YOUR VOCAL INSTRUMENT

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YOUR VOCAL INSTRUMENT

<= span style=3D'font-size:88%;color:#CC3300'>An actor has only two tools with whi= ch to reach the au= dience: body and voice. It’s imperative that both be trained to be flexible and strong, a= ble to fulfill the demands of any director and any role. = This unit will give you a basic understanding of ho= w the voice is pr= oduced and examine the range of possibilities in vocal characterization open to the actor.<= /span>

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How the Voice Works

•<= /span>The ability to speak, and to express= such a wide range of ideas through speech, is a distinctly human characteristic. The speech mechanism it= self, though, is composed of various parts of our bodies which have other uses.

•<= /span>Our diaphragm, lungs, and nasal pass= ages are vital for breathing. Our teeth, lips, and tongue are important for eating and swallowing. This is why speech is often called an overlaid function: the use o= f our lips, tee= th, lungs, and so on for speech is laid over it’s primary function. =

•Proper appreciation of our vocal instrument begins with learning the physical mechanisms by which it is produced. Discovering how our vo= ice works will allow us to exercise it more effectively, extending it’s = range without damaging it.

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The Four Pro= cesses of Speech

•Four steps are involved in the productions of speech:

•Respiration

•Phonation

•Resonation

•Articulation

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Respiration=

•<= /span>In the simplest terms, breathing is = the process by which air is taken into the lungs so that our blood can receive the oxygen we = need to live. The= lungs are not muscles, and there are no muscles attached to them, = so how, you may ask, is the air “taken in”?

•<= /span>Respiration or breathing, is somethi= ng that we all do. As a matter of fact, we’re all pretty good at it or we wouldn’= t be here! Breathing is so natural that most people never think about it, but student actors can’t afford not to think about it. <= /span>

•<= /span>Our lungs rest inside our chest cavi= ty, or thorax. surrounded by the rib = cage and bounded at the bottom by th= e diaphragm. (the diaphragm is a l= arge, strong muscle that separates the thorax from the abdomen.) Air is drawn into he lungs by increa= sing the size of the chest cavity, which reduces the relative air pressure inside the thorax a= nd causes air from outside to rush in until the pressure is equalized.

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Respiration -
increasing the siz= e of the chest cavity

•<= /span>There are three ways to increase= the size of the chest cavity

•<= /span>THE CLAVICLES (col= lar bones) can be elevated, which usually causes a corresponding elevation of the shoulders

•the RIB CAGE can be expanded, rather like an old fashioned bellows&= #13;

•the DIAPHRAGM can be contracted, forcing the abdominal organs downward and/or outward.=

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Clavicular and Rib Cage Breathing

•<= /span>Clavicular breath= ing works wonderfully w= ell - all you need to do is stay alive. But the actor needs a large supply of air for making lo= ng speeches, and the limited movement of the clavicles means only a small amount of air is tak= en into the top part of= the lungs.

•Rib Cage breathin= g is more efficient t= han clavicular breathing, because the rib cage can be expanded more than the clavicles can be raised. This draws a greater amount of air into the lungs, = but not as much or as deeply as the third alternative, = diaphragmatic bre= athing.

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Diaphragmatic Brea= thing

•<= /span>contracting the diaphragm draws a la= rge quantity of= air deep into the lungs. This provides an actor (or singer, or clarinetist) with a l= arge supply of air. This air, supported on exhalation by the strength of the diaphragm, enables the actor = to make long sp= eeches without gasping for breath.

•<= /span>Everyone is born breathing diaphragmatically, but the sad fact is that most of us seem to forget how <= /span>to do it - that is we forget while w= e are awake and ve= rtical!

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How to breathe with = the Diaphragm

•<= /span>To test yourself for diaphragmatic brea= thing, place the palm of you hand over your stomach with your thumb resting just below your sternum (breastbone)

•<= /span>When you inhale (breathe in), your hand should be pushed out and when you exhale (breathe out), your hand should move towards y= our spine.

•<= /span>If your diaphragm doesn’t seem to= work, don’t despair. Try this : lie down on your back with a heavy book on your stomach. As you re= lax, the book should beg= in to slowly rise and fall, in time with your breathing. Carefully remove the book, replacing it with your hand. Allow your hand to rise and fall several times, then - slowly = and carefully - try standing up while keepi= ng the movement of your diaphragm the same.

•<= /span>An actor must learn , perfect and use diaphragmatic breathing at will. Practice is the key to success.

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= Phonation

•<= /span>Phonation, making a sound, is the se= cond process in speaking. Sound is created by vibration, but what part of our speech mechan= ism provides the vibration? <= /span>

•<= /span>The air taken into our lungs is push= ed out through the bronc= hial tubes and trachea. As it passes through the larynx, or voice box (or Adams Apple), the vocal folds are brought = close enough together that the passing stream of air causes them to vibrate. This vibratio= n is sound, ju= st as the vibrating of a trumpet players lips, or a guitar string, or even a plucked rubber band is a sound.= 3;

•<= /span>The larynx is a small bundle of cart= ilage, muscles, tendons, and other tissues, including vocal folds. The vocal folds are held by tiny pieces of cartilage which pivot, causing the vocal folds to stretch, and bringing them closer together - then they regulate the amou= nt of te= nsion to create high and low pitches. The sound it creates is very soft <= /span>and quiet. This sound can hardly be = heard unless the room is silent.

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Resonation<= /div>

•<= /span>Resonation is the third process of speaking. J= ust as a trumpeter's lips need a trumpet and a guitar string needs a sound box or electronic pick-up, the sound created by the vo= cal folds needs to be made louder and stronger. This function is served by three parts of our speech mec= hanism : the pharynx, the oral cavity, and the nasal cavity= .

•The Pharynx is the large open area a= t the back of your mouth (or the top of your throat, depending on how you want to look at it= ). The oral ca= vity is the mouth, and the nasal cavity is the air passage from the pharynx to the nose.

•<= /span>The size and shape ofd these open sp= aces provides each of us with a unique “voice print”. They are what gives us recognizably different voices.

•<= /span>An actor maximizes the use of their resonation by learning to relax the muscles of the throat. The oral cavity can be made larger by opening the mouth wider when speaking.

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Articulation

•<= /span>Articulation is the final process of speaking. Through the processes of respiration, phonation, and reson= ation, we have created a sound loud enough to be heard. But without articulation, breaking the sound into mea= ningful units and patterns we would be unintelligible.

•The seven articulators (teeth, lips, tongue, lower jaw, h= ard palate, soft palate, and epiglottis) sha= pe the sound into syllables and words that enable us to convey a wide range of thoughts and emotions to our au= dience whether in the theatre or in our living room.

•<= /span>The articulators are used in combina= tions. The tongue and lower jaw are used for most of the vowel sounds. Try saying the vowel sounds in be= et, bit, bet, bat for example and notice movement in your mouth . <= /span>

•<= /span>The lips form the plosives b and p, = teeth and lower lip combine for the fricatives f and v, teeth are responsible for the sounds of= th in think and breathe. The tongue and hard palate get together for t and d, and the soft palate kisses the back of the t= ongue for the k and the g.

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The Four Properties of Tone

•The sound of our voice can be altered at our discretion in four different ways:

•<= /span>strength

•<= /span> pitch

•<= /span> t= ime

•<= /span> quality

•<= /span>An actor must have a wide range of c= hoices in each category to provide the widest range of characterizations.

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Strength

Without

STRAIN

is the secret of a

healthy and

powerful

voice.

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Strength

•“Project!” shouts the director. “Remember the deaf old lady in the back row!” The property= of the voice commonly referred to as loudness or volume is better described by = the word strength.

•How much sound we produce is governed by the = amount of air= we push past our vocal folds, and the support of the diaphragm is essential.

•It is very important to keep in mind that our goal is Strength without Strain. Proper relaxation of the throat muscles combined with support from the diaphragm will permit us to have a very strong voice without getting hoarse - as we tend to do whe= n we yell for victory at a football game, for example.

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Strength (cont.)

•<= /span>A system for measu= ring strength is on the following slide.

•A Convenient system for measuring strength is important= , because it will al= low us to understand each other when we talk about how strongly= a particular line should be delivered.

•On the following slide a system of numbers is used - it is= not scientific, and we won’t need an audiometer or decibel meter (the decibel is a = unit of loudness) - but it has worked for theatres over the years.= 3;

•The projection line on the following slide represents t= he level of strength below which the actor cannot be heard. Because theatres vary in s= ize, shape, and other acoustical properties, the projection line wi= ll differ from one theatre to another.

•It is important for an actor to test his/her voice in a theatre prior to performance.

------=_NextPart_01C5BAAE.033BE560 Content-Location: file:///C:/4A3733F1/VOCALI~1_files/slide0014.htm Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset="us-ascii" YOUR VOCAL INSTRUMENT

Vocal Strengths<= /div>

Level

Description

very soft whisper - no phonation

stage whisper

quiet or hushed conversation

normal conversation

heated conversation

calling to another room

calling across campus

strongest possible shout

projection line

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Pitch=

•<= /span>Most of us understand that pitch is associated with music - that a flute is higher pitched than a tuba, and that singing requires cl= ose attention to pitch. Although most people make use of only a small portion , the = human voice is capable of a wide ran= ge of pitches.

•<= /span>The pitch of a sound is determined b= y the speed of the vibration producing the sound - the faster the vibration, the higher = the pitch. The spe= ed of the vibration is largely determined by the thickness , tension, and length of the vibrating body. In= the human voice, the vocal fold vibrations determine pitch.

•<= /span>The thickness of our vocal folds is determined by genetics and gender. We control the length and “tightness” by making adjustments in the larynx.

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Inflection as a variation= in Pitch

•<= /span>INFLECTION is the word we use to des= cribed the var= iations in pitch during speech, most commonly during one sentence or one word.

•<= /span>A sentence or word can have a rising inflection, a falling inflection, or circumflex inflection.= 3;

•The voice of a person with a limited= pitch range, unable to use a wide variety of inflections, is often described as a monotone.

•<= /span>As an actor, you should work to deve= lop your total pitch range until you are able to be expressive (not monotonous) in each of the three mini-ranges : h= igh, medium, and low.

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ARE

YOU

HELLO

HAPPY

TODAY?

RISING INFLECTIONS

Falling inflections

Circumflex inflections<= /span>

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Time

•<= /span>The two parts of our speech that can be= timed are the sounds= and the silences - the spaces between sounds.

•Short sounds combined with short silenc= es creates a very rapid speech, giving our articulators a work-out.

•<= /span>Long sounds separated by short silences creates a very musical sound, appropriate for classical drama , or any poetic speech.

•<= /span>Sometimes, using a long silence places = extra emphasis on the so= und(s) that follow.

•<= /span>The audience will perceive an actor with sloppy artic= ulation or a weak voice as “speaking too fast” even when the actual speed is rather slow.

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Quality

•<= /span>Most people have experimented with changing their vocal quality. When we make our voices sound “spooky” to play <= span style=3D'position:absolute;top:50.58%;left:3.81%;width:87.02%;height:24.7%= '>Halloween ghosts, for example. Even whispering is a change in the quality

•<= /span>The human voice can achieve an infin= ite number of sli= ghtly different qualities, as we know from listening to the wide variety of voices around us= . Some of them are:

•<= /span>nasal

•<= /span>oral

•<= /span>guttural

•<= /span>aspirate

•<= /span>orotund

•<= /span>normal

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<= /v:shape>

•<= /span>NASAL QUALITY <= /span>

<= span style=3D'mso-special-format:bullet;position:absolute;left:-8.13%'>–<= /span>created by allowing <= /span>more air than normal = to escape through the nose during speech.

–<= /span>The nasal quality is = generally associated = with unpleasant characters, but a little extra nasal quality <= /span>can increase the carrying power of your voice for long <= /span>shouts across long distances.

<= /v:shape>

•<= /span>ORAL QUALITY

<= span style=3D'mso-special-format:bullet;position:absolute;left:-8.0%'>–produces a very “light” sound, and i= s associated with children, very old people, and some foreign dialects.

<= span style=3D'mso-special-format:bullet;position:absolute;left:-7.54%'>–<= /span>It is produced when <= /span>most of the resonance of the pharynx is bypassed, allowing most of the resonance to come from the oral cavity.

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•<= /span>NORMAL QUALITY =

–<= /span>this is the quality most untrained speakers use in their daily lives.

<= span style=3D'mso-special-format:bullet;position:absolute;left:-7.72%'>–<= /span>relatively few people make the best possible use of their resonators for a full, rich voice, and few people sustain the exaggerated use of tone quality necessary to make them stand out in a crowd.

•<= /span>ASPIRATE VOICE =

–<= /span>is almost always used in combination with another quality for stage work. <= /div>

–a pure aspirate quality requires that phonation not take place, producing a <= span style=3D'position:absolute;top:25.09%;left:6.03%;width:78.86%;height:8.23%= '>true whisper that is difficult to project A stage = whisper uses another quality, but allows plenty of air to escape “around the edges” of the voice. This creates the psychological effect of a whisper.

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•GUTTURAL VOICE

–is often described as th= roaty, raspy, or gr= avelly.

–The gutt= ural voice is pl= ayed deep in the ph= arynx.

–It is o= ften associated with ro= ugh-and-tough characters, an= old men.

–Care sh= ould be taken not to strain the voice. The tension in the throat mu= scles necessary to ac= hieve guttural quality re= sults often in ho= arseness.

•OROTUND QUALITY

–is defin= ed as the quality wh= ich is the richest, fu= llest, most resonant that an individual can pr= oduce.

–an orotu= nd quality is ac= hieved through training of= the vocal mechanism: Re= laxing the throat, st= rengthening jaw muscles, and learning to place sound on the soft palate. A rich and resonant voice is possible for everyone, and it is a great asset for an actor.

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document.all.tags("seq"); if( collSeq !=3D null ) { for(ii=3D0;ii numSlds ) gSldJumpIdx =3D numSlds; if ( gSldJumpIdx >=3D 0 ) { if ( gSldJumpIdx =3D=3D 0 ) gSldJumpIdx =3D 1; var jumpTo =3D parseInt(gSldJumpIdx); gSldJump =3D 0; gSldJumpIdx =3D ""; win.GoToSld( parent.GetSldList().mList[jumpTo-1].mSldHref ) } } } function _KDH() { if( event.keyCode =3D=3D 8 ) { event.returnValue =3D 0; parent.GoToPrevSld(); } } function PlaySound( href, loop ){ href=3D unescape(href); if( window.event ) window.event.cancelBubble =3D true; pptSound.src =3D href; pptSound.loop =3D loop ? -1 : 0; } function DocumentOnClick() { if( IsNts() || parent.HideMenu() ) return; if( ( g_allowAdvOnClick && (window.name=3D=3D"PPTSld") && !parent.IsFrames= Mode() ) || (event && event.keyCode=3D=3D32) ) { =09 if( g_animUseRuntime && g_animMainSequence && g_animMainSequence.cangonex= t ) return; parent.GoToNextSld(); } } var g_supportsPPTHTML =3D SupportsPPTHTML(), g_scaleInFrame =3D 1, gId=3D""= , g_bgSound=3D"", g_scaleHyperlinks =3D false, g_allowAdvOnClick =3D 1, g_showInBrowser = =3D 0, gLoopCont =3D 0, gUseSldTimings =3D 0; var g_showAnimation =3D g_supportsPPTHTML && SupportsPPTAnimation() && ( (w= indow.name=3D=3D"PPTSld" && !parent.IsFramesMode()) || g_showInBrowser );va= r g_animManager =3D null; var g_animUseRuntime =3D false; var g_animItemsToHide, g_animInteractiveItems, g_animSlideTime; var g_animMainSequence =3D null; var ENDSHOW_MESG=3D"End of slide show, click to exit.", SCREEN_MODE=3D"Fram= es", gIsEndShow=3D0, NUM_VIS_SLDS=3D24, SCRIPT_HREF=3D"script.js", FULLSCR_= HREF=3D"fullscreen.htm"; var gCurSld =3D gPrevSld =3D 1, g_offset =3D 0, gNtsOpen =3D gHasNts =3D gO= tlTxtExp =3D 0, gHasNarration =3D 0, gOtlOpen =3D true window.gPPTHTML=3DSupportsPPTHTML() var gMainDoc=3Dnew Array(new hrefList("slide0001.htm",1,-1,1),new hrefList(= "slide0002.htm",1,-1,1),new hrefList("slide0003.htm",1,-1,1),new hrefList("= slide0004.htm",1,-1,1),new hrefList("slide0006.htm",1,-1,1),new hrefList("s= lide0007.htm",1,-1,1),new hrefList("slide0008.htm",1,-1,1),new hrefList("sl= ide0009.htm",1,-1,1),new hrefList("slide0010.htm",1,-1,1),new hrefList("sli= de0011.htm",1,-1,1),new hrefList("slide0012.htm",1,-1,1),new hrefList("slid= e0015.htm",1,-1,1),new hrefList("slide0013.htm",1,-1,1),new hrefList("slide= 0016.htm",1,-1,1),new hrefList("slide0017.htm",1,-1,1),new hrefList("slide0= 014.htm",1,-1,1),new hrefList("slide0019.htm",1,-1,1),new hrefList("slide00= 20.htm",1,-1,1),new hrefList("slide0018.htm",1,-1,1),new hrefList("slide002= 2.htm",1,-1,1),new hrefList("slide0023.htm",1,-1,1),new hrefList("slide0024= .htm",1,-1,1),new hrefList("slide0025.htm",1,-1,1),new hrefList("slide0026.= htm",1,-1,1)); /********************************************* Frameset functions These functions control slide navigation and state of the frameset. **********************************************/ function FullScrInit() { g_allowAdvOnClick =3D GetCurSld().mAdvOnClk document.body.style.backgroundColor=3D"black" document.oncontextmenu=3Dparent._CM; document.onkeydown =3D _KDH; document.ondragstart=3DCancel document.onselectstart=3DCancel self.focus() } function Redirect( frmId ) {=09 var str=3Ddocument.location.hash,idx=3Dstr.indexOf('#'), sId=3DGetSldId() if(idx>=3D0) str=3Dstr.substr(1); if( window.name !=3D frmId && ( sId !=3D str) ) { obj =3D GetObj("Main-File") window.location.href=3Dobj.href+"#"+sId return 1 } return 0 } var MHTMLPrefix =3D CalculateMHTMLPrefix();=20 function CalculateMHTMLPrefix() { if ( document.location.protocol =3D=3D 'mhtml:') {=20 href=3Dnew String(document.location.href)=20 Start=3Dhref.indexOf('!')+1=20 End=3Dhref.lastIndexOf('/')+1=20 if (End < Start)=20 return href.substring(0, Start)=20 else=20 return href.substring(0, End)=20 } return ''; } function GetTags(base,tag) { if(g_supportsPPTHTML) return base.all.tags(tag); else return base.getElementsByTagName(tag); } function UpdNtsPane(){ if(frames["PPTNts"]) PPTNts.location.replace( MHTMLP= refix+GetHrefObj( gCurSld ).mNtsHref ) } function UpdNavPane( sldIndex ){ if(gNavLoaded) PPTNav.UpdNav() } function UpdOtNavPane(){ if(gOtlNavLoaded) PPTOtlNav.UpdOtlNav() } function UpdOtlPane(){ if(gOtlLoaded) PPTOtl.UpdOtl() } function SetHasNts( fVal ) { if( gHasNts !=3D fVal ) { gHasNts=3DfVal UpdNavPane() } } function ToggleOtlText() { gOtlTxtExp=3D!gOtlTxtExp UpdOtlPane() } function ClearMedia() { // Clear any sounds playing before launching another browser window. Other= wise, // in fullscreen mode, you'll continue to hear the sound in the frames mod= e. if (PPTSld.pptSound) PPTSld.pptSound.loop =3D 0; } function FullScreen() {=20 if ( PPTSld.g_animUseRuntime ) PPTSld.document.body.pause(); ClearMedia(); var href =3D ( document.location.protocol =3D=3D 'mhtml:') ? FULLSCR_HREF = : FULLSCR_HREF+"#"+GetHrefObj(gCurSld).mSldHref; if(PPTNav.event.ctrlKey) { var w =3D (window.screen.availWidth * 1.0) / 2.0 var h =3D w * (PPTSld.g_origH * 1.0) / PPTSld.g_origW win =3D window.open( MHTMLPrefix+href,null,"toolbar=3D0,resizable=3D1,top= =3D0,left=3D0," + "width=3D"+ w + ",height=3D" + h ); if( win.document.body && PPTSld.g_animUseRuntime ) win.document.body.PPTSldFrameset=3Dwindow; } else { win =3D window.open( MHTMLPrefix+href,null,"fullscreen=3Dyes" ); if( win.document.body && PPTSld.g_animUseRuntime ) win.document.body.PPTSldFrameset=3Dwindow; } } function ToggleVNarration() { rObj=3DPPTSld.document.all("NSPlay") if( rObj && !PPTSld.g_animUseRuntime ) { if( (rObj.playState =3D=3D 1)||(rObj.playState =3D=3D 0) ) rObj.Play() else if( rObj.playState =3D=3D 2 ) rObj.Pause() else return; } else if( PPTSld.g_animUseRuntime ) { narObj =3D PPTSld.document.all("narrationID") if( narObj ) narObj.togglePause() } } function GetCurSldNum() { =20 obj=3DGetHrefObj(gCurSld) if( obj.mOrigVis =3D=3D 1 ) return obj.mSldIdx else =20 return gCurSld } function GetNumSlds() { =20 if( GetHrefObj(gCurSld).mOrigVis =3D=3D 1 ) return GetSldList().mNumVisSlds; else return GetSldList().mList.length } function GetSldNum( href ) { for(ii=3D0; ii 1 ) PopSldList(); else if( !IsFramesMode() ) { if( gLoopCont ) GoToFirst() else EndShow() } } function GoToPrevSld() { ii=3DgCurSld-1 if( ii > 0 ) { obj=3DGetHrefObj(ii) while ( obj && ( obj.mVis =3D=3D 0 ) && ( ii>0 ) ) obj=3DGetHrefObj(--ii) if( ii =3D=3D 0 ) ii=3D1 GoToSldNum(ii) } } function GoToFirst(){ GoToSld( GetHrefObj(1).mSldHref ) } function GoToLast() { ii=3DGetSldList().mList.length if( ii !=3D gCurSld ) GoToSld( GetHrefObj(ii).mSldHref ) } function GoToSldNum( num ) { if( PPTSld.event ) PPTSld.event.cancelBubble=3Dtrue obj =3D GetHrefObj( num ) obj.mVis=3D1 gPrevSld=3DgCurSld gCurSld =3D num; PPTSld.location.replace(MHTMLPrefix+obj.mSldHref) if( IsFramesMode() ) { UpdNavPane(); UpdOtlPane(); UpdNtsPane() } } function GoToSld( href ) { if( PPTSld.event ) PPTSld.event.cancelBubble=3Dtrue GetHrefObj( GetSldNum(href) ).mVis=3D1 PPTSld.location.replace(MHTMLPrefix+href) } function SldUpdated( id ) { if( id =3D=3D GetHrefObj(gCurSld).mSldHref ) return gPrevSld=3DgCurSld gCurSld=3DGetSldNum(id) if( IsFramesMode() ) { UpdNavPane(); UpdOtlPane(); UpdNtsPane() } } function PrevSldViewed(){ GoToSld( GetHrefObj(gPrevSld).mSldHref ) } function HasPrevSld() { return ( gIsEndShow || ( gCurSld !=3D 1 && GetHrefO= bj( gCurSld-1 ).mVis =3D=3D 1 )||( GetCurSldNum() > 1 ) ) } function HasNextSld() { return (GetCurSldNum() !=3D GetNumSlds()) } function CloseWindow() { if( HideMenu() ) return; =09 var event =3D PPTSld.event; if( !IsFramesMode() && event && (event.keyCode=3D=3D27 || event.keyCode=3D= =3D32 || event.type=3D=3D"click" ) ) window.close( self ); CatchNumKeys( self, event ); } function Unload() { gIsEndShow=3D0; } function SetupEndShow() { gIsEndShow=3D1; PPTSld.document.body.scroll=3D"no"; PPTSld.document.onkeypress=3DCloseWindow; PPTSld.document.onclick=3DCloseWindow; PPTSld.document.oncontextmenu=3D_CM; } function EndShow() { if( IsFramesMode() ) return if( PPTSld.event ) PPTSld.event.cancelBubble=3Dtrue doc=3DPPTSld.document var dir =3D doc.body.dir if( dir !=3D "rtl" ) dir =3D "ltr"; doc.open() doc.writeln('

' + ENDSHOW_MESG + '

') doc.close() } function SetSldVisited(){ GetSldList().mList[gCurSld-1].mVisited=3Dtrue } function IsSldVisited(){ return GetSldList().mList[gCurSld-1].mVisited } function hrefList( sldHref, visible, advDelay, advClk ) { this.mSldHref=3D this.mNtsHref =3D sldHref this.mOrigVis=3D this.mVis =3D visible this.mVisited=3D false this.mAdvDelay=3D advDelay this.mAdvOnClk=3D advClk } function SldList(arr,curSld,fEnd) { this.mCurSld =3D curSld; this.mList =3D new Array(); var idx =3D 1; for(ii=3D0;ii 0) { PushSldList(sldList,fEnd); gCurSld =3D 1; } else if( PPTSld.event ) PPTSld.event.cancelBubble=3Dtrue } function PushSldList(arr,fEnd) { var ii =3D gSldStack.length; gSldStack[ii] =3D new SldList(arr,gCurSld,fEnd); GoToSld( gSldStack[ii].mList[0].mSldHref ); } function PopSldList() { if (gSldStack[gSldStack.length-1].fEndShow) EndShow() else { gCurSld =3D gSldStack[gSldStack.length-1].mCurSld; gSldStack[gSldStack.length-1] =3D null; gSldStack.length--; var sldList =3D gSldStack[gSldStack.length-1]; GoToSld( sldList.mList[gCurSld - 1].mSldHref ); } } var custShowList=3Dnew Array(); /********************************************* Navigation button implementation There are 2 types of buttons: ImgBtn, TxtBtn implemented as function objects. They share a similiar interface so the event handlers can call SetActive, for example, on a button=20 object without needing to know exactly=20 what type of button it is. **********************************************/ //---------------------------------- function ImgBtn( oId,bId,w,action ) //---------------------------------- { var t=3Dthis t.Perform =3D _IBP t.SetActive =3D _IBSetA t.SetInactive=3D _IBSetI t.SetPressed =3D _IBSetP t.SetDisabled=3D _IBSetD t.Enabled =3D _IBSetE t.ChangeIcon =3D null t.UserAction =3D action t.ChgState =3D _IBUI t.mObjId =3D oId t.mBorderId=3D bId t.mWidth =3D w t.mIsOn =3D t.mCurState =3D 0 } function _IBSetA() { if( this.mIsOn ) { obj=3Dthis.ChgState( gHiliteClr,gShadowClr,2 ) obj.style.posTop=3D0 } } function _IBSetI() { if( this.mIsOn ) { obj=3Dthis.ChgState( gFaceClr,gFaceClr,1 ) obj.style.posTop=3D0=20 } } function _IBSetP() { if( this.mIsOn ) { obj=3Dthis.ChgState( gShadowClr,gHiliteClr,2 ) obj.style.posLeft+=3D1; obj.style.posTop+=3D1 } } function _IBSetD() { =20 obj=3Dthis.ChgState( gFaceClr,gFaceClr,0 ) obj.style.posTop=3D0=20 } function _IBSetE( state ) { var t=3Dthis GetObj( t.mBorderId ).style.visibility=3D"visible" if( state !=3D t.mIsOn ) { t.mIsOn=3Dstate if( state ) t.SetInactive() else t.SetDisabled() } } function _IBP() { var t=3Dthis if( t.mIsOn ) { if( t.UserAction !=3D null ) t.UserAction() if( t.ChangeIcon ) { obj=3DGetObj(t.mObjId) if( t.ChangeIcon() ) obj.style.posLeft=3Dobj.style.posLeft+(t.mCurState-4)*t.mWidth else obj.style.posLeft=3Dobj.style.posLeft+(t.mCurState-0)*t.mWidth } t.SetActive() } =20 } function _IBUI( clr1,clr2,nextState ) { var t=3Dthis SetBorder( GetObj( t.mBorderId ),clr1,clr2 ) obj=3DGetObj( t.mObjId ) obj.style.posLeft=3Dobj.style.posLeft+(t.mCurState-nextState)*t.mWidth-obj= .style.posTop t.mCurState=3DnextState return obj } //----------------------------------------- function TxtBtn( oId,oeId,action,chkState ) //----------------------------------------- { var t=3Dthis t.Perform =3D _TBP t.SetActive =3D _TBSetA t.SetInactive=3D _TBSetI t.SetPressed =3D _TBSetP t.SetDisabled=3D _TBSetD t.SetEnabled =3D _TBSetE t.GetState =3D chkState t.UserAction =3D action t.ChgState =3D _TBUI t.mObjId =3D oId t.m_elementsId=3D oeId t.mIsOn =3D 1 } function _TBSetA() { var t=3Dthis if( t.mIsOn && !t.GetState() ) t.ChgState( gHiliteClr,gShadowClr,0,0 ) } function _TBSetI() { var t=3Dthis if( t.mIsOn && !t.GetState() ) t.ChgState( gFaceClr,gFaceClr,0,0 ) } function _TBSetP() { if( this.mIsOn ) this.ChgState( gShadowClr,gHiliteClr,1,1 ) } function _TBSetD() { =20 this.ChgState( gFaceClr,gFaceClr,0,0 ) this.mIsOn =3D 0 } function _TBSetE() { var t=3Dthis if( !t.GetState() ) t.ChgState( gFaceClr,gFaceClr,0,0 ) else t.ChgState( gShadowClr,gHiliteClr,1,1 ) t.mIsOn =3D 1 } function _TBP() { var t=3Dthis if( t.mIsOn ) {=20 if( t.UserAction !=3D null ) t.UserAction() if( !t.GetState ) return if( t.GetState() ) t.SetPressed() else t.SetActive() } =20 } function _TBUI( clr1,clr2,lOffset,tOffset ) { SetBorder( GetObj( this.mObjId ),clr1,clr2 ) Offset( GetObj( this.m_elementsId ),lOffset,tOffset ) } function Offset( obj, top, left ){ obj.style.top=3Dtop; obj.style.left=3Dle= ft } function SetBorder( obj, upperLeft, lowerRight ) { s=3Dobj.style; s.borderStyle =3D "solid" s.borderWidth =3D 1=20 s.borderLeftColor =3D s.borderTopColor =3D upperLeft s.borderBottomColor=3D s.borderRightColor =3D lowerRight } function GetBtnObj(){ return gBtnArr[window.event.srcElement.id] } function BtnOnOver(){ b=3DGetBtnObj(); if( b !=3D null ) b.SetActive() } function BtnOnDown(){ b=3DGetBtnObj(); if( b !=3D null ) b.SetPressed() } function BtnOnOut(){ b=3DGetBtnObj(); if( b !=3D null ) b.SetInactive() } function BtnOnUp() { b=3DGetBtnObj() if( b !=3D null ) b.Perform() else Upd() } function GetNtsState(){ return parent.gNtsOpen } function GetOtlState(){ return parent.gOtlOpen } function GetOtlTxtState(){ return parent.gOtlTxtExp } function NtsBtnSetFlag( fVal ) { s=3Ddocument.all.item( this.m_flagId ).style s.display=3D"none" if( fVal ) s.display=3D"" else s.display=3D"none" } function _BSetA_Border(){ b =3D gBtnArr[this.mObjId]; if( b !=3D null ) b.S= etActive() } function _BSetI_Border(){ b =3D gBtnArr[this.mObjId]; if( b !=3D null ) b.S= etInactive() } function _BSetP_Border(){ b =3D gBtnArr[this.mObjId]; if( b !=3D null ) b.S= etPressed() } function _BSetA_BorderImg() {=20 b =3D gBtnArr[this.mBorderId]=20 if( b !=3D null && this.mIsOn && !b.GetState() ) { obj=3Dthis.ChgState( gHiliteClr,gShadowClr,2 ) obj.style.posTop=3D0 } } function _BSetI_BorderImg() {=20 b =3D gBtnArr[this.mBorderId] if( b !=3D null && this.mIsOn && !b.GetState() ) { obj=3Dthis.ChgState( gFaceClr,gFaceClr,1 ) obj.style.posTop=3D0 } } var gHiliteClr=3D"THREEDHIGHLIGHT",gShadowClr=3D"THREEDSHADOW",gFaceClr=3D"= THREEDFACE" var gBtnArr =3D new Array() gBtnArr["nb_otl"] =3D new TxtBtn( "nb_otl","nb_otlElem",parent.ToggleOtlPan= e,GetOtlState ) gBtnArr["nb_otlElem"] =3D new TxtBtn( "nb_otl","nb_otlElem",parent.ToggleOt= lPane,GetOtlState ) gBtnArr["nb_nts"] =3D new ImgBtn( "nb_nts","nb_ntsBorder",10,parent.ToggleN= tsPane ) gBtnArr["nb_nts"].SetActive =3D _BSetA_BorderImg; gBtnArr["nb_nts"].SetInactive =3D _BSetI_BorderImg; gBtnArr["nb_ntsBorder"] =3D new TxtBtn( "nb_ntsBorder","nb_ntsElem",parent.= ToggleNtsPane,GetNtsState ) gBtnArr["nb_ntsElem"] =3D new TxtBtn( "nb_ntsBorder","nb_ntsElem",parent.To= ggleNtsPane,GetNtsState ) gBtnArr["nb_prevBorder"] =3D gBtnArr["nb_prev"]=3D new ImgBtn( "nb_prev","n= b_prevBorder",30,parent.GoToPrevSld ) gBtnArr["nb_nextBorder"] =3D gBtnArr["nb_next"]=3D new ImgBtn( "nb_next","n= b_nextBorder",30,parent.GoToNextSld ) gBtnArr["nb_sldshw"]=3D new ImgBtn( "nb_sldshw","nb_sldshwBorder",18,parent= .FullScreen ) gBtnArr["nb_sldshwBorder"] =3D new TxtBtn( "nb_sldshw","nb_sldshwBorder",pa= rent.FullScreen,null ) gBtnArr["nb_sldshwBorder"].SetActive =3D _BSetA_Border; gBtnArr["nb_sldshwBorder"].SetInactive =3D _BSetI_Border; gBtnArr["nb_sldshwText"] =3D new TxtBtn( "nb_sldshw","nb_sldshwText",parent= .FullScreen,null ) gBtnArr["nb_sldshwText"].SetActive =3D _BSetA_Border; gBtnArr["nb_sldshwText"].SetInactive =3D _BSetI_Border; gBtnArr["nb_voice"] =3D gBtnArr["nb_voiceBorder"] =3D new ImgBtn( "nb_voice= ","nb_voiceBorder",18,parent.ToggleVNarration ) gBtnArr["nb_otlTxtBorder"] =3D gBtnArr["nb_otlTxt"]=3D new ImgBtn( "nb_otlT= xt","nb_otlTxtBorder",23,parent.ToggleOtlText ) gBtnArr["nb_ntsBorder"].m_flagId=3D "nb_nts" gBtnArr["nb_ntsBorder"].SetFlag =3D NtsBtnSetFlag gBtnArr["nb_otlTxt"].ChangeIcon=3D GetOtlTxtState /********************************************* Context menu implementation _CM() is the function that's hooked up to the oncontextmenu event. Once we're asked to show the menu, we first build it by creating DIVs on-the-fly. Then we position it=20 within the screen area so it doesn't get clipped. Creating the DIVs using createElement() means we don't have to write out any extra HTML into the slide HTML files. **********************************************/ var sNext=3D"Next",sPrev=3D"Previous",sEnd=3D"End Show",sFont=3D"Arial",sAr= row=3D"Arrow",sFreeform=3D"Freeform",sRect=3D"Rectangle",sOval=3D"Oval" function ShowMenu() { BuildMenu(); var doc=3DPPTSld.document.body,x=3DPPTSld.event.clientX+doc.scrollLeft,y= =3DPPTSld.event.clientY+doc.scrollTop m =3D PPTSld.document.all.item("ctxtmenu") m.style.pixelLeft=3Dx if( (x+m.scrollWidth > doc.clientWidth)&&(x-m.scrollWidth > 0) ) m.style.pixelLeft=3Dx-m.scrollWidth m.style.pixelTop=3Dy if( (y+m.scrollHeight > doc.clientHeight)&&(y-m.scrollHeight > 0) ) m.style.pixelTop=3Dy-m.scrollHeight m.style.display=3D"" } function _CM() { if( !parent.IsFullScrMode() ) return; if(!PPTSld.event.ctrlKey) { ShowMenu() return false } else HideMenu() } function BuildMenu() { if( PPTSld.document.all.item("ctxtmenu") ) return var mObj=3DCreateItem( PPTSld.document.body ) mObj.id=3D"ctxtmenu" mObj.style.visibility=3D"hidden" var s=3DmObj.style s.position=3D"absolute" s.cursor=3D"default" s.width=3D"120px" SetCMBorder(mObj,"menu","black") var iObj=3DCreateItem( mObj ) SetCMBorder( iObj, "threedhighlight","threedshadow" ) iObj.style.padding=3D2 CreateMenuItem( iObj,sNext,M_GoNextSld,M_True ) CreateMenuItem( iObj,sPrev,M_GoPrevSld,M_HasPrevSld ) =09 CreateSeparator( iObj ) CreateMenuItem( iObj,sEnd,M_End,M_True ) mObj.style.visibility=3D"visible" } function Cancel() { window.event.cancelBubble=3Dtrue; window.event.returnVa= lue=3Dfalse } function Highlight() { ChangeClr("activecaption","threedhighlight") } function Deselect() { ChangeClr("threedface","menutext") } function Perform() { e=3DPPTSld.event.srcElement if( e.type=3D=3D"menuitem" && e.IsActive() ) e.Action() else PPTSld.event.cancelBubble=3Dtrue } function ChangeClr( bg,clr ) { e=3DPPTSld.event.srcElement if( e.type=3D=3D"menuitem" && e.IsActive() ) { e.style.backgroundColor=3Dbg e.style.color=3Dclr } } function M_HasPrevSld() { return( parent.HasPrevSld() ) } function M_GoNextSld() { if( gIsEndShow ) M_End(); else GoToNextSld() } function M_GoPrevSld() { if( gIsEndShow ) { gIsEndShow=3D0; history.back();= PPTSld.event.cancelBubble=3Dtrue; } else GoToPrevSld() } function M_True() { return true } function M_End() { window.close( self ) } function CreateMenuItem( node,text,action,eval ) { var e=3DCreateItem( node ) e.type=3D"menuitem" e.Action=3Daction e.IsActive=3Deval e.innerHTML=3Dtext if( !e.IsActive() ) e.style.color=3D"threedshadow" e.onclick=3DPerform e.onmouseover=3DHighlight e.onmouseout=3DDeselect s=3De.style; 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1	YOUR VOCAL INSTR= UMENT An actor has only two tools with which to reach the audience: body a= nd voice. It’s imperative that both be trained to be flexible and strong, able to fulfill the demands of any director and any role. Th= is unit will give you a basic understanding of how the voice is produced and examine the range of possibilities in vocal characterization ope= n to the actor.
2	How the Voice Wo= rks The ability to speak, and to express such a wide range of ideas thro= ugh speech, is a distinctly human characteristic. The speech mechanism itself, though, is composed of various parts of our bodies which have other uses. Our diaphragm, lungs, and nasal passages are vital for breathing. Our teeth, lips, and tongue are important for eating and swallowing. Thi= s is why speech is often called an overlaid function: the use of our lips, teeth, lungs, and so on for speech is laid over it’s primary function. Proper appreciation of our vocal instrument begins with learning the physical mechanisms by which it is produced. Discovering how our voi= ce works will allow us to exercise it more effectively, extending it’s range without damaging it.
3	The Four Process= es of Speech Four steps are involved in the productions of speech: Respiration Phonation Resonation Articulation
4	Respiration<= /font> In the simplest terms, breathing is the process by which air is taken into the lungs so that our blood can receive the oxygen we need to l= ive. The lungs are not muscles, and there are no muscles attached to them= , so how, you may ask, is the air “taken in”? Respiration or breathing, is something that we all do. As a matter of fact, we’re all pretty good at it or we wouldn’t be here! Breathing is so natural that most people never think about it, but student actors can’t afford not to think about it. Our lungs rest inside our chest cavity, or thorax. surrounded by the= rib cage and bounded at the bottom by the diaphragm. (the diaphragm is a large, strong muscle that separates the thorax from the abdomen.) Ai= r is drawn into he lungs by increasing the size of the chest cavity, which reduces the relative air pressure inside the thorax and causes air f= rom outside to rush in until the pressure is equalized.
5	Respiration - increasing the size of the chest cavity There are three ways to increase the size of the chest cavity THE CLAVICLES (collar bones) can be elevated, which usually causes a corresponding elevation of the shoulders the RIB CAGE can be expanded, rather like an old fashioned bellows the DIAPHRAGM can be contracted, forcing the abdominal organs downward and/or outward.
6	Clavicular and R= ib Cage Breathing Clavicular breathing works wonderfully well - all you need to do is = stay alive. But the actor needs a large supply of air for making long speeches, and the limited movement of the clavicles means only a sma= ll amount of air is taken into the top part of the lungs. Rib Cage breathing is more efficient than clavicular breathing, beca= use the rib cage can be expanded more than the clavicles can be raised. = This draws a greater amount of air into the lungs, but not as much or as deeply as the third alternative, diaphragmatic breathing.
7	Diaphragmatic Br= eathing contracting the diaphragm draws a large quantity of air deep into the lungs. This provides an actor = (or singer, or clarinetist) with a large supply of air. This = air, supported on exhalation by the strength of the diaphragm, enables the actor to make long speeches without gasping for breath. Everyone is born breathing diaphragmatically, but the sad fact is th= at most of us seem to forget how to do it - that is we forget while we = are awake and vertical!
8	How to breathe w= ith the Diaphragm To test yourself for diaphragmatic breathing, place the palm of you = hand over your stomach with your thumb resting just below your sternum (breastbone) When you inhale (breathe in), your hand should be pushed out and when you exhale (breathe out), your hand should move towards your spine.<= /li> If your diaphragm doesn’t seem to work, don’t despair. T= ry this : lie down on your back with a heavy book on your stomach. As y= ou relax, the book should begin to slowly rise and fall, in time with y= our breathing. Carefully remove the book, replacing it with your hand. A= llow your hand to rise and fall several times, then - slowly and carefull= y - try standing up while keeping the movement of your diaphragm the sam= e. An actor must learn , perfect and use diaphragmatic breathing at wil= l. Practice is the key to success.
9	Phonation Phonation, making a sound, is the second process in speaking. Sound = is created by vibration, but what part of our speech mechanism provides= the vibration? The air taken into our lungs is pushed out through the bronchial tub= es and trachea. As it passes through the larynx, or voice box (or Adams Apple), the vocal folds are brought close enough together that the passing stream of air causes them to vibrate. This vibration is soun= d, just as the vibrating of a trumpet players lips, or a guitar string,= or even a plucked rubber band is a sound. The larynx is a small bundle of cartilage, muscles, tendons, and oth= er tissues, including vocal folds. The vocal folds are held by tiny pie= ces of cartilage which pivot, causing the vocal folds to stretch, and bringing them closer together - then they regulate the amount of ten= sion to create high and low pitches. The sound it creates is very soft and quiet. This sound can hardly be heard unless the room is silent.
10	Resonation<= /font> Resonation is the third process of speaking. Just as a trumpeter's l= ips need a trumpet and a guitar string needs a sound box or electronic pick-up, the sound created by the vocal folds needs to be made louder and stronger. This function is served by three parts of our speech mechanism : the pharynx, the oral cavity, and the nasal cavity. The Pharynx is the large open area at the back of your mouth (or the= top of your throat, depending on how you want to look at it). The oral cavity is the mouth, and the nasal cavity is the air passage from the pharynx to the nose. The size and shape ofd these open spaces provides each of us with a unique “voice print”. They are what gives us recognizably different voices. An actor maximizes the use of their resonation by learning to relax = the muscles of the throat. The oral cavity can be made larger by opening= the mouth wider when speaking.
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