In this article, I present a new strategy for researching stage speech based upon a specific protocol of steps. Developed through a comprehensive study of stage speech investigating breakthrough ...stagings of Ivan Cankar's drama Hlapci (Eng. The Bondsmen or The Servants) during the last fifty years, the strategy approaches the research of stage speech in a way that is objective (using a combination of audio perception and computer-assisted phonetic analysis) and interdisciplinary (including theatre studies, sociology, and other fields alongside phonetics), while considering the integration of stage speech into directorial concept and its integration with other staging factors (e.g., scenography, mise-en-scene, costumes, music, movement).
The article deals with teaching and researching stage speech on the supposition that researching stage speech influences how we teach stage speech. Stage speech is an artistic speech that researchers ...try to study and explain in a scientific manner, i.e. with scientific terminology and methods. Modern studies of stage speech are interdisciplinary (they combine phonetics and theatre studies, literary theory and history, sociology, etc.) and no longer just studies on a stricly linguistic (phonetic) level. The article shows a model of a scientific and interdisciplinary study of stage speech and its influence on or connection to how it is taught. The teaching of stage speech, which is shown on the example of students of Stage Acting at the Academy of Theatre, Radio, Film and Television, balances between science and art as well as between theory and practice. The article demonstrates that researching stage speech influences the teaching that is also interdisciplinary, based on artistic and scientific concepts and constantly combines theory and practice.
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.
Najtezje opredeljivo prozodi?no sredstvo, ki je izrazito individualno, je barva glasu, ki jo navadno opredeljujemo kar z metafori?nimi izrazi. »Z glasovnim barvanjem se razodeva stanje govornih ...organov in dusevnost ...; lahko se namerno uporablja za umetnostno oblikovanje« (ToPorisi? 2000: 554). Barva glasu je lahko stalna, to je tista, ki je za posameznika posebna, ga identificira, po njej se bistveno lo?i od drugih ljudi; lahko pa je kontrolirana in jo oseba spreminja - uporabljamo jo pri posnemanju glasu drugih. Predvsem ta tip barvanja z glasom uporabljajo igralci. Ker je cilj mojega raziskovanja objektivno opisati sredstva, ki jih uporabljajo igralci, je pomembno, kako lahko barvo glasu tudi foneti?no prikazemo, kako jo lahko merimo. Po raziskavah, ki jih opravljajo na zagrebski foneti?ni soli,4 se da barvo glasu opredeliti in meriti predvsem z analizo formantov5 (Ivo Skari? 1991: 156). Pri tem naj bi nam vrednosti F1 - okoli 500 Hz, F2 - okoli 1500 Hz, F3 - okoli 2500 Hz in F4 - okoli 3500 Hz (Fant 1970, Sundberg 1974, Laver 1996 v Varosanec-SKAri? 2005: 27) pokazale, da gre za t. i. normalen glas. Normalne osnovne frekvence naj bi se po meritvah gibale med 60 in 240 Hz - za zenske je povpre?na vrednost 200 Hz, za moske pa 120 Hz. »Raziskovanje potrjuje, da je za estetiko glasu vokalnih profesionalcev pomembna frekvenca formantov in jakost resonantnih frekvenc« (Varosanec-SKAri? 2005: 48). V splosnem je zna?ilno, da je pri zenskah razlika formantov na frekven?ni lestvici ve?ja kot pri moskih. Pri igralcih se navadno za dolo?anje barve glasu analizirajo t. i. igralski formanti (Varosanec-SKAri? 2005: 49). Prou?evanje odrskega govora v uprizoritvi Hlapci: Komentirana izdaja poteka v dveh temeljnih korakih. V prvem koraku prou?ujem razliko med dramskim in uprizoritvenim besedilom, ki ga razumem kot neke vrste scenarij za gledalisko uprizoritev. V prispevku termin uprizoritveno besedilo razumem kot besedilo, ki se lahko bolj ali manj razlikuje od dramske predloge. Skozi zgodovino se je odnos drasti?no spreminjal, od obdobja tako imenovanega tekstocentrizma, ko je bila zna?ilna podrejenost uprizoritvenega besedila dramskemu: dobra je bila tista uprizoritev, ki je dramskemu besedilu ?im bolj v popolnosti sledila. Sledilo je obdobje, ki se je od prejsnjega popolnoma odvrnilo in je besedilo postavilo v ozadje - obdobje scenocentrizma. V novem tiso?letju (in ze prej) je dramsko besedilo le ena od uprizoritvenih komponent, ki soustvarja uprizoritev. V tej to?ki opredeljujem razmerje med uprizoritvenim in dramskim besedilom - v koliksni meri uprizoritveno besedilo odstopa od dramskega, torej koliko je dramaturskih ?rt in na katerih mestih so. Ukvarjam se z morebitnim dopisanim besedilom, kjer gre za vprasanje, ali je dopisano iz drugih dramskih, filmskih odlomkov ali je ustvarjalno delo samih ustvarjalcev uprizoritve. Oboje je namre? zelo povezano s celotno uprizoritvijo in njenimi vsebinskimi poudarki. Ugotavljam, v koliksni meri ?rtanje in dopisovanje besedila vpliva na vsebino, ali se povezuje oziroma ujema z rezijskim konceptom. Z omenjenimi uprizoritvenimi elementi je usklajen tudi govor oziroma raba prozodi?nih sredstev v govoru. Jermanov govor je v skladu z intimnostjo prizora po?asen in tih; premori so dolgi, v govoru jih je veliko; register je nizek; razponi intonacije so majhni, intonacija je najve?krat padajo?a (najve? je izjav); barva glasu je prijetna in temna (zna?ilna barva za odrski moski glas). Meritve s programom Praat17 so potrdile, da je Jermanov glas tih (50-70 dB18), register nizek, razponi intonacije pa ve?inoma majhni.19 V primerjavi z Jermanovim je Ankin govor hitrejsi in glasnejsi; razponi intonacije so majhni, a ve?ji kot pri Jermanu. Barva glasu in register se od Jermanovega bistveno razlikujeta - razliki sta posledici individualnih razlik med glasovoma obeh igralcev, tudi posledici razlik med zenskimi in moskimi glasovi. Ankin hitrejsi in glasnejsi govor izvira iz njenih osebnostnih zna?ilnosti: je vedra in zivahna oseba. V primerjavi z njo je Jerman zaskrbljen, razmisjujo?, umaknjen v svoj notranji svet in v tem prizoru predvsem zalosten. Zato je razli?nost njunega govora logi?na. ?ustveni naboj je mo?an, saj gre za trenutek tik pred razglasitvijo rezultatov volitev, kar bistveno vpliva na rabo prozodi?nih sredstev v govoru: predvsem na glasnost, ki se pove?a, na hitrejsi govor, visji register in na ve?je intonacijske loke (vuleti? 2007: 75). Na rabo prozodi?nih sredstev v tem prizoru vpliva konkretna situacija govora, prav tako pa tudi osebnostne zna?ilnosti posameznih oseb. Komar, ki je eksplozivna oseba z mo?nim dozivljanjem in izrazanjem svojih ?ustev in mnenj, govori hitro, zelo glasno in z velikimi intonacijskimi razponi. v primerjavi z jermanom in v tem prizoru s Hvastjo - obe osebi sta umirjeni in premisljeni - je njegov register izrazito visji. Meritve s programom Praat potrdijo, da Komar v skladu s svojim karakterjem uporablja predvsem glasnost (60-90 dB),20 njegov register je visji (do 500 Hz, nikoli pa nizji od 150 Hz), razponi intonacije so ve?ji kot pri Jermanu. Komarjev register je v vseh govornih situacijah tako visok, kot je pri Jermanu le v ?asu najve?jega afekta (najnizji izmerjen je 75 Hz, najvisji 500 Hz), enako velja za razpone intonacije. Formantna analiza ne pokaze izrazite razlike med obema osebama glede prijetne-neprijetne barve glasu. Po osebnostnih zna?ilnostih Komarju najbolj podobna zenska oseba Minka, ki je prav tako ?ustvena in hitro spreminja svoja prepri?anja in mnenja, prav tako kot Komar govori glasno, hitro in z velikimi razponi intonacije, njen register pa je visok, kar potrjuje, da to?no dolo?ena raba prozodi?nih sredstev sovpada s to?no dolo?enimi emocijami govorca (Vuleti? 2007).
This paper deals with the classical dramatic text and its staging in contemporary theatre. Specifi cally, it aims to show that classical texts can address topical issues. This is illustrated by the ...example of several stagings of Ivan Cankar’s Hlapci, one of the most infl uential dramatic texts in Slovene literature. The history of this dramatic text is presented from its fi rst publication and reception to the different stagings in various Slovene professional theatres. The focus is on how the situation in Slovene society is refl ected in each examined staging. The drama Hlapci was fi rst staged almost one hundred years ago, when the staging followed closely the dramatic text. However, after 1980 stagings became more independent from the text and more artistic freedom was allowed. The paper will prove that classical dramatic texts are very appropriate for staging in contemporary theatre, especially with an innovative director’s approach.
This paper deals with the classical dramatic text and its staging in contemporary theatre. Specifically, it aims to show that classical texts can address topical issues. This is illustrated by the ...example of several stagings of Ivan Cankar’s Hlapci, one of the most influential dramatic texts in Slovene literature. The history of this dramatic text is presented from its first publication and reception to the different stagings in various Slovene professional theatres. The focus is on how the situation in Slovene society is reflected in each examined staging. The drama Hlapci was first staged almost one hundred years ago, when the staging followed closely the dramatic text. However, after 1980 stagings became more independent from the text and more artistic freedom was allowed. The paper will prove that classical dramatic texts are very appropriate for staging in contemporary theatre, especially with an innovative director’s approach.
This paper deals with the classical dramatic text and its staging in contemporary theatre.
Specifically, it aims to show that classical texts can address topical issues. This is illustrated by
the ...example of several stagings of Ivan Cankar’s Hlapci, one of the most influential dramatic
texts in Slovene literature. The history of this dramatic text is presented from its first publication
and reception to the different stagings in various Slovene professional theatres. The focus is on
how the situation in Slovene society is reflected in each examined staging. The drama Hlapci
was first staged almost one hundred years ago, when the staging followed closely the dramatic
text. However, after 1980 stagings became more independent from the text and more artistic
freedom was allowed. The paper will prove that classical dramatic texts are very appropriate for
staging in contemporary theatre, especially with an innovative director’s approach.
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