voice is the same as wanting flowers to grow in your house, but not watering them.

6. “Tubby”

Lie on your back. Place one hand on your chest, the other on your stomach.
Your task is to raise your hand on your stomach with each inhalation, and lower it with an exhalation.
The hand on the chest should remain motionless.

The more often and longer you do this exercise, the more correct breathing becomes a habit. When the exercise is completed, do the same in an upright position, trying to fill the front wall and sides of the abdomen with air, but in no case raise your shoulders or chest when breathing.

Breathe from your belly, just like babies do. Until the age of 3, children are not yet aware of the opinions of their environment about themselves and breathe naturally - with their stomachs. They even look like little potbellies.

Then these children already want to look beautiful and fit... and the tightening, of course, occurs in the diaphragm area. From now on, self-imposed tension enters our lives and its consequence is a weak voice and unclear diction.

Breathe with your stomach and the diaphragm working at full amplitude will not only add beauty to your voice, but also relax you in general.

7. “Tremors”

Feet shoulder-width apart, arms and head hanging freely down, eyes closed, stomach protruded forward in complete relaxation.
Start doing frequent vibration movements in your knees with a small amplitude.
An even better option is a vibrating machine (a platform that shakes violently and frequently).

The shaking of all the cells of the body makes you feel pockets of tension in the body, because tense cells and relaxed cells vibrate differently.

The benefit is double:

1. You understand which part of your body is tense and you can consciously relax it or prevent further tension

This exercise is secret and advanced speakers do it behind the scenes. Prominent speaker Tony Robbins always stands on a vibration machine and jumps on a small trampoline backstage before his speeches (the trampoline, in addition to the benefits of vibration, raises his energy level upon first contact with people after leaving the stage).

At the same time, striated muscles (such as biceps and triceps) become pleasantly toned, and smooth muscles (muscles of the vocal cords and larynx) relax.

8. “Get out of the closet.”

Stop holding your breath in any situation. Don't grunt or push. Tension accumulates and often in order to get rid of it you just need to stop accumulating it. Always exhale easily and freely.

As a child I had a friend who later ended up in drugs, prison and is now gone. What I clearly remember is that he was constantly grunting. I believe, in addition to the incorrect interpretation of the world and uninformed decisions, a simple thing summed up his life - he simply could not cope with the tension that he accumulated every day of his life when he needed to breathe - he did not know how to relax the diaphragm and was looking for a way out of chronic tension .

Yes, everything can be as simple as in a movie about Dr. House.

9. Exhale longer

During exhalation, the entire body “goes into hibernation.” During exhalation, the heartbeat is 10-20% slower than during inhalation, and sometimes even slower. Doctors are familiar with the concept of arrhythmia in athletes, when the slowdown of the heart during exhalation exceeds acceptable limits.

Remember your trainer’s instructions: “Exhalation must be accompanied by effort!” to smooth out the load on the body's systems.

There are two nervous systems in our body: sympathetic (tense) and parasympathetic (relaxing). Exhalation turns off the tense sympathetic nervous system and activates the relaxing parasympathetic (we are talking about tension of smooth muscles - blood vessels, intestines, and not striated muscles - biceps or triceps).

If, on the contrary, you consciously inhale longer and exhale sharply and briefly, your blood pressure will rise and your heart rate will increase, which will put you in a state of tension and stress. Most likely, you did this before you entered a state of overstrain, but not consciously.

10. Lie on your shoulder blades on a bolster

A bolster is a bag of soft contents that resembles a rolled blanket. Its diameter is 15 - 20 cm.

Lie on it with your shoulder blades and throw your arms to the sides and up.

This exercise will stretch the muscles of the chest, abdomen and arms (stretched muscles cannot be tense) and most importantly, stretch the diaphragm, which will send signals of calm to the entire body with every inhalation and exhalation. The body will listen to itself and calm down from its own breathing.

Breathe, as always, from your stomach.

11. Breathing through one nostril

Alternately breathe 3 times through one nostril, then 3 times through the other.

In a mode of oxygen deficiency, the body has to reduce its vital activity and calm will be imposed on your brain and body, even if it initially wanted to tear and throw.

12. Running

My favorite exercise. Helps achieve a healthy, even tone in the body while simultaneously relaxing the muscles of the face, larynx (voice muscles) and diaphragm.

Abundant oxygenation (oxygen saturation) of all body tissues nourishes the body with invisible “fuel” (oxygen is needed for the functioning of muscles and systems) and forces the brain to generate new ideas during and after a run. By speeding up blood flow, running removes toxins from muscles and systems.

In addition, healthy vibration during running indicates to the body areas of tension and it gets rid of them on its own.

Of the minuses, running is contraindicated for those who are bothered by pain and discomfort in the joints.

A friend of mine has replaced running with swimming, but swims exclusively with special headphones and audio books recommended by me. published .

Alexander Gerasimenko

Technique of stage speech.
The human voice is a complex phenomenon, associated not only with the work of certain muscles, but also with the entire psychophysical apparatus of a person. Any excitement is reflected in breathing and the sound of the voice; there are cases when the voice disappeared as a result of nervous shock with an absolutely healthy speech apparatus.
The voice and its development are closely related to the revelation of the actor’s creative individuality. Professional voice control requires not only the ability to find the exact and correct sound, but also the ability to consolidate and improve what has been found.
CM. Mikhoels, an actor who created bright and varied images, said: “An actor has more than one voice, an actor has a hundred voices, thousands of facets. We know ourselves least of all and are accustomed to one timbre of voice, but we have thousands of them. We have a thousand hidden, possibilities never before revealed!”
The system of working on speech technique includes:
1. Breathing:
2. Work on articulation:
o vowel sounds;
o consonants;
o tongue twisters and sayings.
3. Work on sound:
o moan;
o intonation.
4. Work on diction:
o syllables;
o tongue twisters (logical stresses, acceleration and deceleration of reading speed).
5. Work on your voice:
o pronunciation of sounds in one tone, with a transition from quiet to loud sound, and vice versa;
o pronunciation of sounds in different resonators - from lower to upper, and vice versa.
6. Logical reading:
o logical stress;
o logical and psychological pauses.

1. Breathing.
The breathing process is of particular importance for the development of stage speech. The beauty, strength, lightness of the voice, the richness of dynamic effects, the musicality and melody of speech depend on how a person knows how to use his breathing.
o Development of nasal breathing.
During a performance, the actor often has to “breathe” through the mouth, but nasal inhalation must be cultivated.
Exercises:
; The exhalation is silent, then the consonant “M” or “N” is pronounced as you exhale.
; The mouth is open. Inhale and exhale through your nose (10-12 rubles)
; Exercises with head movements. Inhale through your nose. Slowly exhaling through the sound “N”, slowly turn your head to the right, left, then take the i.p. Inhale to “H”, while exhaling, raise your head, lower it, etc. (4-6 r.)

O Development of costal breathing.
The most effective breathing is chest or costal breathing. To control breathing, place your hands on your sides on your lower ribs (thumb on your back) and slowly draw in air. Your hands should feel the horizontal expansion of the ring of ribs they are hugging. The air taken must be held and then exhaled smoothly.
Initial breathing exercises.
Exercise 1. (1 day).
3sec. - 3sec. - 3sec.

Smooth inhale, hold your breath, exhale during the flow.
nose in 3 seconds. for 3 seconds. 3 seconds.

With each subsequent day, increase the time of inhalation, holding your breath and exhaling.
From 3 – 4 – 3; 5 – 5 – 5; 8 – 5 – 10 and finally to 10 – 5 – 10.

"Flower shop".
I.p. - standing. Exhale to the sound “pff” and draw in your stomach. As you inhale, imagine that you are smelling a flower. After this, exhale slowly and smoothly to the sound “p-ff”. Inhalation is short, exhalation is long.

"Trumpeter".
Press an imaginary trumpet to your lips (it can be your own fist) and, blowing out air, blow out (without sound) some energetic tune.

“In one breath” (exercise for exhalation distribution)
Say a large phrase in one breath: take a deep breath and speak the text at the exit.
For example, from Homer: “Angrily interrupting him, the noble Achilles answered:
- Everyone would rightly call me timid and insignificant,
If only I, the silent one, would please you in everything that you don’t say...”

2. Work on articulation.
In order to speak clearly and clearly, it is necessary first of all to correctly pronounce each vowel and consonant sound separately.
Articulation is the formation of sounds using the speech apparatus.
o Vowel sounds.
1. First, work on individual vowels: U, Y, I, O, E, A, Yu, E, Ya, Yo.
2. Then work on a combination of sounds:
; U – U – Y – Y;
; U - U - I - I;
; U – U – O – O;
; U – U – A – A;
3. Putting your hands on your ribs, inhale for 2 seconds, holding the air for a count
1, 2, 3 and smooth, slow exhalation on the sound “U”: 2 – 3 – “U”
The score gradually increases:
; 3 – 4 – exhale “U”
; 4 – 4 – exhale “U”
; 4 – 5 – exhale “U”
; 5 – 5 – exhale “U”
4. Having achieved smooth exhalations, the exercises become more complicated: inhale quickly for 1-2, hold your breath for 5 seconds, exhale on a vowel sound.
o Consonant sounds.
When practicing each consonant sound, you should pronounce it stronger and brighter than in colloquial speech.
P, B, T, D, X, K, G, N, M, F, V, L, R, H, C, S, W, Shch, Z, F.
1. Practice pronouncing individual sounds, and then in various combinations of consonants, for example: P - Ch, T - Ch, Zh - S.
2. When hard consonants have been mastered, work begins on soft consonant sounds: CHCH, Ть, Дь, Ль.
3. Connecting consonant sounds to vowels: PA, PO, PU, PE, PY, PI.

O Tongue twisters and sayings.
Tongue twisters help overcome laxity of the lips and tongue and achieve their mobility. At first, tongue twisters are spoken in a whisper. Gradually increasing the pace.
Trying is not torture.
Buy a pile of spades.
There is a priest on a head, a cap on the priest, a head under the priest, a priest under the cap.
The bob got some beans.
The bull's lip was white and blunt.
The custom of a bull, the mind of a calf.
Well done, that cucumber, well done, cucumber.
In the darkness, crayfish make noise in a fight.
Prokop came - dill was boiling, Prokop left - dill was boiling.
From the clatter of hooves, dust flies across the field.
Karl stole corals from Clara, and Clara stole a clarinet from Karl.

The cap is sewn, but not in the Kolpakov style; the bell is poured, but not in the Kolokolov style.
It is necessary to re-cap and re-cap.
The bell needs to be re-belled and re-belled.

In the shallows we lazily caught burbot, for me you caught tench.
About love, weren’t you the one who sweetly begged me and beckoned me into the raspberries?
3. Work on sound.
Sound is a sensation perceived by the ear. The sounding body can be all sorts of objects that give different auditory sensations: noise, creaking, etc.
Tone is a harmonious sound that is created by the correct alternation of sound waves.
o Moan.
"Pain".
I.p. sitting, shoulders down, neck relaxed. Imagine that your head or throat hurts. Moan quietly in order to calm the pain, to distract from it. Do not press the sound, the sound is on the middle note typical of your spoken language. Then gradually switch to a moan with a vowel sound, then with sound combinations: mmum-mmum-mmam-mmim-mmum-mm.
Then gradually move to raising, then lowering your voice.

It is useful to read some epic on the moan. For example:
How affectionate is Prince Vladimir... Ka-a-ak u-u-u l-a-a-aska-a-ava-a-a...
The human voice is capable of varying in pitch over a very wide range: for a trained voice, this range is approximately two octaves. However, in everyday speech such a range is used infrequently, which leads to sound monotony. This is completely unacceptable for an actor.

O Intonation.
The strength of sound in speech should be sought not in volume and shouting, but in vocal rises and falls, i.e. in intonation. The power of speech must also be sought in the gradual increase from quiet to loud and their relationships.

"Shades".
Say a phrase with different intonations: cheerful, sad, businesslike, reproachful, dreamy, friendly, angry, thoughtful, surprised, etc. “I want to take it”, “No, never”, etc.

"Not with my own voice."
Say one phrase “in the voices of different animals” - rabbit, hippopotamus, horse, fox, mouse, bear, squirrel, cow, dog, snake, hedgehog, etc. - so that the rhythm, voice register, intonation, coloring change sharply; It’s better to take a neutral phrase. "Today's weather is very good". You can conduct a dialogue “in the language of different animals.”

4. Work on diction.
It begins with training the active speech organs of speech - lips, tongue.
"Cork".
Purse your lips tightly, pull their edge over your teeth, biting slightly. Using the air in the mouth (without exhaling!), sharply break through the bow, as if shooting out a plug held between the lips.
"Scythe."
Imagine that you are sharpening a braid with a whetstone. The block slides from one side to the other of the blade: sss-zzz...sss-zzz...sss-zzz... The scythe is sharpened, you can mow. A swing of the scythe - and it noisily cuts the grass: zhzh...zhzh...

1. Each consonant is added to each vowel sound: PA-PYA, PO-PYO, PU-PYU, PE-PE, PU-PI.
2. Another consonant is connected: PRA-PRYA, PRO-PRE, etc.
3. Next come more complex sound combinations:
TADITA-TADITA DATIDA-DATIDA
TADITO-TADITO DATIDO-DATIDO
TADITU-TADITU DATIDU-DATIDU
TADITE-TADITE DATIDE-DATIDE
TADITY-TADITI DATIDI-DATIDI.

YOUTH, YOUTH, YOUTH, YOUTH, YOUTH, YOUTH, YOUTH, YOUTH, YOUTH, YOUTH.

Work on tongue twisters continues. First at a slow pace, then with acceleration.

5. Work on your voice.
To create the best conditions for a free voice, you first need to relieve muscle tension in the area of the larynx, where the vocal cords are located, and the shoulder girdle. The clamp in the larynx can be removed by consciously causing the sensation of a yawn.

An exercise to develop the ability to direct sound towards the audience.
Pronouncing the word “with an urge”: as if sending into the distance through a large space; A-LE-NUSH-KA!!! CATHERINE!!! EVOLUTION!!!
o pronunciation of sounds in one tone, with a transition from quiet to loud sounds, and vice versa.
1. First quietly, gradually expanding the sound, again lead to quiet, while connecting A with the sound U.
2. AUOUUEU take breath YUIU AYOOYY take breath EYIIIY
AUOOIUI take breath EIIIY AOOOEO take breath OOOO
AEOEEUE take breath EEIE OAUAEA take breath YAIA

3. YAM EAT YUM breath EM YIM YANG YEN YUN breath YEN YIN
YAL YUL YUL breathing YAL IL the whole exercise is in one tone.

4. Pronunciation of sounds in different resonators - from lower to upper, and vice versa.

1. 2. 3.
E breath.
Ou Yu Ay Iy Uu breath.
Au Iu Oy Ei Oi Ei
At the breath. Ai Yi

5.Bring from quiet sound to loud, and, conversely, from loud gradually to quiet in one breath.
U Y I O E A M N A R V Z J.

6. Logical reading.
Logical stress.
Each phrase of speech must carry its own content and have a certain meaning for the sake of which they are pronounced. Find the meaning of a phrase - find out which words are the main ones that define the main idea, i.e. find the logical center. In colloquial speech we do this unconsciously. But when we come across the text of another person, it can be difficult to determine the words that carry the basis in the phrase. Living speech carries in itself, in addition to thoughts, also feelings. When highlighting words, we use amplification, raising the voice, or lowering and slowing down the tempo.
Logical and psychological pauses.
They influence the expressiveness of speech and the emotionality of reading.
Logical pauses are semantic;
Psychological pauses are dictated by feeling, this is subtext, eloquent silence.

Working on tongue twisters.
Logical stress is highlighted in turn.
Mother gave Romasha whey from the yogurt.
Mother gave Romasha whey from the yogurt.
Mother gave Romasha whey from the yogurt.
Mother gave Romasha whey from the yogurt.
Mother gave Romasha whey from the yogurt.

Thus, with the help of logical stress, the order of words does not change; the phrase can be pronounced in different ways, depending on the meaning put into it.
A psychological pause has the right to stop the flow of speech on a certain word. It is aimed at a super task along the lines of subtext and cross-cutting action and depends on the level of creative potential of the performer and the emotional content of the text. It may coincide with a logical pause, or it may simply be silence.
Psychological pause is the most important tool of communication. Without psychological pauses, speech is lifeless. A pause replaces words with eyes, facial expressions, emission, hints, subtle movements and other means of communication. They all know how to prove what is inaccessible to words, and often act in silence much more intensely, subtly and irresistibly than speech itself. A wordless conversation can be more interesting, meaningful and convincing than a verbal one.

Two strong trump cards in verbal communication: intonation and pause. You can do a lot with them, without even resorting to words, but limiting yourself only to sounds.
The secret is that the listener is affected not only by the transmitted thoughts, ideas, images associated with the spoken words, but also by the sound coloring of the words - intonation and eloquent silence, finishing what is unsaid in words.
Intonation and pause in themselves, in addition to words, have the power of emotional impact on listeners.