In the article we describe the methods of teaching language and speech at the Academy of Dramatic Art in Zagreb (Croatia) and at the Academy of Theatre, Radio, Film and Television in Ljubljana ...(Slovenia). We start by describing how language and speech are taught as individual subjects, we present the trends in teaching language and speech and compare the teaching practices at both academies. The main part of the article intends to show the connection between theory and practice in teaching, which should result in a stronger connection between the scientific and artistic approach in teaching. The goal of comparing the teaching practices at both academies is to show the similarities and differences in teaching and to explicitly present models of teaching and models of assessing the speech of actors, which have proved to be indisputable according to the comparison.
U radu se istražuje usmena književnost Bistre, opisuju se vrste i oblici koji se pojavljuju, kao i teme i motivi koji prevladavaju u kazivanjima prema dostupnim izvorima. Istraživanje je pokazalo da ...se usmena književnost bistranskoga kraja ponajviše temelji na usmenoj lirici, folklornom kazalištu i usmenoj predaji što su tijekom terenskoga istraživanja 1970-ih godina zabilježili istraživači Instituta za etnologiju i folkloristiku (tada: Institut za narodnu umjetnost). Komparativna je analiza pokazala da se pojedine teme i motivi u zapisanim pjesmama iz drugih krajeva pojavljuju u bistranskim inačicama usmene lirike. U istraživanjima folklornoga kazališta zabilježene su dramske scene mahom vezane uz vjerske blagdane, pokladne maškare i svadbene običaje, dok su u usmenoj predaji zabilježeni zapisi o Seljačkoj buni, kmetovima i feudalcima i liku Matije Gupca. U današnje se vrijeme očuvanjem i promicanjem bistranske usmene tradicije bave članovi Kulturno-umjetničkoga društva „Bistra“, Udruga „Ekomuzej Bistra“, kao i druge bistranske udruge, mještani i istraživači.
The paper explores oral literature of Bistra, describes the types and forms that appear, as well as the themes and motifs that prevail in narrations according to available sources. The research showed that oral literature of the Bistra region is mostly based on oral lyrics, folklore theater and oral tradition, which was recorded during field research in the 1970s by researchers at the Institute of Ethnology and Folklore Research (then: Institute of Folk Art). Comparative analysis has shown that certain themes and motifs in written poems from other regions appear in Bistran versions of oral lyrics. Within the research of folklore theater, dramatic scenes were recorded, mostly related to religious holidays, carnival masquerades and wedding customs, while oral tradition contains records of the Peasant uprising 1573, serfs and feudal lords and the figure of Matija Gubec. Nowadays, members of the Cultural and Artistic Society "Bistra", the Association "Ecomuseum Bistra", as well as other Bistra associations, locals and researchers are involved in preserving, and promoting Bistra oral tradition.
In contemporary implicit standard speech accents are almost never regularly realized on proclitics. This is true especially for the most recent retraction or the weakened accent retraction. Much ...research has shown that accents are not transferred regularly on proclitics even from shorter one- or two-syllable words, just like they are not transferred to polysyllabic prepositions, and most of all, they are not transferred to conjunctions despite the strict recommendations of orthoepic “classic” norms (although such transferences exist, they are connected to style and are considered to be detachments from the implicit speech standard). The authors of this article are studying accents on proclitics in actors’ speech. The difference between the classic or implicit norm and usage is usually observed by public speakers: announcers, journalists, anchors, lecturers, politicians and even actors, but this usually takes place in controlled studio conditions with the best actors. Actors’ speech in a real performance (in a theatre performance, film, radio play) often is not studied. This work studies actors’ speech and the realization of accents on proclitics in the theatre performances of the Gavella theatre in Zagreb. The theatre performances that werechosen for this research had to be performed in standard speech, had to have a speech counselor, had to be performed for a few seasons and had to have won awards at festivals. The performances were also available as video recording as well as in written form. The research has shown that regarding actors, just like other public speakers, the accents on proclitics are not realized when the rule allows for it. Even if accents are realized it is connected to the character that the actors are playing or it can be a serious mistake in speech, since we are talking about an accent retraction that is not allowed by the rules.
The aim of the study was to analyse speech perception of children with cochlear implants (N = 29) and children fitted with traditional hearing aids (N = 20). One- and two-syllable words were ...presented auditorily in a forced choice minimal-pair discrimination task. The children repeated the word and pointed to the appropriate picture presented on computer screen. The words were minimal pairs with respect to voicing or place of articulation in stops and fricatives; among affricates the minimal pairs included the most frequently substituted fricatives and stops in addition to voicing and place of articulation. Vowel discrimination was tested in minimal pairs and in nonsense words differing only in the vowel. Unaided, all children were profoundly hearing impaired and were included in auditory-oral therapy (Verbotonal method). The smallest differences between the groups were found for stops and vowels, and the largest for fricatives and affricates. The implanted children were significantly more successful.
The aim of the present investigation was to evaluate the acoustic parameters, perceptual estimation, and self-estimation of voice before, 1 month after, and 6 years after surgical removal of a vocal ...fold polyp. Subjects were five male patients who came to the Phoniatric Clinic because of breathiness. For all patients, a polyp of one vocal fold was diagnosed. The operation was performed using cold instruments based on the principles of contemporary phonosurgery aiming maximally at preserving the phonatory bridge of the vocal fold. The subjects were recorded in a sound-proof booth three times: before surgery, 1 month post-, and 6 years post-operation. The patients read a short tale and they pronounced a sustained vowel a . The following variables were measured: clinical (the distance of the polyp from the anterior commissure, the width of the polyp base and the size of the polyp), and acoustic (F0, jitter, shimmer, harmonic-to-noise ratio, voice turbulence index, degree of voice breaks, and long-term average spectrum). Acoustic variables were measured using the program Praat, while the estimation of voice quality was completed using the GRBAS scale and self-estimation questionnaire of the voice quality, which were answered by the patients. The results showed significant improvement in the variables investigated and improved patients satisfaction with their vocal health after the surgery.
Ivan Krizmanić preveo je Svetu Rožaliju Antuna Kanižlića 1831. godine sa štokavskoga na kajkavski služeći se prvim Kanižlićevim izdanjem Svete Rožalije koje je tiskano u Beču 1780. godine. U ...lingvostilističkoj analizi opisujemo stilističke postupke redom kako se pojavljuju u izvorniku i prijevodu, zatim redom kako se pojavljuju za svaki pojedini primjer. Analizirali smo stilističke postupke koje nalazimo u prijevodu, ali ih ne nalazimo u izvorniku ili je u izvorniku odabran drugačiji stilistički postupak. Lingvostilistička analiza pokazala je različitost u stilističkim postupcima prijevoda u odnosu na izvornik. Izdvojeni su samo učestali stilistički postupci, primjerice opkoračenje, jako mjesto, inverzija, deminutivi, semantostilemi, ponavljanja, gradacija, asonanca, aliteracija i retoričko pitanje. Krizmanić je u pojedinim stihovima zbog izbora riječi promijenio smisao. Kako bi pak očuvao izvornu misao, u pojedinim stihovima bira riječi koje ne nalazimo kod Kanižlića.
U općeprihvaćenom suvremenom implicitnom govornom standardu naglasci se na prislonjenicama gotovo nikad redovito ne ostvaruju, osobito se ne ostvaruje novije prelaženje, odnosno „oslabljeno“ ...prelaženje naglaska. Brojna istraživanja govore da se naglasci na prislonjenice ne prenose redovito niti s kraćih (jednosložnih i dvosložnih riječi), niti se naglasci prenose na višesložne prijedloge, ponajmanje na veznike, unatoč strogim preporukama ortoepske „klasične“ norme (premda takvih prelaženja ipak ima, ali ona su mahom stilistička i smatraju se odmakom od implicitnoga govornog standarda). Autorice se bave proučavanjem naglasaka na prislonjenicama u glumačkom govoru. Spomenuta razlika između „klasične“ norme i uporabe najčešće se dotiče javnih govornika: spikera, novinara, voditelja, predavača, političara pa i glumaca, ali u studijskim kontroliranim uvjetima i gotovo se uvijek dotiče govora glumačkih prvaka. No, rjeđe se proučava govor glumaca u njegovoj stvarnoj izvedbi – u kazališnoj predstavi, filmu i radijskoj drami. Na tragu navedenih problema u ovom radu proučava se govor glumaca, odnosno ostvarivanje naglasaka na prislonjenicama, u kazališnim predstavama Gradskoga dramskog kazališta Gavella u Zagrebu. Predstave su trebale biti izvedene na standardnomu govoru, izvođene su nekoliko sezona, nagrađivane su na festivalima. Bile su dostupne kao videozapis i u pisanomu obliku. Istraživanje pokazuje da glumci, kao ni drugi javni govornici, ne ostvaruju naglaske na prislonjenicama kada je to prema pravilu moguće. Ako se naglasak na prislonjenici i ostvari, to je uglavnom povezano sa značajem dramske osobe ili je posrijedi teža govorna pogreška, s obzirom na to da je riječ o prelaženju kada to pravilo i ne dopušta.
U radu su analizirana govorna ostvarenja glumaca i glumica (N = 10) Gradskoga dramskoga kazališta Gavella prema protokolu fonetskoga statusa ekspresivne govorne izvedbe (glas, izgovor, izražajnost, ...govorna glatkoća i ukupna ocjena). Fonetska slušna procjena provedena je sa studentima diplomskoga studija Odsjeka za fonetiku Sveučilišta u Zagrebu (N = 16). Nakon napravljenih statističkih postupaka (aritmetička sredina, t-test i Hi-kvadrat test), rad donosi opis glumačkoga govora s obzirom na pojedinačne (procjene rocjenitelja i autorice) i skupne procjene glumaca i glumica (procjena procjenitelja). Rezultati pojedinačnih fonetskih procjena između procjenitelja i autorice evidentiraju razilaženja u procjenama naglasnoga sustava i tempa (brzine) govora, dok je u ostalim varijablama postignuta dobra usklađenost u procjenama. Prema procjenama procjenitelja skupna slika pokazuje da glumice u odnosu na glumce imaju ugodniji glas, a glumci promukliji glas od glumica. Glumice imaju viši ton, primjereniji izgovor i govornu brzinu, bolju ukupnu izražajnost, govornu glatkoću i ukupnu ocjenu govorne izvedbe (sve su navedene razlike statistički značajne p = 0,001, dok je za govornu brzinu p = 0,028).
Ispitivalo se slušno prepoznavanje četiriju hrvatskih standardnih naglasaka s obzirom na mjesto u riječi, kvalitetu te opreku silaznosti/uzlaznosti na uzorku od 240 naglasnih značenjskih i ...bezznačenjskih riječi s istom distribucijom broja slogova i naglasaka. Prepoznavanje je provjeravano na slučajnom redoslijedu snimljenih riječi, izgovor kojih je prethodno verificiran. Ispitanici (40 studenata fonetike), prepoznavali su mjesto naglaska na značenjskim riječima sa 75% - tnom točnošću i 72% - tnom u bezznačenjskim, bez znakovite razlike na mjesto, ali s tendencijom pada prepoznavanja udaljavanjem od početnoga sloga. Usporedivi su i rezultati prepoznavanja kvalitete naglasaka (73% u značenjskim i 70% u bezznačenjskim riječima). Znakovito se bolje prepoznaju silazni naglasci od uzlaznih u značenjskim i bezznačenjskim riječima (p < 0,001). Najbolje se prepoznaje dugosilazni naglasak (86,03%) u značenjskim riječima i 81,9% u bezznačenjskim, potom kratkosilazni (80,67%) u značenjskim riječima. Najslabije se prepoznaje kratkouzlazni naglasak (oko 60%). U bezznačenjskim riječima dugouzlazni se naglasak s manjom znakovitošću bolje prepoznaje od kratkosilaznog s obzirom na mjesto (p = 0,02). Dugosilazni se naglasak znakovito bolje prepoznaje od dugouzlaznoga (p < 0,002) te kratkosilazni od kratkouzlaznoga (p < 0,001). Rezultati o boljem prepoznavanju silaznih naglasaka u suglasju su sa sociofonetskim istraživanjima koja pokazuju veću prihvatljivost i poželjnost silaznih naglasaka.
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