Die relevansie van sangvaardighede as deel van die akteur se stem- en spraakopleiding

Stoltz, Christelle (2000-12)

Thesis (MDram)--University of Stellenbosch, 2000.

Thesis

ENGLISH ABSTRACT: The actor's work consists of communication, in other words the transfer of intellectual and emotional ideas. The voice is undoubtedly the most important means of auditory communication. The development and maintenance of the actor's voice is, therefore, an essential requirement for effective communication. The vocal development of actors and singers is aimed at releasing the breathing process, the passage of sound through the body and the organs of articulation, as well as the elimination of obstructive psychophysical inhibitions. The same body parts are used for the production of sound in both speaking and singing. The vocal instrument may be divided into three parts, namely the respiratory system, the glottic system and the resonators. The structure and functioning of the voice as an instrument is in many respects somewhat complex. Knowledge of the structure and functioning of the vocal system facilitates the prevention and elimination of speech problems. Speech and singing, as subdivisions of voice production, are both closely linked to the functioning of certain body parts, and it is for this reason that singing helps to improve speech. For instance, because singing demands a larger breath capacity and greater breath control, singing techniques contribute positively to the development of the actor's voice. Various voice production errors and problems encountered in actors, such as breathing-related problems, defective resonance adaptations and defective projection, can be eliminated by means of technical exercises. An analysis of the techniques for speech and singing reveal such a strong coincidence that they can both be classed as voice production techniques. A singing-based approach to vocal training will, therefore, have only a positive effect on the actor's voice production.

AFRIKAANSE OPSOMMING: Die akteur se werk behels kommunikasie, dit wil sê die oordra van intellektuele en emosionele idees. Die stem is meestalonontbeerlik as ouditiewe kommunikasiemiddel. Daarom is die ontwikkeling en instandhouding van die akteur se stem van wesenlike belang. Die fokus van stemontwikkeling by akteurs en sangers word gerig op die bevryding van die asemhalingsproses, die klankgang deur die liggaam, die artikulasieorgane en die uitwissing van stremmende psigo-fisiese inhibisies. In spraak en sang word dieselfde liggaamsdele vir klankproduksie aangewend. Die vokale instrument kan in drie verdeel word, naamlik die asemhalingstelsel, die glottale stelsel en die resonators. Die bou en werking van die stem as instrument is in vele opsigte kompleks. Kennis van die bou en werking van die vokale instrument kan egter tot die voorkoming of verbetering van stem- en spraakprobleme lei. Spraak en sang as onderafdelings van stemproduksie skakelonderling met betrekking tot die betrokkenheid van sekere liggaamsdele en hul funksies, en derhalwe ondersteun sangoefeninge spraakproduksie. Aangesien sang egter 'n groter asemkapasiteit en sterker asembeheer verg as spraak, kan sangtegniese oefeninge positief bydra tot die akteur se stemontwikkeling. Verskeie stemfoute en stemprobleme van die akteur kan verbeter word met behulp van tegniese oefeninge, naamlik asemverwante probleme, gebrekkige resonansie-aanpassings en gebrekkige projeksie. 'n Ontleding van die tegnieke van spraak en sang dui op so 'n sterk ooreenkoms dat beide as stemtegnieke geklassifiseer kan word. Daarom sal 'n sangtegniekmatige benadering tot stemopleiding die spraakstem van die akteur positiefbeïnvloed.

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