These chapters were on the actor's instrument, particularly the voice and speech.
Chapter 15
this chapter opens with breathing. I think my music/singing background helps a lot with this, because I already know how to breathe from the abdomen, and about resonance and pitch. I admit that I am usually lazy concerning speaking with resonance and breathing intentionally, but when I do drills and warmups, it's rehearsing things I am already accustomed to, rather than learning new things. I understand that posture, relaxation, and speaking intentionally are very important to achieving volume and clarity.
It was great to read many drills and warmups that I can practice both myself and when I lead groups. I'm always looking for diction and pronunciation exercises, and these chapters were very helpful concerning that.
Chapter 16 is on "stage speech"
Diction is the first thing discussed in chapter 16. Diction is essential to acting, because without it the actor's words cannot be understood. the book then covers the different types of speech - vowels (front, back, and mid vowels, diphthongs) and consonants (plosive, fricative, nasal, glide, and blended). There are about 40 basic sounds in the English language, and this chapter includes a list of each, as well as a whole long list of exercises to practice everything. These exercises are to help gain control over speech, as well as drill things like resonance, relaxation, and pitch.
Chapter 17 is on "Using your voice"
This chapter focuses on the idea that most people have socially bred inhibitions, such as excessive politeness, timidity, deference, or propriety. It gives a list of "rude chants" to practice in an effort to overcome self-consciousness and timidity, and to be comfortable saying anything boldly on stage. It makes the point that self-consciousness is the greatest inhibitor of speaking, which I understand and mostly agree with, however, I found the whole "recite rude words over and over, loudly, to be comfortable saying them" thing unnecessary. I think that if there is something in my role that I am uncomfortable with because I am simply not accustomed to it, I am willing to work with it and learn to be bold with it. However, if there is something in my role that I am uncomfortable with on the grounds of moral objections, I am unwilling to compromise for the theatre. This would be a role-specific decision, which I have not really been faced with as of yet in my career. I just disagree with purposefully saying "rude" things simply to make yourself comfortable with them. Ephesians 4.29 and 5.3-4 are good guidelines for what is acceptable for Christians to be saying, and as a Christian, I want my work to be a reflection of Christ, pursuing excellence and purity to best glorify Him.
Eph. 4.29 - Let no corrupting talk come out of your mouths, but only such as is good for building up, as fits the occasion, that it may give grace to those who hear.
Eph. 5.3-4 - But sexual immorality and all impurity or covetousness must not even be named among you, as is proper among saints. Let there be no filthiness nor foolish talk nor crude joking, which are out of place, but instead let there be thanksgiving.
ok...that aside, the next part of the chapter is "fancy talk"...full of large-word exercises. Then there are instructions to address different types of people groups with the exercises. this is an exercise in purposefulness...who are you addressing, and why? are you simply saying words loudly and clearly, or are you intentionally trying to tell another human being something important?
I found these chapters very helpful. Mostly because I know I am generally a lazy speaker, but because of my singing background, I already know the techniques for volume and clarity. I've been looking for more exercises to be practicing more resonant, clear speech, and these chapters were very helpful in that.
