Klankproduksie : 'n ondersoek na die spraak- en sangstem

Rademan, Daniel Johannes (2005-03)

Thesis (MA)--University of Stellenbosch, 2005.

Thesis

ENGLISH ABSTRACT: Actors and singers mainly use their voices as theatrical communication instruments. The production of sound - for singing, speech and other derivatives - makes use of the same physiological mechanics. This indicates that the anatomical components are applicable to all of the the above mentioned. The goal of exploring the anatomy and physiology of the voice mechanics is to enhance the artist's and the theoretic's awareness of the dynamic process. Even though it does not replace technical training in voice production, it is still of cardinal importance. By being in possession of a worthy knowledge of the voice and body as an instrument of unity, singers and actors can challenge their instruments to the maximum. In this way professional vocal artists can finally come into contact with their humanness to create a mature character on stage. The correct body posture, breathing methods, resonance and articulation play an important role in ensuring good projection. Successful projection and resonance can only take place if the whole of the sound production instrument is working in a physiologically correct manner. Research has been done on the leading theater theorists' expectations of the regarding voice production. It was specifically their opinions that initiated the modern approach to sound production in terms of speech and singing in the modern theatre. A sound production experiment, focusing on the challenge of the human voice, was staged as a theatre production, and was analysed. The presentation was predominantly based on the ideas of the directors. These ideas were discussed in the previous chapter. This study explores the phsyiological mechanism that produces sound to promote the creative commerce with sound.

AFRIKAANSE OPSOMMING: Akteurs en sangers gebruik hoofsaaklik hulle stemme as 'n teatrale kommunikasie-instrument. Die produksie van klank - vir sang, spraak en ander geluide - spruit uit dieselfde fisiologiese meganika. Dit dui daarop dat dieselfde anatomiese komponent vir bogenoemde van toepassing is. Die verkenning van die anatomie en fisiologie van die stem-meganika het ten doel om die kunstenaar en teoretikus se bewustheid van die dinamiese proses uit te brei. Hoewel dit geensins die tegniese opleiding in stemgebruik vervang nie, is dit steeds van kardinale belang. Deur oor'n waardige kennis van die stem en liggaam as eenheids-instrument vir die teaterkunstenaar te beskik, kan sangers en akteurs hul instrumente tot die uiterstes uitdaag. Op hierdie manier kom 'n professionele stemgebruiker uiteindelik in aanraking met sy/haar potensiaal en kan sodoende 'n volwaardige karakter op die verhoog skep word. Die korrekte liggaamshouding, asemhalingsmetode, resonansie en artikulasie speel 'n kardinale rol in goeie projeksie. Suksesvolle projeksie en resonansie kan slegs geskied indien die hele klankproduksie-instrument op 'n natuurwetmatige wyse in werking is. Daar is ook navorsing gedoen oor die toonaangewende teaterteoretici se verwagtinge t.o.v. stemproduksie. Dit was juis hierdie persone se opinies wat die huidige aanwending van klankproduksie in terme van spraak en sang in die moderne teater geïnisieer het. 'n Klankproduksie-eksperiment (wat gefokus is op die uitdaging van die menslike stem) is in die vorm van 'n teaterproduksie gedoen waarin die uitgangspunte van die regisseurs wat in die vorige hoofstuk bespreek is, prakties ondersoek is. Die juiste doel van hierdie studie is dus om 'n ondersoek te loods na die fisiologiese meganisme wat klankproduksie by die menslike stem tot gevolg het, en uiteindelik die kreatiewe omgang met klank in terme van die spraaken die verwante sangstem te promoveer.

Please refer to this item in SUNScholar by using the following persistent URL: http://hdl.handle.net/10019.1/50386
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