Expressive triad of speech technique breathing voice diction. “Speech technique (breathing, voice, articulation, diction). A set of exercises to strengthen the respiratory system

Why don’t HR invite applicants for an interview after the first phone conversation? Sometimes people are rejected because they speak slowly, slurred, or uncertainly. Or, for example, public speaking. Even the most interesting lecture is not attractive if it is delivered by a gasping speaker. Listeners are distracted, paying attention to his imperfect “r”, constant woofing, breathing problems - the information fades into the background.

In order for you to sound at full capacity and be at your best in any situation where you need to speak and win over your voice, we turned for recommendations to Svetlana Vasilenko, expert consultant on speech technique and rhetoric, author and presenter of talk projects of radio “Kiev 98” FM".

Svetlana has been working in voice for 20 years and is sure that speaking beautifully and clearly is not a gift, but just a skill, as well as the skill of presenting correct information. This is how she developed her own method of teaching speech techniques, based on personal experience and the techniques that she tested in the process of compiling her own program.

Why We Sound Wrong: Three Key Reasons

Incorrect position of the vocal apparatus. Almost 90% of people need to work with speech. Adults often do not pay attention to the pronunciation of some of their sounds. Imperfect sounding occurs due to physical nuances - the tongue is not positioned as it should, the lips are not relaxed at the right moment, etc.

Laziness. One of the common reasons for incorrect sounding is simple laziness. We are too lazy to open our mouths, so we don’t use our jaws – they are motionless when we speak, only our lips move. Figuratively speaking, sounds come out with the help of air, and their quality depends on how wide we open our mouth

How sound is born

Sound is produced when air passes between the vocal cords. When we produce voiced sounds and vowels, the glottis formed by the cords closes, and with dull sounds it diverges. Frequent speaking, i.e. Constant tension of the vocal cords leads to the fact that the initially thin cords thicken, become less flexible, and the voice “overgrows” with hoarseness, loses pitch and flight.

Have you noticed how teachers lose their voice after only 45 minutes of lecture and switch to a hoarse whisper? Typically, teachers speak at three times the normal rate, which means they are using connectives to their maximum capacity. A large load on these muscles leads to the appearance of knots or, as singers say, calluses, which can cause the voice to disappear. These nodes can only be removed surgically, but it is not a fact that you will sound as good as before the operation.

Therefore, professional lecturers, trainers, consultants, teachers, in order to preserve the voice and cords longer, learn to speak using a chest resonator, “excluding” the cords from the process as much as possible. Roughly speaking, they speak “with their chest”, not with their throat.

Ten exercises to improve your speaking technique

1. Love yourself

Often those who have problems with articulation are confident that they love themselves. But in fact, for a person who loves himself, the sound is born deep inside, and the person wants to be heard. So he speaks louder and clearer. To create a feeling of self-love, praise yourself in the morning in front of the mirror for 5 minutes, constantly thank yourself for being such a great person, take time for yourself during the day.

2. Open your mouth

When pronouncing words, physically open your mouth wider, work your jaw. If a person is worried, nervous, afraid of being uncomfortable, then he does not open his mouth while speaking, moving only his lips. Therefore, his speech is quiet, barely intelligible, as if under his breath. It is unlikely that an employer, colleague, listener, etc. will appreciate this.

3. Yawn and stretch

In the morning, instead of jumping up and shouting “I’m late! / I overslept!” stretch and have a good yawn. Most of the problems in speech technique are also due to the fact that all the muscles are tight: they become numb in the morning after sleep, and then in the office we sit, slouched and without warming up.

By stretching, you release all the muscles in your neck, which allow you to better hear sounds. By yawning, we “wake up” the jaw joints, relax the lips and the windpipe with its small movable tongue. It is he who influences the way we speak - by “releasing” sounds through the mouth or through the nose. Many speak nasally precisely because they direct air and sound through the nose, without training this part of the articulatory apparatus through yawning and relaxation.

4. Keep your back straight

The diaphragm, a muscular partition that separates chest cavity from the abdominal (conventionally, its border can be drawn along the lower edge of the ribs). By slouching and straining, we squeeze the diaphragm, preventing its natural movement.

A good speaker has a “pumped up” diaphragm, i.e. very mobile, so she can quickly change her position. With a straight back, our abdominal muscles are not tightened, which means we can take in as much air for speaking as necessary.

Check whether you are sitting correctly - bring your shoulder blades together, lower them to the level when your back becomes straight. At first there will be slight discomfort from being unaccustomed to it, the main thing is that you can calmly stand or sit in this position. By the way, standing up straight makes you look more confident.

5. Place your chin perpendicular to your neck

One girl defined her voice in everyday life as “the creaking of an ungreased door,” but at meetings with friends after a glass of wine, everyone admired her amazing chest voice. And to the question “What’s wrong with my voice?” there was a very simple answer - she raised her chin high, straining the muscles of her neck near her throat, and the sound could not come out normally. And in a relaxed state, her chin fell into place, air appeared - and her voice sounded as it should. If the chin is lowered lower than 90 degrees, then the back muscles of the neck are pulled and the sound does not receive enough air to appear.

6. « Wake up"resonators

While doing your morning chores, moo - pull with closed mouth your favorite song, a random tune, try to read a couple of paragraphs from a book with your mouth closed, or, easiest of all, say the sound “mmmmm.”

7. Always drink in small sips

Gastroenterologists advise drinking warm water with lemon to wake up the body. The same water helps awaken the speech organs. In the morning, drinking a glass of water in small sips, you train your small tongue. As it rises, it “works” to its full potential, and your nasal tone disappears by itself.

8. Do a vibration massage

As we have already said, sounds are not created by the vocal cords alone. Our voice becomes special, receiving a beautiful vibration thanks to internal resonators. Basic vibration massage techniques are done on the frontal sinuses (these are the voids in the center of the forehead, at the point where the eyebrows meet), the maxillary sinuses, the upper and lower lip, and the upper chest. The exercises below will reveal to you the subtleties of this massage at the indicated points.

Frontal sinuses. When massaging a point on the frontal sinuses, pronounce the sound “m” and send it upward. Imagine that the sound goes somewhere upward, above the top of your head, becoming thinner. In the place where the palate ends and the tongue begins, vibration appears. Nothing physically vibrates, but the very sensation of vibration will be there. Massage helps the resonators wake up - and the body as a whole gets used to the correct sound of all sounds.

Maxillary sinuses. Massaging maxillary sinuses, “lower” the sound “m” completely into the nose. Close one nostril and pronounce the sound “m”, while lowering the tone, releasing through the open nostril. If you perform the exercise correctly, the wing of the open nostril vibrates a little. Monitor the execution - it is important that the vibration remains in the nose area and does not go to the teeth or tongue. This will not happen right away, but this task can be easily completed by those who are used to speaking through their noses.

By releasing sounds alternately through different nostrils, you can massage the points at the wings of the nose. You are probably familiar with the effect of this massage. Often, when we need to talk with a stuffy nose, we intuitively rub three points near the maxillary sinuses, reducing swelling, clearing Airways, and accordingly we sound more clearly, especially when pronouncing sonorant sounds, including “m” and “n”.

Upper lip. Vibration massage is aimed at teaching the upper lip to resonate - it must relax for the correct pronunciation of all sounds. To do this, pronounce the sound “v”, trying to feel how the middle of the upper lip works. The correct sound “v” is born precisely at this point: the air, leaving the mouth, hits the middle of the lip at an angle of 45 degrees and vibrates a little. By doing this exercise, you will feel how the area itches. Add massage to the point above the upper lip.

Underlip. For the lower lip, use the same principle as for the upper lip, only using the “z” sound. The sound “z” is born in the same way as “v”, only the air is directed to the middle of the lower lip. The massage is done on the point below the middle of the lower lip. Due to the tightness of the middle of the lower lip, problems may arise with the pronunciation of “sh”, “sch”, “zh”. If it seems to you that your lips are not involved in the appearance of “v” and “z”, start massaging the indicated points and physically feel the vibration.

Chest resonator. To vibrate the chest resonator, pronounce the sound “zh” and, as you exhale, send it as far down the chest as possible. This way you lower your voice as much as possible. Wherein vocal cords do not take part in the appearance of sound, because they are completely relaxed, although physically you can feel their slight vibrations.

Check to see if it's done correctly - place your hand on your chest, below your neck. And it is in this place that you feel the vibration, but not in the neck, where the ligaments are. The voice becomes lower.

9. Always train your chest resonator

Place your hand on your chest and as you exhale, say “chug-chug-chug” as if you were a little train. Ideally, you should hear a sound hitting your palm from inside your chest with each “chug.” It’s difficult to speak “with your chest” right away, but over time it will become the norm.

10. Open the windpipe (trachea)

Open your mouth and make the sound “a” as you exhale. At the same time, try to relax your throat as much as possible. In addition, this warms up your jaws and lips - an additional beneficial effect.

A person under stress shrinks all over and sounds have difficulty making their way out through his throat. Try to tense your throat, you will immediately understand what we are talking about. Therefore, every time you need to relax your throat before a public speaking, presentation, interview, take a couple of minutes for this exercise.

Articulation gymnastics

To speak clearly and quickly, to confidently argue, you need to quickly and clearly work the muscles of your lips, jaw and tongue. The exercises below will be useful to you to develop the muscles of the speech apparatus. In addition, this simple gymnastics will solve the problem of most sounds once and for all.

Each muscle group is worked separately, but always in combination. Even if you feel like you can't do an exercise, just do it - you need to train muscles that you haven't used before. Perform each exercise 3-5 times. Also, when working one specific muscle group, relax the remaining muscles as much as possible.

Lips

"Duck." Pull your lips together as if you were saying the letter “y,” and then stretch your lips, exposing your upper and lower teeth as much as possible. You can enhance the effect by making circular movements with your “ducky” lips in different directions.

"Mask". Open your mouth wide and pull your lips inside your mouth as much as possible. This good massage for lips and jaw. Finish the exercise with a big smile. “Mask” is good if you don’t have time for full articulation gymnastics.

"Jar of jam." Remember how you lick the jam from your lips with your tongue. Extend your tongue and, straining your muscles, slowly move it across your lips. Here the muscles of the tongue and lips are simultaneously activated. You can enhance the effect by running your tongue behind your lips.

"Rabbit". Without using your hands, lift your upper lip up, i.e. pull it towards your nose. Try not to wrinkle your forehead and relax your face.

Language

"Horse". Click your tongue like you did when you were a child. This is especially good for those who have trouble with "r" and "l" sounds. When done correctly, you should experience a vibration between the roof of your mouth and the middle of your tongue. This exercise teaches middle part language to work.

"Artist". The exercise is especially suitable for correcting the sounds “r” and “l” in those with a short sublingual frenulum. Imagine that your tongue is a brush, with which you draw a straight line from the teeth across the entire upper palate to the movable tongue, pressing the tongue tightly against the “canvas”.

"Sword". For working out cheeks and lips from the inside. Tighten your tongue like a mini-skewer and lick the inside of your lips - slowly running your tongue along the upper and lower jaw. The tension “turns on” the tip and base of the tongue.

"Boat". Helps correct the pronunciation of the “ch” sound. The lateral muscles of the tongue rise and the tongue protrudes from the mouth. There is no need to pronounce the sound - this way you make the “lazy” muscles of the tongue, which have not previously participated in speaking, jump. It has been noticed that 90% of people who cannot say “ch” do not know how to make a boat.

Jaws

"Nutcracker". Open your mouth as wide as possible. Do it very slowly. Then slowly close your mouth.

"Shifts". Move your jaw forward without straining your lips. Then separately to the right and separately to the left. Aerobatics is to make a retractable circular movement of the jaw clockwise and counterclockwise. To begin with, try to make a movement along the square, gradually turning it into a small oval.

To minimize all injuries, because... your jaw is not used to stress, perform all exercises with your mouth open or slightly open.

When there is no time

If you need to work on articulation when you don’t have time, in the morning before an important meeting, then do the following exercises.

1. Write all the consonants of the alphabet in a row and choose any word starting with the letter “b” (or a word that is difficult for you to pronounce). For example, "barrel". Then say this word, changing the first letter: “barrel, barrel, barrel...”.

And if you want to additionally say goodbye to nasality, then close your nostrils with your fingers, inhale through your mouth, and opening your mouth as much as possible, say the same thing. This way all the air will come out exclusively through the mouth.

Go through the alphabet back and forth. You will immediately sound different and better - you will wake up your speech apparatus, and almost all sounds will sound correctly.

2. Substitute all the consonants in turn for the vowels “i”, “e”, “a”, “o”, “u”, “s”. Run through the alphabet and you'll sound much more convincing in your morning meeting.

Breathing technique

The ability to breathe correctly is the most important thing in speech technique and oratory. Breathing is practiced in parallel with the production of sounds and pumping of the muscles of the lips, tongue and jaw.

How to breathe correctly

You need to inhale only through your nose, exhale only through your mouth. It is ideal if sounds are born along with the exhalation.

As you inhale, completely relax your abdominal muscles and diaphragm. Remember how children breathe while sticking out their bellies? Do the same without tension - and a relaxed stomach will become a container for the air that is so necessary in the speaking process. In such a stomach, the muscles of the diaphragm easily bend and let in air.

As you exhale, pull in your stomach, thus arching the diaphragm in the other direction and thereby releasing the air. Otherwise, you take in air, tense up, quickly say what you need to say, and only then exhale - which is completely wrong.

Always remember: inhale on a relaxed stomach, exhale while tightening your stomach.

Working on inhalation and exhalation

There are a huge number of breathing techniques, and they are all based on working the diaphragm. And their common key point is that after doing any inhalation exercise, you must also do an exhalation exercise.

When starting to practice breathing techniques, always take water with you to prevent hyperventilation. If you don’t feel completely comfortable, or feel dizzy, just drink water and breathe calmly.

Inhale. Imagine that there are three bags of coffee in front of you. You were allowed to smell them all and choose one. You need to understand what kind of coffee you like best and be completely satisfied with its aroma. Take one forced exhale, and then inhale sharply three times so that your chest tightens. The stomach is relaxed, remember! Then, tightening your stomach, exhale calmly.

Exhalation. First, prepare for the execution - to get rid of excess air on the previous inhalation, i.e. hyperventilation, you need to exhale forcefully. With sharp movements, like a pump, exhale the air along with the sound “f”, sharply drawing in your stomach with each movement.

Now you can do the exercise: take a deep breath through your nose and, as you exhale, divided into three, tightening your stomach, sharply blow out three candles on an imaginary cake. Each candle with a separate portion of air. The trick is to leave a little more air in your lungs so that you can take a gentle breath instead of gasping for air. Some people can divide one exhalation into 12 parts.

General relaxation. If you are nervous, take a deep breath, taking in small portions of air for 4 counts, and smoothly, in one movement, release the air. Then inhale deeply in one movement, then, breaking the exhalation into 4 counts, push the air out in small bursts.

1) Don’t rush to do everything quickly so as not to harm yourself.

2) Look at yourself in the mirror while doing the exercises. Monitor the correct execution until it becomes automatic. The brain always draws its own algorithms for performing a particular task, so you can do it incorrectly without knowing it.

4) Don't be afraid to articulate. Vowel sounds not only begin to sound louder, but also gain strength if you open your mouth wide.

5) Regularly pronounce patters for different sounds. Or, for example, collect your favorite tongue twisters into one multi-tongued language and learn it. Pronounce it slowly - this way you will improve your speech apparatus, learn to pronounce words clearly.

6) Don’t strive to get results in one day. The muscles need to be trained, and this will take at least 21 days.

Beautiful speech consists of three components: proper breathing, a sonorous voice and clear articulation. You've probably heard that future actors and vocalists are “given a voice,” but behind this vague formulation lies painstaking work in three directions at once: breathing, voice, diction. If you want to sound like a professional speaker and your goal is to become an excellent speaker, you will also need to pay attention to each of these aspects. Sometimes it seems to a person that his speech is intelligible, he is breathing correctly, but his voice has let him down. Therefore, he pays attention to one type of exercise, ignoring all others. This is a mistake that should be avoided. To hear speech impediments, you need to be a professional. You may think that you speak perfectly clearly, but any public speaking teacher, vocalist or speech therapist will tell you that you are “swallowing” sounds or articulating incorrectly. In addition, the components of beautiful speech are interconnected and do not develop well individually. Correct articulation and beautiful timbre will not be possible without breathing training, and diction exercises at the same time improve the sound of the voice.

Development of correct breathing

Exercise 1

Exercise 2

Exercise 3

Exercise 4

Voice production

Exercise 1

Exercise 2

Exercise 3

Exercise 4

• PTKI, PTKE, PTKA, PTKO, PTKU, PTKY, PTKE, PTKYA, PTKЁ, PTKYU
• BDGI, BDGE, BDGA, BDGO, BDGU, BDGY, BDGE, BDGYA, BDGЁ, BDGYU
• MRLY, MRLE, MRLA, MRLO, MRLY, MRLY, MRLE, MRLY, MRLY, MRLY
• RZHL, RZHL, RZHL, RZHL, RZHL, RZHL, RZHL, RZHL, RZHL, RZHL
• LMNY, LMNE, LMNA, LMNO, LMNU, LMNY, LMNE, LMNYA, LMNYO, LMNYU
• FTCHY, FTCHE, FTCHA, FTCHIO, FTCHU, FTCHY, FTCHE, FTCHYA, FTCHIO, FTCHYU

Diction development

Exercise 1

Exercise 2

K.S. Stanislavsky wrote: “We don’t feel our language, phrases, syllables, letters, and therefore we easily distort them... Add to this the languor, lisp, lisp, burr, nasality, squealing, squeaks, creaks and all kinds of tongue-tiedness. Words with substituted letters now seem to me like a man with an ear instead of a mouth, with an eye instead of an ear, with a finger instead of a nose.

A word with a crumpled beginning is like a person with a flattened head. A word with an unfinished ending reminds me of a man with amputated legs.

The loss of individual letters and syllables is the same as a collapsed nose, a knocked out eye or tooth, a cut off ear and other similar deformities.

When some people, out of lethargy or carelessness, merge words into one shapeless mass, I remember flies caught in honey: I imagine autumn slush and thaw, when everything merges in the fog. ‹…›

Bad speech creates one misunderstanding after another. They pile up, obscure or completely obscure the meaning, the essence...

All sounds that make up a word have their own soul, their own nature, their own content, which the speaker must feel. If a word is not connected with life and is pronounced formally, mechanically, sluggishly, soullessly, emptyly, then it is like a corpse in which the heart does not beat. The living word is saturated from within"

. The above quote talks about the importance of working on speaking technique.

Speech technique determined Firstly, as a set of skills and abilities used for optimal speech sound, and, Secondly, as mastery of techniques for effective use of the speech apparatus.

Working on speech technique includes the following sections: “Breathing”, “Diction”, “Voice”, “Psychotechnics”, “Orthoepy”, “Nonverbal means of communication”. The main part of the lesson is devoted to expanding the range and strength of the voice, eliminating the tension accumulated as a result of intellectual, emotional and spiritual pressures.

Breath – sound source. “Being in voice” means mastering the skill of phonation (speech) breathing, relieving muscle tension, acquiring flexibility, endurance, sonority, composure and stability of sound. The support of breathing is the spine, so the first step to freeing the voice is developing the habit of maintaining posture, being aware of the work of the muscles that ensure the speech process. It is important to learn to observe yourself as if from the outside, while focusing on the wrong thing. What you do, but then How you do it. Liberation (relaxation) generates energy and ensures the productivity of the speech apparatus. Proper breathing helps us support the sound and speak with the message. The goal of breathing exercises is not to develop the ability to inhale the maximum amount of air, but to train in the ability to rationally spend a normal supply of it. Since sounds are created during exhalation, its organization is the basis for staging breathing, which should be full, calm and unnoticeable.

Diction - this is the clarity and correctness of pronunciation of individual sounds, which are ensured by the correct functioning of the speech organs. The moving parts of the articulatory apparatus should work actively, but without unnecessary tension: the lower jaw should open the mouth well (smoothly, without twitching); tongue and lips accept and change with the required speed this or that required position; a small tongue, when necessary, rises, closing the passage into the nasal cavity, and when necessary, opens the path into the nose for the exhaled stream of air. All sounds and their combinations must be pronounced clearly, easily and freely, at any tempo.

Speech therapists deal with the correction of speech disorders. However, there are so-called diction disorders, not of pathological origin, associated with sluggishness of the articulatory apparatus (lips, tongue, jaw), small mouth opening when pronouncing vowels, unclear pronunciation of consonants (the so-called “porridge in the mouth”). Such problems can be eliminated with the help of special exercises. The purpose of diction exercises is to develop clarity, correct pronunciation of sounds and activation of the articulatory apparatus.

Voice - the main expressive means of oral speech. “Nothing influences people’s attitude towards us more than the impression of our voice. But nothing is so neglected and nothing needs constant attention like the voice.”

. The voice has various properties, which can be developed and improved through training: strength, height(range), timbre, flexibility(mobility), euphony and flight.

Voice strength should be understood as greater or lesser intensity of the speech apparatus. The strength of a voice is not equal to its volume. If the strength of the voice is given by the activation of the speech apparatus, then the volume is achieved by the activation of exhalation. The voice can be amplified even in a whisper. It is the strength of the voice and clarity of pronunciation that ensures good speech audibility.

Height voice is its ability to tonal changes, i.e. its range, which is not the same for different people. Usually it includes one and a half octaves. The voice range is conventionally divided into lower, middle and upper registers. In the lower register, the sound of the voice is amplified by the chest resonator, in the upper register by the head resonator, and on middle notes both should work. A well-produced voice does not have sharp transitions from one register to another.

Timbre- This is the coloring of the voice that overtones give it. It is determined by the individual psychological structure of the speech apparatus. The timbre is finally established after the child’s voice is “broken” and does not change throughout life. You cannot change the timbre, but you can “clean” it from hoarseness, hoarseness, nasality and other errors.

Flexibility, or mobility, voice is his ability to freely change strength and pitch at different rates of speech. By actively pronouncing tongue twisters or texts, changing the pace of their pronunciation, raising or lowering our voice, we train its mobility, the ability to change without effort or tension.

Whether our voice makes a pleasant or unpleasant impression depends on its quality, such as euphony. A euphonious voice is a voice that is clear in sound, without hoarseness, hissing, or nasality. The concept of euphony also includes sonority and metallicity.

Flightability voice is its ability to “fill” the space in which it sounds, to ensure good audibility even with little strength. When training flight, you must first of all look for the correct direction of the sound (forward). Flight also requires an active willpower. It is necessary to learn to sense distance: the further away the object, the more active the message should be. There is a deep connection between voice and body.

Speech techniques also include exercises on psychotechnics: to develop the skills of verbal action, observation - the “gateway” to creativity, as Stanislavsky put it; on the formation of the ability to convey subtext, etc. The teacher is the subject of speech influence. He makes “live” contact with children. One of the main tasks of its pre-planned impact is to change the attitudes, attitudes, and behavior of the object of communication - the listener.

Intonation is the main means of speech influence on listeners. Some authors of manuals on speech technique and expressive reading believe that “it is necessary to teach children the necessary intonation”

, and offer them tasks, for example, to read the text, conveying joy, sadness, pride, affection, fear, etc., depending on the work.

However, psychologist N.I. Zhinkin always opposed teaching intonation: “The question is how intonation is found and whether it is possible to learn good, correct intonation. The answer to this question is negative. You can't learn intonation. This is the same as learning to cry, laugh, grieve, rejoice, etc. The intonation of speech in a certain life situation comes by itself, you don’t need to think or care about it. Moreover, as soon as you try to do it, it will be seen as false.”

. In everyday life, intonation is born involuntarily, by itself, as a person expresses his thoughts and feelings. In the pedagogical process, it arises as a result of deep penetration into the meaning of the statement. Intonation not only expresses the emotional-volitional relationships of people, but is also determined by them, therefore it is correct, for example, to ask students to try to read the text for some purpose (to please, surprise, upset, warn, etc.) In this case, one must think about the impact, which you want to influence the listeners, and not about intonation.

Strengthen the expressiveness of speech and reading such nonverbal means of communication, How gestures, facial expressions, body movements, mise-en-scène, light, accessories, phonation(crying, laughing, laughing, etc.), which are organically related to intonation and depend on the speech situation and the content of the statement. Psychologists have found that 60–80% of communication is carried out through nonverbal means.

Gestures and facial expressions act on the visual channel of perception, focus the attention of interlocutors on the content of information coming through the auditory channel, and contribute to better assimilation of the material. Although the gesture is an arbitrary phenomenon, it must be used very carefully and with restraint. It must correspond to the meaning of the statement, since not every phrase needs to be emphasized with gestures. Fussiness and excessive gestures can ruin the impression, tire you, and irritate your interlocutor.

Depending on their purpose, gestures can be: pointing, imitative, pictorial (or descriptive), psychological, rhythmic, physical (for example, you extend your hand to take something). A type of imitative gestures are symbolic: a finger at the lips, calling for silence; threatening finger, calling, etc.

But the best gesture is one that, without being conspicuous, organically merges with the word, enhancing its impact on the listener.

The connection between gesture and logical stress is interesting. It lies in the fact that “gesture always accompanies emphasis”

. For example, someone angrily says the phrase: “It was you who did so much harm to me!”. When pronouncing the word “you,” the reader will make an expressive movement of his hand towards the imaginary offender.

Facial expressions(facial expression) is even more important for the teacher than hand movements. It is the main indicator and a wonderful stimulator of emotions, capable of conveying a whole range of feelings and experiences. With a “stationary” face, 10–15% of information is lost

. Facial expressions should always correspond to the nature of the speech and express a friendly attitude towards the listeners. To learn to control your facial expression, it is useful to observe yourself in front of the mirror.

The eyes give special expressiveness to the speaker. They should actively communicate with their interlocutors, but they should not look down, sideways or upward.

The famous scientist V.M. Bekhterev believed that the whole variety of expressions is essentially a mixture of two basic tones of facial expressions - positive and negative. A positive tone is characterized by a smooth, wrinkle-free forehead, a smile, and a lively facial expression. Negative can be recognized by a slightly drooping lower jaw and corners of the mouth, and knitted eyebrows. It is useful to practice a pleasant, light smile in front of a mirror and appear with it in front of your listeners, radiating the internal energy of goodwill.

The peculiarity of body language is that its manifestation is determined by the impulses of our subconscious. However, most means of nonverbal behavior, according to A. Pease

, acquired by us and culturally conditioned. For example, his gait says a lot about a person’s age, temperament, and physical condition. The emphasized clicking of shoes reveals unceremoniousness and lack of restraint of character, while the dancing gait reveals frivolity and forgetfulness. An astute person can read a lot from “talking” hands, which is reflected in such expressions as “clasp one’s hands”, “wave one’s hand”, “as if with one’s hand”, etc.

“We must ensure that we always, constantly, speak correctly and beautifully. Only under this condition will a habit develop that will turn into second nature... Technology should be nature’s approach and stimulant to creativity.” (K.S. Stanislavsky)

The proposed set of exercises with methodological recommendations under the guidance of an experienced teacher will help improve your speech technique.

The theater is considered a model, a keeper of traditions and a school. For a long time, the norm of speech in the Russian language was the pronunciation of Moscow Art Theater actors. And the point here is not about “correctness” or “peculiarity,” but about the long and painstaking work that is required to develop stage speech. The transition from our usual “everyday speech” to stage speech with its expressive sound is not as simple a task as it seems at first glance. In this article we will try to come to an understanding of what stage speech is, what its role is for actors and people of other professions that exist.

What is stage speech?

Today, stage speech is an important component of all training programs without exception. This is one of the professional means of expression for an actor. Stage speech is also a means of theatrical embodiment of a dramatic work. Through mastery of speech, the actor conveys to the viewer the inner world, social, psychological, national, and everyday character traits of the character. To do this, the artist needs to thoroughly master the technique, which is associated with sonority, flexibility, volume of the voice, breathing development, clarity and clarity of pronunciation (diction), and intonation expressiveness.

The style and character of stage speech have gone through a period of formation from antiquity to the present day. Along the way, they changed form and content, developing and improving. Thus, the skill of stage speech was honed back in Ancient Greece speakers and actors. The most famous example is probably the research of Demosthenes. While practicing eloquence, he devoted a lot of time to his studies, but spoke indistinctly, for which he was constantly subjected to ridicule from his counterparts and ordinary listeners. Completely desperate, he turned to a friend for advice - famous actor theater The latter read before Demosthenes an excerpt from the work of Sophocles so expressively and vividly that he understood that not only speech is important, but also pronunciation, timbre and strength of the voice. Demosthenes, unfortunately, did not possess these qualities: he had a weak voice, he lisped and breathed intermittently.

The speaker began to work on his shortcomings. He made speeches standing on the edge of a cliff by the sea, overcoming the noise of the waves and gusts of wind. Demosthenes held small stones in his mouth and spoke long phrases and entire sentences without breathing. For several months he went down into the cave and talked there, listening to his voice. The classes yielded results - today we are talking about Demosthenes as the greatest orator of the ancient world.

Speaking about modern theater, we mean the flourishing of realistic art, which is associated mainly with the Russian theater, and such names as M. S. Shchepkin, A. N. Ostrovsky, K. S. Stanislavsky. In the system developed by the latter, the actor works on the role, helping the actor to reveal not only the meaning of the text, but also the subtext of the spoken words, to capture and convince partners and spectators with “verbal action.”

K. S. Stanislavsky said: “The word is the most concrete exponent of human thought.” The great playwright devoted three sections to the expressiveness of this word in the second volume of “”: singing and diction; speech and its laws; tempo-rhythm. Below we have collected exercises, both based on Stanislavsky’s recommendations and other techniques and techniques that will help stage and develop stage speech.

While attending various seminars, conferences, classes (lectures at the university and lessons at school), you probably paid attention to such interesting fact: at some events you literally want to sleep - the topic is boring, and the lecturer’s voice is monotonously soothing. On others, everything is diametrically opposite - interest that lasts for hours and the speaker’s rich speech. Most often, this is not due to the semantic content of the information, but to the way it is presented. A story without emotions, monotonous muttering under your breath, and lack of intonation can ruin any performance. The way a person speaks sometimes becomes an additional motivation to listen to him and deal with him. This is an important communication skill, not only for stage performers, but also for many whose field of employment is related to communication, training, and sales.

The development of stage speech technique involves, first of all, working on the voice. The voice is a complex phenomenon in which certain muscle groups and the human psychophysical apparatus are involved. The sound of the voice depends on breathing and the physical condition of a person, so speech training involves a set of diverse exercises. This is work on breathing, articulation, sound, and diction.

Breathing exercises

One of the most important skills in this block is training to inhale through the nose instead of the usual “grasping” of air with the mouth.

1. With your mouth open, inhale and exhale through your nose. Repeat 10 times.
2. Hand on stomach. We inhale slowly, counting to 4 in our minds. Exhale without delay, again counting to 4. During the exercise, it is important to feel with your hand how your stomach rises and falls. If these movements are difficult to distinguish, you should tilt your body forward, placing your hands on your lower back. As you inhale, you should feel the expansion of this area. Each next inhalation and exhalation we increase the count by one (5,6,7...).

Breast breathing is considered optimal; it needs to be developed.

1. Starting position standing. As you inhale, imagine that you are smelling a flower. Exhale smoothly, with the sound “pfft”, while you need to draw in your stomach. Inhale - short, exhale - long.
2. Classic exercise. You need to inhale, and as you exhale, in “one” breath, say a long phrase.

Articulation exercises

Articulation is the totality of the work of individual pronunciation organs in the formation of speech sounds. The better the articulation and articulatory apparatus are developed, the more clearly and clearly a person speaks.

When performing articulation exercises, you should start with the usual pronunciation of sounds. First, vowels (single U, Y, I, O, E, A, Yu, E, Ya, E, then in the conjunction U - U - Y - Y; U - U - I - I; U - U - O - O ; U - U - A - A), then - consonants (P, B, T, D, X, K, G, N, M, F, V, L, R, Ch, C, S, Sh, Shch, Z, F; hard and soft separately), complete with combinations of vowels and consonants like: KA - KU - KE - KO - KI. During training, sounds need to be pronounced stronger and brighter than in everyday speech.

Pronouncing tongue twisters develops articulation very well. They need to be spoken in a whisper and more slowly, gradually increasing strength and speed. Here are some examples:

1. There is a priest on a head, a cap on the priest, a head under the priest, a priest under the cap.
2. The bob got some beans.
3. Prokop came - the dill was boiling, Prokop left - the dill was boiling.
4. From the clatter of hooves, dust flies across the field.
5. Karl stole corals from Clara, and Clara stole a clarinet from Karl.
6. About love, weren’t you the one who sweetly begged me and beckoned me into the raspberries?

Sound exercises

Sound - tonality, range, intonation.

1. Read the verse this way: the first line is loud, the second is quiet.
2. Practice pronouncing an ordinary phrase, putting into it shades of different feelings: sadness, joy, reproach, anger, passion, surprise.
3. Say a neutral phrase in the voices of different animals, according to your idea. It's even better to act out the dialogue.

Diction exercises

Diction is also well developed by tongue twisters. In addition, there are other exercises.

1. Position - standing, hands on chest. Inhale, and as you exhale, begin to slowly lean forward, while pronouncing the vowels “u” and “o” long and drawn out, in as low a voice as you can.
2. The inertia of the speech apparatus helps to overcome the pronunciation of difficult combinations: VZVA, LBLBAL, FSTRA, etc.
3. You can read any text with closed mouth.

These are not all possible exercises, but by doing them you will improve your skills over time.

Test your knowledge

If you want to test your knowledge on the topic of this lesson, you can take a short test consisting of several questions. For each question, only 1 option can be correct. After you select one of the options, the system automatically moves on to the next question. The points you receive are affected by the correctness of your answers and the time spent on completion. Please note that the questions are different each time and the options are mixed.

Speech technique

Speech breathing

Exercises on speech technique will help the speaker in establishing speech breathing, voice, mastering resonators, expanding the range of the speaker’s voice, strengthening the strength of the voice and its endurance, enriching the speaker’s intonation, pronouncing vowels and consonants, and practicing the speaker’s speech tempo. How to learn to speak beautifully? The answer is obvious - do exercises on speech technique.

Exercises for staging speech breathing of a speaker

Phonational breathing is breathing while speaking. The main muscles of inspiration are the diaphragm, i.e. the muscle that separates the chest cavity from the abdominal cavity and the group of muscles that control the ribs of the chest during breathing. The most natural thing for any person is to breathe while lying on your back while relaxing your muscles.

Lie on your back, place your hand on your stomach and the other on your chest. Inhale so that the hand on your chest remains motionless and the hand on your stomach rises. Then exhale. It is necessary to ensure that movements during abdominal breathing are performed easily, without tension.

Now get up and do the same. To make lower breathing a habit and learn to speak beautifully, you need to systematically do exercises to establish speech breathing. It is better to exercise in the morning.

Speech technique. Body position for the speaker's speech breathing

Let's try to feel how the respiratory muscles work. To do this, we will find the desired body position for staging speech breathing. While standing, begin to slouch and relax. Then raise your shoulders, chest and tilt it back, i.e. “put it on” the spine. The back is straight and strengthened, the neck, arms, and shoulders are free. This position of the body, as Stanislavsky said - “the body on a pin” - should become natural, habitual, not only during the period of work on speech and phonation breathing, but in life in general.

Speech technique. Exercise - "candle". The announcer's even, intense exhalation.

Take a strip of paper. Approximately 15 cm by 4 cm. We bring the strip to the mouth 5 - 7 cm. Lips into a tube, as for a whistle. And we begin to blow on a strip of paper. We make sure that the angle of the strip is the same throughout the entire exhalation. The exercise allows you to monitor the evenness of the exhaled air during phonation breathing. To establish breathing, the speaker needs to achieve a smooth exhalation. If the exhalation is intermittent, the piece of paper will begin to rise, fall, and tremble. With an even exhalation, the piece of paper will be in one position - deflected. It’s like putting a candle flame and holding it in that position. You should pay attention to slight tension in the area of ​​the intercostal muscles and diaphragm. The "breathing belt" maintains the evenness of the exhaled stream.

Speech technique. Exercise - "pierced ball". Smooth, energetic exhalation, not weakening towards the end.

To set up speech breathing, imitate a ball that has been pierced with an awl, using onomatopoeia: sssssss... The palms of your hands cover chest from the sides, as high as possible. Press the “ball” with your palms lightly, without effort, so that the air leaves the lungs longer. Perform the exercise easily, without tension in the sound. Slowly the hands come together, feeling the slight resistance of the “ball”. And also for a long time, the air comes out slowly at the sound “s”. The less air left in the ball, the closer the hands. And at the end the palms come together. And at the same time, the remaining air is thrown out in the active sound “s”. Do this exercise for establishing speech breathing several times. It should be performed easily, without tension in the sound or in the hands.

Speech technique. Exercise “onomatopoeia” (different exhalations: smooth, calm, energetic)

Remember the sounds of nature and reproduce them, controlling phonation breathing:

Wind whistle: SSSSSSS...

Sound of the forest: SHSHSHSHSH...

Sound of a mosquito: ZZZZZZZZ...

Bee buzzing: ZHZHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH…

The cry and cawing of a crow: KRR! KRR! KRR!...KARR! CARR! CARR!...

Magpie chatter: TPP! TRR! TRR!...

Engine roar: RRRRRRRRRRRRR...

The sound of an electric bell: RRRRRRRRRRR...

Here you should pay attention to the work of the diaphragm during speech breathing. Then her voltage is minimal. The air seems to flow out into nature - with the buzz of a beetle or the noise of the forest. When the engine rumbles or the electric bell sounds, the voltage increases. The air is expelled forcefully. When a crow screams and croaks, or a magpie chatters, the diaphragm moves energetically and actively, pushing out the air in jerks.

Speech technique. Voluntary control of exhalation during speech breathing.

Imagine that you are standing in the sea up to your chest. Breathing is calm. Hands extended to the sides. Now sharply lower your arms down to your sides, while exhaling air. The sea water raises your hands again - at this time you need to inhale. Lower your arms again, counting out loud: one, two, three. Raise your hands with a sigh and lower them, counting: one, two, three, four, five, six. Then until 9, 12, 15, etc. After reverse order. It is imperative to coordinate the movement of your hands with the counting. Until you finish counting, don’t give up ahead of time. Try to feel the resistance of the water under your hands. They fall smoothly because... the water holds them, and you can easily manage them: sometimes lower them down more slowly, sometimes faster.

Speech technique. Training for air intake for speech breathing.

We imagined that we were skiing, with ski poles in our hands. Feet together. Slightly alternately pushing off with sticks, we slide faster and faster. On the count: one! two! (out loud) - they pushed off, first with one hand, then with the other, crouching slightly. On the count: three, four - (mentally, not out loud) - inhale, while continuing to push off. Counting: five, six - out loud, seven, eight - mentally. Etc.

And now we continuously, without pauses, count all the numbers out loud, running faster, moving faster, squatting deeper, counting faster. At the same time, do not hold your breath. We automatically take a breath. You should not think about breathing, but listen to how the voice sounds. Speech must be free! If you feel tension in the sound of your voice, then instead of words you can substitute syllables: mmu! mmo! mma! Mme! Mmi! mmm!.. The consonant sound “m” will help relieve tension from the vocal apparatus, because requires less energy to pronounce, while being the most sonorous. And the breath is expelled in jerks on the words of the count.

Speech technique. Exercise "hexameter" for staging the speaker's speech breathing.

Take one of Homer's works. "Iliad" or "Odyssey". And read aloud one line of poetry in one breath without pauses. Then read two lines - the same one and the next one. Everything in one breath without pauses. Then three lines, four, etc. Then reverse order. Gradually, you will be able to read quite a lot in one sitting.

The purpose of exercises for staging speech breathing is to develop the mobility and freedom of the diaphragm, so that it has time to serve the speaker’s speech and maintain support during various characteristics speech.

Try to come up with your own exercises for staging speech breathing. For example, you can imitate the actions of a woodcutter. Accompany the blow of the ax with a sound similar to “he”! The air with this sound is expelled from the lungs and, due to the movement of the diaphragm, they are instantly filled again. Exhalation and inhalation are short, energetic, free. yourself. Just don't overexert yourself! Chop easily, playfully.

Don’t let this activity seem like some kind of eccentricity to you. This is a normal feature of voice training. A good mood and game components help to relax the body, especially the muscles of the phonation pathways. And therefore, it is possible to quickly identify the natural timbre of the voice and develop it most effectively. Less irony, more faith, and you will definitely be able to learn to speak beautifully!

Voice production (resonators)

Relaxation of muscles and development of resonant sensations

In order to learn to speak beautifully, in addition to proper breathing, the speaker needs muscular freedom of the phonation pathways and a sense of resonance to produce his voice, which must be developed. There are two types of resonators: upper (head), lower (chest). The head resonator is a cavity that is located above the palatine vault, in the front part of the head. The chest resonator is the trachea and large bronchi. Resonator sensations in the chest and in the area of ​​the head resonator help organize the work of the vocal cords so that the timbre of the speaker's voice will contain overtones that will cause resonance in the head and chest resonators.

The sonority, flight, brightness, and quality of the speaker's voice are achievable only when the original timbre of the voice, to which the head resonator responds, is correctly formed. To do this, the speaker needs to perform voice training exercises that would help the free birth of the sound of the voice with a feeling of the resonance of this sound in the front part of the head.

So, to produce a voice, the announcer needs to learn to relax his muscles, and he needs to start with the general thing, namely, learn to relax the whole body. To do this, lie down and relax all your muscles one by one. First, release tension from your leg muscles. Then watch your hands. Next, relax the muscles of your neck and jaw. Finally, check your abdominal and back muscles. Lie in this position for several minutes. Then stand up, keeping your body loose. Make sure that no muscle group is tense.

Speech technique. Exercise for producing a “moan” voice.

To perform this exercise, sit on a chair, maintaining a “prick” body position, do not lean back, keep your back in the usual straight position. This will help the breathing apparatus work. Imagine that you have a headache or a sore throat. And start moaning softly in your voice to “calm down the pain.” But don't groan. Because When groaning, the voice turns out to be dull, the sound is short, and the ligaments are tense. Everything is free: the muscles of the neck, face, arms, legs. Shoulders slumped. The neck is so loose that the head is tilted to the side or down.

Now start moving your head left, down, right... Move slowly, check the freedom of the muscles. Keep moaning. Don't suppress your voice. Free moan, on the "middle note" of your voice. At the same time, the mouth is closed, the lips are not closed tightly, but slightly connected. As when pronouncing "m". After you achieve accuracy in performing the exercise, feel the free flow of sound. A groan is a sound that comes freely from the larynx.

Continuing to moan, maintaining your body position, slowly, without tension, slightly lower your lower jaw: “Mmm…” - and immediately close your mouth:

mma-mma-mma...

“A” is pronounced softly, the muscles of the lips and lower jaw are free. An even exhalation that does not weaken the moment you open your mouth. Do this exercise several times. The most important thing is muscle freedom. Only the breathing apparatus should work.

And now, continuing to moan, as one word, say in your voice the phrase “Mom, honey for us.” When you open your mouth, immediately return it gently to its original moaning position. Because the phrase is pronounced on a groan, then the consonant sounds “m”, “n” are doubled:

mamm-medunn-namm...

Train on the groan various combinations sonorant consonants with vowels:

Mm-mu-mm-mo-mm-mA-mm-mE-mm-mi-mm-mY-mm...

Mm-nU-mm-mnO-mm-mnA-mm-mnE-mm-mnI-mm-mNY-mm...

Mm-zero-mm-many-mm-mnAli-mm-mnEli-mm-mnIli-mm-mnYli-mm...

RlUrm-mm-RlOrm-mm-RlArm-mm-RlErm-mm-RlIrm-mm-RlYrm-mm…

Sonorants are consonants, the most sonorous are m, n, l, r. Moan monotonously, unison, quietly. Don't bother your throat or voice. The mouth opens freely when sounding vowels, but not wide. Attention is directed to the sonorant consonants “n”, “m”, “r”, “l”.

Next, having achieved freedom of sound, gradually move on to raising and then lowering your voice on each line. But no more than two or three tones from the middle note. Keep your phonation pathways free.

In the exercise on sonorant consonants, we gradually introduce elements of the speech method of pronunciation with support.

First, pronounce in a moaning, semi-singing voice: m

mammammmmm...

Then we moan three times together, and the fourth conversationally - we call mom in our voice:

Mmmmmmmmmm!

Nothing changes in the speech apparatus. Also free, soft in the throat area. Only the diaphragm on the “mom” trembled and supported the sound.

It is necessary to ensure that the nature of the sound of the voice changes the nature of breathing. So that there is a correct support for the voice, the dependence of breathing on the sound.

While groaning, say a familiar phrase:

Mmmmyodunnam

And here - every word is abrupt:

Mam! honey! us!

Make sure that when speaking, there is no excessive activity, that freedom and lightness are maintained, as when moaning.

Practice familiar combinations:

mmu! MMO! MMA! mme! MMI! mmY!

mUli! many! mnAli! mnEli! I thought! thought!

RlUrm! RlOrm! RlArm! RlErm! RlIrm! RlYrm!

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Speech technique. Exercises for voice training (vowel pronunciation)

After you have completed the exercises for setting your voice to combinations of sonorant consonants with vowels, we move on to working on achieving freedom of phonation pathways during the pronunciation of each vowel separately from consonants. It is important to take into account that it is the vowels that create the melody of the voice that are the basis for the sonority that is so necessary for the speaker.

First, let's look at the essence of the sound attack - the beginning of the sound of the announcer's voice. The attack of sound is the moment when the vocal cords are set to a certain sound note when they are closed in accordance with the force of the air stream. There are hard, aspirated and soft attack of sound.

A hard attack is when the vocal cords close tightly before exhalation begins and only under strong pressure air jets are disconnected. It's like a burst of air through tightly closed lips. In this case, the ligaments often overlap, i.e. when the connections are found one on one. If they are closed very firmly and there is a sharp push of the air stream, the voice will sound harsh, harsh, and will lose intonation mobility.

An aspirated attack is when part of the air that does not take part in voice formation comes out before the ligaments close and then joins the voice as a sipota sound.

The speaker should strive for a soft attack, which is most characteristic of the natural formation of the voice. In this case, the closure of the ligaments coincides with the beginning of exhalation, and the ligaments come together so that free oscillation is ensured. With a soft attack, the voice will have the best timbre. He will be born smoothly, without a push or aspiration. You need to learn to recognize and feel what kind of attack the voice is born from. And until the attack of sound is mastered, until you feel the muscular soft beginning of the sound and do not feel the reflection of the attack in the voice, you cannot go further in voice education.

Speech technique. Exercise for voice training "lullaby".

Imagine rocking your baby to sleep and softly humming a familiar lullaby phrase:

mmm-mm-mm-mm...

Sing this melody on all vowels. Achieve a soft sound attack:

a-a-a-a-a-a-a...

o-o-o-o-o-o-o...

oo-oo-oo-oo-oo-oo...

uh-uh-uh-uh-uh...

Remember the state of muscle freedom in the pharynx and the feeling as if you are shaking the vowels with your diaphragm.

Opening the mouth helps to better release sound energy. Therefore, it is necessary to achieve freedom of the muscles of the lower jaw, and avoid a position where some speakers speak without unclenching their teeth. This manner makes the voice compressed, not flying.

It should be noted that there is no one-size-fits-all mouth solution. It all depends on the speech apparatus and the nature of the voice of each speaker. The degree of mouth opening is determined by the highest quality sound and the clearest and clearest pronunciation of sounds.

To develop the ability to relax the lower jaw and relieve stiffness of the speech apparatus, it is necessary to perform exercises that use texts with frequent repetition of the sound “a”. Here are two of them:

Speech technique. Exercise for making the voice “I want milk”.

Imagine that you are "sick". On a groan, address your mother:

Oh, I'm sick. Ah ah ah! Give me some milk, mom!

You open your mouth well, but not very well. Everything is natural. The jaw drops gently and down, not to the side. The text sounds together in a drawn-out voice. Look for a light sounding voice at different pitches:

Ahbolnoyyaayayaymilkstonenemamaday

Speech technique. Voice training exercise "dictation".

Dictate slowly and clearly:

On an atom, on an atom, on an atom

The attacking class goes on the attack.

He's an atom, he's an atom, he's an atom

Made him work for us.

The first time - according to the words, so that they “had time to write it down.” Use accurate intonation and semantic patterns of punctuation marks. The second time, dictate phrase by phrase, which you pronounce without pauses, together. When pronouncing the vowel “a”, make sure that the lower jaw is free.

The calm sending of sound during dictation relieves constriction in the throat, removes the lowness of the voice, which is abused by speakers with low voices. Don't send your voice too far ahead. This will cause strain on the vocal apparatus. On the contrary, develop a feeling of what you are saying by sending the sound “to you.” How is this achieved? Set a goal to attract the audience's attention. Before speaking, mentally say: “Attention, I’m starting!” And the voice will sound inviting, calm, the speech will attract the attention of the listeners.

The feeling of freedom of the larynx ensures the correct sound of the voice. A lower, quieter position of the larynx is trained through exercises for pronouncing the sound “u”, as well as “a” and “o”.

Speech technique. Exercise for creating an “echo” voice.

Say "Aww" three times. First time - call. The second time - "ay" sounds like a distant echo. Third time - respond to the echo. Watch what happens to the muscles of your lips and cheeks at this time, and how your voice sounds.

When a voice sounds on an echo, the cheeks and lips will be relaxed, the sound will resonate somewhere in the back of the head. When you respond to an echo, the corners of your lips and cheeks become tense, and the sound resonates closer, in your elongated lips. Do this exercise, watch the tension and relaxation of the muscles of your lips and cheeks.

Various exercises with the sound “u” will help remove the diversity of the sound of vowels when “a” flies out of the stomach, “e” - from glottis, “and” - squeezes out of a constricted throat, “o” - hums, as if in a barrel, and “u”, “y”, “yu” end up in places from which you can’t get them out.

Speech technique. Exercise for creating a "beep" voice.

uuuuu...

And now, having merged all six vowels into one line, hum with your voice:

uuuuuuuuuuuuuuuuuuuuu…

At the same time, try to keep your lips in the “y” position. This helps to achieve a uniform quality in the other vowels.

Whoa! Wow! Wow! Oui! Ouch!..

The sounds “a”, “o”, “e”, “i”, “s” seem to be on the lips.

If “a” sounds far away, the vowel “o” will help bring the sound closer. Because when pronouncing this sound, the lips have an oval shape and retain the sound in the lips. To practice a soft attack when pronouncing the vowels “a” and “o” read:

Not on the path

and "o" rolled around

and groaned.

"Oh" - groan,

"o" - okalo,

not along the path, but around it!

Speech technique. Voice production (range)

Development of voice range and intonation

The development of the speaker's voice range and intonation is helped by the "moan" exercise, in which the pitch of the voice changes, the pronunciation of combinations of vowels with sonorant consonants with a change in the pitch of the voice, reading poetry with the sound of lines rising and falling.

Speech technique. Voice production. Exercise "hike"

Along a narrow mountain path

Along with a perky song

You and I are going on a hike,

Behind the mountain the sun is waiting for us.

Our climb is getting higher and steeper.

Here we are walking through the clouds.

Beyond the last pass

The sun rose to meet us.

Don't forget about support. When working on voice production, raise the tone on each line, speak the text abruptly, tossing syllables, but without distorting the timbre of the voice:

Above: together-ste-sp-sen-koy-za-dor-noy

Above: we-stop-fight-and-go-on-the-move... etc.

Use a calculated rise in your voice so that it is enough for all the lines. You can use a musical instrument for this. Having determined the center of your voice, start speaking two or three tones lower, and then rise by semitones.

Speech technique. Voice production. Exercise "painter"

Imagine that you are painting window frames. Accompany the movement of your hand vertically with the following words: “and up, and down, and up, and down...”

Do not tighten your hand, it is free, the movements are light and soft. At first the strokes are small, only with the hand. The following are the same short words:

and up, and down, and up, and down...

Then the movements become wider, more confident, from the elbow, the words are also larger, the voice rises higher, along with the movement of the hand. Next, the hand works from the shoulder. Broad strokes up and down. The vowel is wider, the voice rises higher and falls lower.

Gradual raising and lowering of the voice is an important advantage of speech. This testifies to the speaker’s self-control, self-control and voice, and is achieved with great difficulty. Therefore, pay maximum attention to voice training exercises.

Speech technique. Voice production. Exercise "floors"

Imagine walking up and down the floors:

and the first floor and the second floor and the third floor, etc.

In this case, the sound is directed not forward, but upward - into the head. The words are "placed" higher and higher. Fix it with your hand. From the chest register to the middle register, then to the head register.

When endurance and gradual raising of your voice become available, practice lowering and raising your voice at large intervals:

and first floor and fifth floor and tenth floor (down) and basement

Help perform this exercise with your hand. If it is immediately difficult to lower your voice to the basement, help with your hand. As you lower your hand, relax your throat. When you raise your voice, do not change anything in your speech apparatus.

Speech technique. Voice production. Exercise "scuba diver"

I'm becoming a scuba diver.

Now I will begin to descend.

And in the chest resonator

And certainly in the head.

Gradual, calculated lowering of voice:

I'm sinking lower and lower!

Below!

And the bottom of the sea is closer...

Closer…

Chest register:

And now I’m in the underwater kingdom!

Even though I sank deep,

Even though I sank deep,

I manage easily.

To master the chest register,

It is useful to become a scuba diver.

Use your vocal range sparingly. Dive at short intervals. Do not remove your voice from support in low tones, do not place it on your throat. Hands come to the rescue again. They swim slowly, freely, easily. The voice sounds the same way, without getting stuck in the tense muscles of the pharynx, without touching the ligaments.

Speech technique. Voice production. Exercise "parachutist"

Imagine that you are making a parachute jump. Accompany the smooth descent with the words:

I'm slowly falling lower and lower,

And the ground beneath me is getting closer and closer...

I continue to descend, it’s already very low...

I sank even more, as my land is close!

With blue lakes, with vast fields...

Near. Here she is! I stand firmly on it.

Say the last lines in the chest register. At the same time, check the freedom of your voice in low tones. Do not remove your voice from the support, do not place it on the ligaments.

Do not immediately climb to the highest pitches of your voice. The speaker's confidence lies in the gradual descent and rise of the voice. The listener should not notice that you are limiting your vocal range. Here you need to learn how to use vocal pulls. Those. When raising a word or line, lower the voice at the beginning of the next line in order to raise the stressed word in the subsequent thought. Then again lower your voice a little so that you can further raise it. Walk along the ladder: two steps up, one step down, two steps up, one step down...

Reinforce the acquired skill of using your voice range by training your voice strength.

Speech technique. Voice production. Exercise "people's flurry"

Feel the need for gradualness and all possible gradations of sound strength in pronouncing this text:

Getting closer, getting louder

Rumbling noise:

Thrum-thump-thump! Thrum-thump-thump!

The drum beats louder here and there:

Tram-ta-ta-there! Tram-ta-ta-there!

Enemies tremble. The enemies trembled.

The people are coming. Give up! Run!

A raging squall of popular anger

He rose and collapsed!

The evil enemy has fallen.

When amplifying, raise your voice slightly. Try not to have long intervals when increasing. Because Too high and too low sounds are poorly suited for amplification. Try checking this out. Strengthen your voice on a too high note - immediately let the rooster fly. It is necessary to develop the ability to sense which tones of the chest and head registers are capable of amplification.

Practice loud sounds to strengthen the breathing of your voice. When an announcer is required to have a loud voice, one should not resort to shouting. Think about the support of the voice, the muscular freedom of the vocal apparatus, the movement of the voice down and up. By activating your breathing, give your speech greater sonority. The diaphragm should react to the “louder” signal, actively support the sound, and not the pharynx, where a clamp will immediately occur, and speech will turn to screaming.

Voice is a very individual “thing”. For some it is naturally strong, for others it is very capricious. The announcer's voice, and the entire vocal apparatus, is very sensitive to overload, cooling, and inept use in difficult conditions.

A speaker, after actively working with his voice, should not immediately go out into the cold air and walk around talking loudly and excitedly to someone, especially in damp weather. Cold air will hit the mucous membrane of the vocal cords, which will lead to a cold.

It is bad to overwork your voice with too much work. Alcohol expands blood vessels and disrupts the function of the glands of the mucous membrane. The timbre of the voice changes. It decreases, begins to wheeze and becomes less resilient.

Nicotine also has a negative effect on the voice. It causes spasms of the smooth muscles of the bronchi and trachea, and disrupts the breathing process. Smoking speakers develop a dry cough, which injures the vocal cords. They lose their elasticity, hoarseness appears in the speaker’s voice, the softness of sound and lightness disappear.

The interesting thing is that the voice is very connected with the processes that occur in the body. Diseases of the stomach and heart are reflected in the voice. Neuropsychic trauma takes its toll. From nervous shock, from anxiety, fear, the voice begins to break, sometimes stops sounding or loses purity, stamina, and intonation mobility. Needs to be hardened nervous system so that during reading nothing could disturb the mental balance of the speaker.

The nasopharynx is hardened by rinsing it cold water, with a gradual decrease in temperature from 20 to 12-10 degrees Celsius. It is recommended to drink warm tea before broadcasting.

However, the most best prevention- This is daily exercise for voice training. It should consist of breathing exercises, exercises that bring the voice and the entire vocal apparatus into a free state, activate the work of the diaphragm, and strengthen the support of the voice. By warming up his voice, the speaker not only tones the muscles of the speech apparatus, but also leads to a psychophysiological adjustment of the entire body. And, thus, sets himself up for a joyful, creative act of communication with the audience. This is the only way to learn to speak beautifully!

To learn to speak beautifully and become a professional speaker, you need to perform exercises to develop diction. Of course, the volume and sonority of the speaker’s voice depend on the vowels. But also correct, clear pronunciation of consonants is no less important for ensuring a beautiful, melodic voice and for developing the speaker’s diction. The sound born in the larynx with the help of articulation is collected, finally processed, and formed into clear, clear sounds of native speech. The sound flow of vowels is formed by consonants, which perform the main semantic and distinctive functions. You can easily verify this if you pronounce only the consonant sounds of the words: Mskv, Lngrd, Mnsk, and then the vowels of these words: oa, eia, i.

In public speech, which requires a “full” style of pronunciation, consonants should sound clearly, without disappearing, “without falling,” in the sonority of the voice.

So, the development of the speaker's diction. What is needed for this?

Let's start training on pronouncing plosive consonants. They are formed when an air stream breaks through obstacles: the seal of the lips (p-b), the tip of the tongue pressed against the upper incisors (t-d), the middle part of the tongue pressed against the hard palate (k-d). These consonants have an explosive nature, which allows you to train the muscles of the respiratory apparatus.

To develop diction, pronounce voiceless consonants without a voice, actively exploding them:

P! drink! P! drink! P! drink! P! drink! ...

T! yay! T! yay! T! yay! T! yay! ...

To! ky! To! ky! To! ky! To! ky! ...

These consonants prepare the correct sound of the vowels that follow them. Because These consonants fall sharply, like a hammer on an anvil. At the same time, they seem to push out the sounds behind them.

Say the following exercise to develop diction with your voice:

poo! By! na! pe! pi! wow! five! ne! pyo! pyu!

that! That! ta! te! you! You! you! those! those! bye!

ku! ko! ka! ke! ki! ky! kya! ke! kyo! kyu!

**************************************** **************************************** **************************************** **************************************** **************************************** *************Next, to develop diction, include voiced consonants:

boo! bo! bah! bae! bi! would! bah! bah! byo! boo!

doo! before! Yes! de! di! yes! duh! de! duh! du!

hoo! go! ha! ge! gi! gee! gya! hey! gyo! gyu!

*******

RU! ro! ra! re! ri! ry! rya! re! ryo! ryu!

woo! in! wow! ve! in and! You! ya! ve! wow! vu!

ugh! fo! F! phew! fi! phew! wow! fe! wow! wow!

tsu! tso! tsa! tse! chi! tsy! tsya! tse! wow! Qiu!

choo! wow! cha! what! chi!

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Say the following exercise to develop diction with your voice. Watch for the active pronunciation of final voiceless consonants:

boo - boo - boo - boo - boop!

bo-bo-bo-bo-bopp!

ba-ba-ba-ba-bapp!

be - be - be - be - bepp!

bi-bi-bi-bi-bipp!

would - would - would - would - bpp!

All syllables "run" to the final "bypp". The syllable combinations end with a nice burst on "p".

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gu-gu-gu-gu-gukk!

go-go-go-go-gokk!

ga - ga - ga - ga - gakk!

ge - ge - ge - ge - gekk!

gi - gi - gi - gi - geek!

gee - gee - gee - gee - geek!

doo-doo-doo-doo-dutt!

do-do-do-do-dott!

yes - yes - yes - yes - dutt!

de - de - de - de - datt!

di-di-di-di-ditt!

dy-dy-dy-dy-dytt!

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woo - woo - woo - woo - wuff!

wo-wo-wo-wo-woof!

wa-wa-wa-wa-waff!

ve - ve - ve - ve - veff!

wee-wee-wee-wee-wiff!

you - you - you - you - ff!

Final voiceless consonants should be pronounced actively. Keep an eye on this. The syllables seem to “run” towards the final. Listen to diction and speech.

**************************************** **************************************** **************************************** **************************************** *****************************************To develop diction, pronounce a number of special texts without a voice , actively exploding voiceless consonants:

Prokop came - the dill was boiling, Prokop left - the dill was boiling, just as under Prokop the dill was boiling, so without Prokop the dill was boiling.

Outside, the snow turns white, red and blue. And the snow keeps flying, sparkling, and the snow keeps flying and melting.

The cuckoo cuckoos, cuckoos into the line: cuckoo! cuckoo! cuckoo!

**************************************************************************************************************************************************************************************************************************************************

All kinds of combinations of plosive consonants develop the entire articulatory apparatus: “p-b” - lips, “t-d” - the tip of the tongue, “k-g” - the back of the tongue. Actively explode consonants in the following diction exercise:

Bird! damn! bird! ptke! birds! birds!

Bdga! bdgo! bdgu! bdge! bdgi! bdgy!

Kpta! kpto! kptu! kpte! kpti! kpty!

Gbda! gbdo! gbdu! hbde! gbdi! gbdy!

Whew! wow! Whew! tpke! tpki! thump!

Dbga! dbgo! dbgu! dbge! dbgi! dbgy!

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Continue your diction training by exploding the consonants in the following words:

KBDitelnosti, KPTitse, OBTKing machine,

abstraction

VZRun, VPRavil, VKRatchiv, on uMVZBrest,

about him to BREATH, to smoke, to stay awake,

to philosophize, according to STSCRyptum.

parTVZNos, V3To excite, to invigorate,

AMATEURITY, AGENCY, ADJUSTMENT,

overanxious, point of speech;

conspektskhvatil; couldn't take a nap;

KONTRVSTRECHA, KUNSTKamsra, DEPARTMENT,

CONSTRUCTION, CHILDHOOD, ESCAPE, fire hose,

CENTRForward, MARSHROSS, RECORDSMEN,

COUNTEROffensive, super sound,

Philosophize, mountain ZDVSHRAP.

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To develop diction, train difficult to pronounce words

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In the development of diction, training of consonants plays an important role - “ch”, “ts”, “v”, “f”. Instead of "ch" ("t + sh" when pronounced quickly), the sound is often "sch", and instead of "ts" (consists of "t+s" when pronounced quickly) the sound is "s". This replacement occurs because the compound consonant “t” disappears.

“V” and “f” are difficult to pronounce because their articulation “locks” the sound of the voice (the lower lip touches the upper teeth), so the energy of the air stream is needed to voice these consonants, especially in combination with other plosives.

******************************************************************************************************************************************************************************************************************************************************

Another exercise to develop diction:

The carriages rolled forward like balls:

Tak-chick, Tak-tick, Tak-tick, Tak-tick...

Barrel - Kochka - Daughter - Lobe - Nochka - Kidney - Point.

Furnace - Burn - Chop - Flow - Lay down - Sword - Speech...

*************************************************************************************************************************************************************************************************************************************************************

To develop diction, imitate:

The sound of the train wheels: knock-knock-knock-knock-knock-knock-knock-knock...

Machine gun fire: well, well, well, well, well, well...

The clatter of horseshoes: clack-clack-clack-clack-clack-clack...

The quick clink of scissors: chick-chick-chick-chick-chick...

Raindrops: drip-drip-drip-drip-drip...

Sparrow chirping: chirp-tweet! chirp-tweet! chik-chik!..

The sound of a child's pistol: bang bang! bang Bang! bang Bang!..

Frog: qua-qua! qua-qua! qua-qua!..

Dudochka: DuDU! dudU! dudU!..

Shivering from the cold: v-v-v-v-v-v-v-v-v-v...

**************************************** **************************************** **************************************** **************************************** **************************************** ***To develop diction, checking the sound of consonants in words and phrases:

Hey, Vetrilo-vetroduy,

Wind blow, don't blow in your face!

The rain drips, drips, drips.

What are the poet's poems?

The people themselves said this:

"Tsikal-tsikal motorcycle

And he started the whole cycle."

Be aware of the combination of these sounds in your performances. Constantly train your diction. Work on pronouncing other consonants. As K.S. said Stanislavsky, “not only the sounding ones, but also others - noise, hissing, whistling, yawning, tsking, hacking, roaring consonants must also participate, both with their humming and noise, in the creation of a continuous line.”

Pay attention to the clarity of diction during the sound of consonants in poems. And you can clearly hear the “sound recording” technique. Poets resort to it to enhance the emotional impact. For example, let’s take a cycle of short fables by S. Smirnov:

"Miracles of protection" ("w", "f").

He came out

as a protégé

And above the Roof

It's already rushing.

"Prudence" ("s", "z").

I am for! -

in the eyes

Hanzha said.

And for the eyes

stabbed...

without a knife.

Speech technique. Diction development

"Engineer-murderer" ("h", "sch").

He was called

"soul engineer"

But I made up such nonsense

What sounded from this nonsense

Signal:

Save our souls!

And, of course, the development of diction is unthinkable without tongue twisters for speech development.

To develop diction, read out loud as much as possible. Read everything - poetry, fiction, political literature, transcripts of speeches. And be sure to practice your own performances. All these exercises will certainly help you learn to speak beautifully!

Difficult words in Russian

Complex words of the Russian language are a special subject for announcers. Their appearance in the text, especially on live television, causes additional tension and uncertainty for the announcer. And ultimately can lead to stumbling, rhythmic confusion, and sometimes stuttering. To get around this obstacle, the speaker needs to regularly, clearly, with exaggerated diction, pronounce and practice complex words. And after a while you will feel how difficult words turn into the most ordinary ones. This page contains a collection of some difficult words in the Russian language that may cause difficulties for the speaker when working. Dear announcers, send us your difficult words.

(H, w) - To the user

(V,p) - Satellite

(V,p) - Recorded

(V,p) - First

(B,c) - State

(H,w) - Novovodolashsky

(V,t) - Government

(B) - Gas

(G,r) - Gallery

(F, x) - Journalists

(F) - Duty officer

(W,P) - Passengers

(F, R) - Lot

(F, r, c) - Priest

(F, r, c) - Priestess

(F,c,e) - International financial institution

(K,t,r) - Electricity

(K) - Small-caliber

(K,t,r) - Electro

(M,r) - Memorial

(P,p) - Indirect subsidizing

(P,k) - Point

(P,p) - Enterprise

(R,sch) - Regenerating

(R,t) - Registered

(R,t) - Demonstrated

(P,n) - Natural

(Р,ш) - Route

(R,k) - Microdistricts

(P,x) - Archivists

(R,k) - Rurik

(R) - Energy

(R,c) - Paint

(R, h) - Cut

(R,z) - Cutting

(R,f) - Discharge

(R,t,s) - Territorial integrity

(R,v) - Restored

(R,t) - Illustrated

(R, m) - Irreconcilable

(R,v) - Reverb

(R,c) - Surrealism

(R,v) - Valery

(R,g) - Tiger

(R,g) - Griga

(Р,к) - Crisis resolution

(Р,с) - Address

(Р,ш) - Resolution

(R,W) - Coast

(R) - Rainer Maria Rilke

(R, F) - Director

(R,v) - University

(R,g,d) - Statements

(R,p,t) - Pearlescent

(R,f) - During the break

(R) - Durer

(R,t) - Three hundred thirty-three

(S, t, v) - Responsibility

(S,f) - Means

(T,s) - Constitutional

(T,p) - Chairman

(T,n) - Contenders

(F,v) - February

(F,c) - Information

(F,c) - Confidential

(Х,ж) - Artistic

(Х,т,в) - Intercede

(B,k) - Commercial and intermediary

(H,t) - Dramatic

(H,v) - 400-from dollar

(H,v) - Domestic

(Ch,f,r) - Phantasmagoric

(B,p) - Political

(Ch, x, p) - Psychological

(Ch, g, p) - Pedagogical

(Ch,r) - Legal

(Ch,f) - Physical

(H,t) - Dental

(H,t) - Pathetic

(H,s) - Astrological

(H,r) - Four

(Ch,p) - Sanitary and epidemiological

(H,g) - Sanitary and hygienic

(Ch,sh) - Cheshire

(Ch,sh) - Cherry

(W,H) – Completed

Russian folk tongue twisters help develop the speaker's speech technique, clear pronunciation of words and phrases, and the speaker's diction. It is important for the speaker to learn how to pronounce the tongue twister clearly, quickly, with different intonations (intonation of surprise, reflection, admiration, etc.), pronounce the tongue twister in a whisper, but with clear articulation of consonants with a strong exhalation on vowels and with open ligaments. That is, vowels need to be pronounced as if through a megaphone, and all sounds in a patter should be articulated, and not pronounced with a hysterical sound, which only injures the throat. In a tongue twister, the speaker needs to overcome all difficult sound combinations. It is important to pronounce a complex word in a tongue twister syllable by syllable, albeit at a slow pace, but to pronounce it without any difficulties, misfires, or reservations. Pronounce each tongue twister first silently, but articulately, then switch to a whisper and only then out loud, first at a slow pace, and then at a fast pace, but remember to clearly pronounce the tongue twister.

There is a law of “stage” tongue twister (i.e., a fast pace of speech when a speaker speaks): the faster the speech, the clearer the diction, the brighter the intonation pattern should sound. Because the listener must have time to understand everything, hear everything the speaker is telling him, and see the pictures that the speaker conveys through speech. Those. the faster, the more accurate! Be especially specific about the accents in difficult words. Try to feel the perspective in everything: in a phrase, in a word, in a thought, understanding and remembering that there is a tempo for pronouncing a syllable in a word, a word in a phrase, a phrase in a period of thought.

How to learn to speak beautifully? - Work on tongue twisters to develop your speech! Send us your tongue twisters - large and small, complex and simple.

1. (B,r) - Beavers wander into the forests. Beavers are brave, but they are kind to beavers.

2. (B,r) - All beavers are kind to their beavers.

3. (B,e) - Good beavers go into the forests, and woodcutters cut down oak trees.

4. (B) - White snow, white chalk, a white hare is also white. But the squirrel is not white - it wasn’t even white.

5. (B,c) - White oak tables, smooth planed.

6. (V, l) - Vavila’s sail was getting wet.

7. (V, p) - The water carrier was carrying water from under the water supply.

8. (V, l, d) - It is not visible whether the shares are liquid or not liquid.

9. (V, sh, w) - The emotional Varvara felt the emotion of the insensitive Vavila.

10. (B,c) - The waxwing plays with a pipe.

11. (V, t, r) - Thirty-three ships tacked, tacked, but did not tack.

12. (V, r, h) - The nervous Babylonian Barbara, became nervous in Babylon, the nervous Babylonian Babylon of Babylonia.

13. (V, p) - The otter tried to snatch the fish from the otter.

14. (G,v,l) - Our head overtook your head with his head, overheaded.

15. (D,b,l) - The woodpecker hollowed out the oak, hollowed out, hollowed out, but did not hollow out and did not hollow out.

16. (D, l, g, h) - De-ideologized, de-ideologized, and further de-ideologized.

17. (F, c) - Leather reins fit into the collar.

18. (F) - The hedgehog has a hedgehog, the snake has a squeeze.

19. (F) - The ground beetle buzzes and buzzes, but doesn’t spin.

20. (Y, r, v) - Yaroslav and Yaroslavna

We settled in Yaroslavl.

They live nicely in Yaroslavl

Yaroslav and Yaroslavna.

21. (K,b) - In Kabardino-Balkaria, valocordin from Bulgaria.

22. (K, v) - You can’t say all the tongue twisters too quickly.

23. (K, p) - They drove a stake into the palisade and beat him up.

24. (K, t, r) - Kondrat’s jacket is a little short.

25. (K, n, l) - Is this colonialism? - No, this is not colonialism, but neocolonialism!

26. (K, p, r) - Four men walked from near Kostroma, from near Kostromishchi. They talked about trading, and about purchases, about cereals, and about reinforcements.

27. (K, h, s) - A goat is walking with a goat.

28. (K, l) - Klim pounded a wedge into one pancake.

29. (K, r, g) - The crab made a rake for the crab, gave the rake to the crab - rake the gravel with the rake, crab.

30. (K, sh, p, n) - The little cuckoo bought a hood, put the cuckoo’s hood on, the little cuckoo looked funny in the hood.

31. (K, r, l) - Karl stole corals from Clara, and Clara stole Karl’s clarinet.

32. (K, r, v, l) - The Queen gave the gentleman a caravel.

33. (K, r, m, n) - The Elector compromised the Landsknecht.

34. (K, r) - The courier overtakes the courier into the quarry.

35. (K, s, v) - Coconut makers boil coconut juice in short-coconut cookers.

36. (K, p) - Buy a pile of spades. Buy a pile of spades. Buy a peak.

37. (K, s) - Mow, scythe, while there is dew, away with the dew - and we are home.

38. (K, l, b) - Our Polkan from Baikal lapped. Polkan lapped and lapped, but Baikal did not become shallow.

39. (K, l, c) - There is no ring near the well.

40. (K, t, n) - The nervous constitutionalist Constantine was found acclimatized in the constitutional city of Constantinople and with calm dignity inventing improved pneumatic bag-punchers.

41. (K, l, p, v) - The cap is sewn, not in the Kolpakov style, the bell is poured, not in the Kolokolov style. It is necessary to re-cap, re-cap. The bell needs to be re-belled, re-belled.

42. (K, r, l) - The crystal crystallized, crystallized, but did not crystallize.

43. (L, h) - The fox runs along the pole: lick the sand, the fox!

44. (L,k) - Lena was looking for a pin, and the pin fell under the bench.

45. (L) - We ate, ate ruffs at the spruce tree. They were barely finished at the spruce.

46. ​​(L,n) - On the river shallows we came across a burbot.

47. (L, m, n) - In the shallows we lazily caught burbot, You exchanged the burbot for tench. Was it not you who sweetly begged me for love, and beckoned me into the mists of the estuary?

48. (L) - Have you watered the lily? Have you seen Lydia? They watered Lily and saw Lydia.

49. (M, l) - Mom washed Mila with soap.

50. (P, r, m) - Your sexton will not over-sex our sexton: our sexton will over-sex your sexton, over-sex.

51. (P, x) - Get up, Arkhip, the rooster is hoarse.

52. (P, k, r) - In the pond near Polycarp there are three crucian carp, three carp.

53. (P, t, r) - Shot for quails and black grouse.

54. (P,k) - Our Polkan fell into a trap.

55. (P,t) - From the clatter of hooves, dust flies across the field.

56. (P, x) - Osip is hoarse, Arkhip is hoarse.

57. (P, r) - The quail hid the quails from the guys.

58. (P, g) - The parrot said to the parrot, I will parrot you, the parrot answers him - Parrot, parrot, parrot!

59. (P, k, sch) - The commander spoke about the colonel and about the colonel, about the lieutenant colonel and about the lieutenant colonel, about the lieutenant and about the lieutenant, about the second lieutenant and about the second lieutenant, about the ensign and about the ensign, about the ensign, but was silent about the ensign.

60. (P) - Pyotr Petrovich, nicknamed Perov, caught a pigtail bird; he carried it around the market, asked for fifty dollars, they gave him a nickel, and he sold it like that.

61. (P) - Once upon a time a jackdaw pop was scaring, he noticed a parrot in the bushes, and then the parrot said: “You scare the jackdaw, pop, scare. But just jackdaw, pop, scare, don’t you dare scare the parrot!”

62. (P) - I went to weed the fields.

63. (P, r, k) - Prokop came - dill is boiling, Prokop left - dill is boiling. Just as dill boils with Prokop, so without Prokop dill boils.

64. (P, r, h, k) - We talked about Prokopovich. What about Prokopovich? About Prokopovich, about Prokopovich, about Prokopovich, about yours.

65. (P,k,r,t) - The protocol about the protocol was recorded as a protocol.

66. (P, r) - A quail and a quail have five quails.

67. (P, r, v) - The workers privatized the enterprise, privatized it, but did not privatize it.

68. (P, k) - Tell me about the shopping! - What kind of purchases? - About shopping, about shopping, about my shopping.

69. (P) - There is a haystack with a small bud under it, and under the haystack there is a quail with a small quail.

70. (P, k) - There is a priest on a shock, a cap on the priest, a shock under the priest, a priest under the cap.

71. (P, r, t) - Turner Rappoport cut through the pass, rasp and support.

72. (P) - In our courtyard, the weather has become wet.

73. (P, r, l) - Parallelogram parallelogrammed parallelogrammed but not parallelogrammed.

74. (P, p) - Perpendiculars are drawn without protractors.

75. (P, r, t) - Praskovya traded crucian carp

For three pairs of striped piglets.

The piglets ran through the dew,

The piglets caught a cold, but not all of them.

76. (R, p, t, k) - Pankrat forgot the jack. Now Pankrat cannot lift the tractor on the road without a jack.

77. (R,g) - The guru’s inauguration went off with a bang.

78. (R, t, v) - The interviewer interviewed the interventionist.

79. (R,l) - Eagle on the mountain, feather on the eagle. A mountain under an eagle, an eagle under a feather.

80. (R, m, n) - Roman Carmen put Romain Rolland’s novel in his pocket and went to “Romain” to see “Carmen”.

81. (R, c) - There is grass in the yard, there is firewood on the grass. Don't cut wood on the yard grass!

82. (R,k) - A Greek was driving across the river, he sees a Greek - there is a cancer in the river. He stuck the Greek's hand into the river, and the crayfish grabbed the Greek's hand - clap!

83. (R, p) - Reported, but didn’t complete the report, completed the report, but didn’t complete the report.

84. (R, l, g) - The Ligurian traffic controller regulated in Liguria.

85. (S, n) - Senya carries hay in the canopy, Senya will sleep on the hay.

86. (S, m, n) - In seven sleighs, seven Semenov with mustaches sat down in the sleigh themselves.

Tongue twisters for speech development

87. (S, k, v, r) - The tongue twister quickly spoke quickly, he said that you can’t quickly speak all the tongue twisters, you can’t quickly pronounce them, but having quickly spoken, he quickly said that you can’t quickly speak all the tongue twisters, you can quickly pronounce them. And the tongue twisters jump like crucian carp in a frying pan.

88. (S,k) - Senka is carrying Sanka and Sonya on a sled. Sledge jump, Senka off his feet, Sonya in the forehead, all in a snowdrift.

89. (C) - The wasp does not have a mustache, not a whisker, but antennae.

90. (S, m, n) - Senya and Sanya have a catfish with a mustache in their nets.

91. (S, k, r) - It’s a hassle to catch a cunning magpie, and forty forty is a forty hassle.

92. (S, r, t) - The longboat arrived at the port of Madras.

The sailor brought a mattress on board.

A sailor's mattress in the port of Madras

The albatrosses were torn apart in a fight.

93. (T, r, s) - Sergeant with the sergeant, captain with the captain.

94. (T) - Standing, standing at the gate, the Bull is blunt-lipped and wide-short.

95. (T,k) - The weaver weaves fabrics for Tanya’s scarves.

96. (T,k) - To interpret clearly, But there is no point in interpreting.

97. (F, h, n) - Feofan Mitrofanich has three sons Feofanich.

98. (F) - Fofan’s sweatshirt fits Fefele.

99. (F, d, b, r) - The defibrillator defibrillated, defibrillated, but did not defibrillate.

100. (F, r) - The pharaoh's favorite for sapphire was replaced by jade.

101. (X, t) - The crested little girls laughed with laughter: Xa! Ha! Ha!

102. (X, h, p) - There was a commotion in the garden -

Thistles bloomed there.

So that your garden does not die out,

Weed the thistles.

103. (X, sch) - Khrushchi grab horsetails.

An armful of quinine is enough for cabbage soup.

104. (C, p) - The heron’s chicken tenaciously clung to the flail.

105. (C, x) - The heron wasted away, the heron was dry, the heron finally died.

106. (C, r) - The fellow ate thirty-three pie pies, all with cottage cheese.

107. (C) - Well done against the sheep, and against the well done the sheep itself.

108. (C, k, p, d, r) - Once upon a time there were three Chinese

Yak, Yak-Ci-Drak and Yak-Ci-Drak-Ci-Drak-Ci-Droni.

Once upon a time there were three Chinese women

Chicken, Chicken-Drip and Chicken-Drip-Limpompony.

Here they got married:

Yak on Tsype Yak-Tsi-Drak on Tsype-drip

Yak-Tsi-Drak-Tsi-Drak-Tsi-Droni on Chicken-Drip-Limpompony.

And they had children:

Yak and Tsypa have Shah,

Yak-Tsy has a fight with Tsypa-dripa - Shah-Shakhmoni,

U Yak-Tsi-Drak-Tsi-Drak-Tsi-Droni

With Chicken-Dripa-Limpompony -

Shah-Shakhmoni-Limpomponi.

109. (H, t) - A quarter of a quadruple pea, without a wormhole.

110. (Ch, sh, sh) - Scales on a pike, bristles on a pig.

111. (H) - Our daughter is eloquent, her speech is pure.

112. (H) - The turtle, not bored, sits for an hour with a cup of tea.

113. (B, R) - Four little black little imps drew a drawing with black ink extremely cleanly.

114. (H, r) - Four turtles have four turtles each.

115. (Ch, sh) - Three little birds are flying through three empty huts.

116. (Sh, s) - Sasha walked along the highway, carried a dryer on a pole and sucked on the dryer.

117. (Sh) - Even your neck, even your ears, you stained with black mascara. Get in the shower quickly. Rinse the mascara off your ears in the shower. Rinse off the mascara from your neck in the shower. After your shower, dry yourself off. Dry your neck, dry your ears, and don’t dirty your ears anymore.

118. (Sh) - The highest echelons walked around drunk.

119. (W, F) - In the hut, a yellow dervish from Algeria rustles with silks and, juggling with knives, eats a piece of fig.

120. (Sh) - Shishiga walked along the highway, his pants rustling. The step will step, whisper: “Error.” Wiggles his ears.

121. (W) - Six little mice rustle in the reeds.

122. (Sh) - Boxwood, boxwood, how tightly you are sewn.

123. (W,m) - Jasper in suede is suede.

124. (W) - Forty mice walked, carrying sixteen pennies, two smaller mice carried two pennies each.

125. (Sh, k) - Two puppies, cheek to cheek, pinch the cheek in the corner.

126. (W, R) - The Staffordshire Terrier is zealous, and the black-haired Giant Schnauzer is playful.

127. (Sh, s) - Sasha has whey from yogurt in his porridge.

128. (Sh,k) - Sashka has cones and checkers in his pocket.

129. (Sh, k, v, r) - The cook cooked the porridge, cooked it, and undercooked it.

130. (W,F) - A piston is not a hornet:

does not buzz, glides quietly.

131. (Sh, r, k) - The little nesting doll’s earrings have disappeared.

Earrings I found an earring on the path.

132. (Sh, s, k) - Sunflowers look at the sun,

And the sun goes to sunflowers.

But the sun has a lot of sunflowers,

And the sunflower has only one sun.

Under the sun, the sunflower laughed sunnyly while it matured.

Ripe, dried up, pecked.

133. (W,R) - The balls of the ball bearing move around the bearing.

134. (Sh, s) - Sasha quickly dries the dryers.

I dried about six dryers.

And the old ladies are in a funny hurry

To eat Sasha's sushi.

135. (W, p, k) - Yeryoma and Foma have sashes that are wide all over their backs,

The caps are recapped, new,

Yes, the shlyk is well sewn, covered with embroidered velvet.

136. (Ш,р) - The riffraff rustled with the riffraff,

What rustling prevented the riffraff from rustling.

137. (Sh) - Mother gave Romasha whey from the yogurt.

Tongue twisters for speech development

138. (Sh,t) - The pike tries in vain to pinch the bream.

139. (Sh, t) - I’m dragging, dragging... I’m afraid I won’t drag it,

But I definitely won’t release it.

140. (Ш,ж,ц) - In a puddle, in the middle of a grove

Toads have their own living space.

Another tenant lives here -

Water swimming beetle.

141. (Ш,ж,ч) - The train rushes grinding: w, h, w, w, w, h, w, w.

142. (Sch, h) - The puppies’ cheeks were cleaned with brushes.

143. (Brush, h) - I brush my teeth with this brush,

I clean my shoes with this one,

I clean my pants with this one,

These brushes are all needed.

144. (SH, t) - Wolves are prowling - looking for food.

Speech intonation

Intonation is the rhythmic and melodic structure of speech. The intonation of a speaker’s speech consists of: pitch, sound strength, tempo, stress and pauses. Means of expressiveness of speech intonation are conventionally divided into logical and emotional. The main means of logical expressiveness of the speaker's speech intonation are a logical pause, logical stress, logical melody and logical perspective. Let's look at them.

Words are written separately but pronounced together. However, not in a continuous stream. With the help of pauses, we separate the speech flow into separate phrases and small internal phrasal intonation-semantic unities - syntagms, or so-called linguistic links. Pauses that separate phrase from phrase and syntagma from syntagma are called logical pauses. For good, beautiful intonation of speech, it is important to correctly determine the place of logical pauses in the middle of a phrase. Inappropriate pauses make the thought unclear and can even distort it. It is difficult to perceive a thought if there are extra pauses in the intonation of speech. Words that are closely related to each other grammatically and in content form one linguistic unit and are pronounced without pauses, together, as one word. The duration of logical pauses in the intonation of a speaker’s speech is determined by the degree of connection between linguistic links and between phrases, and the degree of completeness of thought. The smaller the connection, the longer the pause. Pauses between phrases are longer than pauses in the middle of a phrase. They can be different in intonation and between linguistic units. Correctly determining the ratio of the duration of logical pauses helps to more accurately express thoughts and achieve natural intonation of the speaker’s speech.

An important means of logical expressiveness in the intonation of a speaker’s speech is logical stress. In every phrase, as in every linguistic link, there is a word that is most important in meaning. We distinguish it from other words by certain means: slowing down the pronunciation, strengthening the voice, changing the pitch of the voice (raising or lowering), a pause before the word (and sometimes after it). Basically, we use several methods simultaneously in intonation. This emphasis on words in intonation is called logical stress. In each linguistic unit, as a rule, one word is highlighted with logical stress. So, as many linguistic units as there are in a phrase, there are as many logical stresses, but one of them always acts as the main one. It's called phrasal.

The main word in a sentence is the semantic center and reflects the speaker’s attitude to the subject, to the event. The ability to highlight stressed words makes intonation understandable. Such speech is easily perceived by listeners. First of all, you need to learn how to remove stress from other words. This will make the phrase easier and highlight the main word in the sentence.

Do an exercise called "Argument."

Let's say you're arguing with a friend about the speaker's speech you just listened to.

His speech greatly captured all the listeners,” you say.

A friend disagrees and tries to dissuade you:

His speech is strong captured all listeners? - he asks again, expressing extreme bewilderment.

His speech is strong captured all listeners? - you answer, defending your opinion.

His speech strongly captured all the listeners? - the comrade asks again, trying to defend his point of view.

His speech strongly captured all the listeners? - you stand your ground.

His speech was very captivating everyone listeners? - the debater does not let up.

His speech was very captivating everyone listeners? - you say. And so on.

Each time you repeat a phrase in the same word order, highlight only one - the main word, and learn to remove the stress from all other words. When answering questions, try to highlight the main word by slightly stretching it and lowering your voice. Lowering the voice on a stressed word gives the intonation of speech a color of peace and conviction from the consciousness of rightness. Lowering the voice on the main word is characteristic feature melodics of Russian speech intonation. The fall of tone begins with the syllable in the stressed word, wherever it occurs: at the beginning, middle, or end of the phrase.

Example: Velika the power of the speaker's word.

Our speech intonation is wave-like. Russian intonation is characterized by an ascending-descending melody of a narrative sentence. Therefore, you need to start speaking in a medium tone in order to be able to raise, developing the meaning of a long sentence, and lower the tone of your voice at the point.

It should also be taken into account that in spoken speech, after a stressed word, especially if it is closer to the beginning of the sentence, the volume of the voice drops sharply and the end of the sentence is often not heard. Just as the ends of words are not heard due to the fact that energy is given to the main syllable. It requires training in the skill of maintaining the sonority of the voice throughout the entire sentence, so that the evenness of the sound strength is maintained in intonation even after stressed words.

When selfish happiness| is the only one purpose of life, | life turns out very soon deprived goals.

R. Rolland.

Gray, lively and impudent sparrows| settled a bare bush jasmine under the window | and peck with zeal seeds .

There is no punctuation mark in the middle of this sentence, but it is read with two logical pauses, which divide the sentences into three linguistic units. In the first link the word sparrows is logically marked, in the second - jasmine, in the third - seeds. The main (phrasal) stress is on the word seeds. More often, the last word of a link and the phrase as a whole is highlighted by logical stress in the intonation of speech, but often the stressed word occurs at the beginning or in the middle of a linguistic link. As a rule, words that mean new concepts are marked. If the marked word is repeated, it is no longer emphasized during intonation.

Imagine you are in the studio. Take a poem fiction or the text of your speech and read it “in front of the microphone”. The audience does not see your mouth articulation. This means you can activate the pronunciation of sounds, especially consonants. Do not remove your voice from the support, because it will immediately sound dull, wheeze, or turn to a whisper. The announcer can influence the listeners with his intonation even without a loud voice, convey ideas, convey feelings!

Take someone as your assistant who can control the intonation of speech, clarity of diction, purity of sound, clarity of thought. Sit with your back to him so that he doesn’t see you and read the text. It is easier for the controller to catch your mistakes.

We do not speak in an even tone. The intonation of the voice rises and falls. The ascending melody of speech accompanies those syntagmas in which the thought develops, and the descending melody accompanies those in which it ends. This change in pitch is called a logical melody. It is based on logical stresses and pauses. They create an appropriate rhythm, as well as a melody of development and a melody of completeness of speech intonation.

You need to care not only about the logic of the phrase, but also the entire oral presentation. In speech intonation, phrases are connected in such a way that the next phrase complements or explains the opinion of the previous one. They should be grouped into logically complete parts, in which, based on the intonation of the voice, the most important phrase should be highlighted. It should sound most prominently the main idea announcer. This can only be achieved by placing less important thoughts in the background. Such a transfer of thought in its development through the connection of the next with the previous and the correct relationship between the main and the secondary is called logical perspective.

A sense of perspective in intonation makes speech easy, directed towards the main thing in the text. You need to feel the perspective in a word (when all syllables run under the stressed syllable), in a sentence (when all words tend to the main word), in a thought (when all sentences are directed towards the most important sentence, which contains the center of thought), in the entire speech (when all the individual parts of the whole do not cloud, do not lead away from the core of the idea, but reveal it most convincingly and brightly).

The technique of mastering perspective intonation of speech involves skillful use of the tempo-rhythm of speech. Free transitions from slow to fast tempo of pronunciation make the intonation of speech not heavy, not monorhythmic, and not marking time.

In addition to logical expressiveness, in the intonation of the speaker’s speech great importance has emotional expressiveness. A thought that is not warmed by feelings will be unconvincing and may lead to incorrect intonation. Words are saturated with emotional content provided that the speaker properly evaluates the thought and shows his attitude towards it. At the same time, clearly intense emotional stresses and pauses appear in the intonation of the speaker’s speech, caused by feelings, mood, and desire. They do not always coincide with logical ones, but such a coincidence is desirable.

Combine the development of the power and pitch ranges of the voice with work on directly improving speech intonation, its modulation, and the ability to transfer sound from one tone to another. The intonation of speech is unique and individual, because Speech is the living process of communication itself. Speech created by one person belongs to one person. The concept of “speech intonation” is deep and diverse. This is the result of the manifestation of a specific task in specific circumstances. But the study of the general patterns of the birth of speech intonation, the training of the voice in intonation allows the uniqueness of a person’s individuality to manifest itself more clearly.

Punctuation marks in intonation

The speaker's speech is monologue, so he must take special care of the expressiveness of intonation, knowing that monotony leads to drowsiness. A novice speaker should pay serious attention to the intonation of punctuation marks. Here are some exercises:

Exercise "I'll get the answer"

Take the text:

Have you seen Lydia?

Have you watered the lily?

Have you watered the lily?

Watered or not?

The desire to get an answer gives rise to questions with increasing force. With each question, the voice rises higher and higher, the tempo of the phonetic line in intonation changes. In the last question after the highest tone: “Did they pour it?” - the sound decreases on the words “or not?”

Try to “see” the question marks and accurately draw them in your voice:

Why is it called Chernushka?

Blue, like flax, flower,

And the village is clear-eyed

Is it called "Wolf's Log"?

Why was it called White?

A river blue to the bottom?

Why was it called Vera?

The one that is not true at all?

Why don't I like it?

Should you call Lyuba?

Feel how, with increasing surprise (in the words of Bela, Vera, not any one), the phonetic line of the question mark goes up. This is how it should be, because... As surprise increases, the range of the voice increases. With the highest surprise, the interrogative figure of the voice can be repeated on every word. This will enhance the effectiveness of the phrase.

Practice this in the following text:

You are formidable in words - try it in deeds!

Or an old hero, deceased on his bed,

Unable to screw in your Izmail bayonet?

Or is the word of the Russian Tsar already powerless?

Or is it new for us to argue with Europe?

Or is the Russian unaccustomed to victories?

Are there not enough of us? Or from Perm to Taurida,

From the Finnish cold rocks to the fiery Colchis,

From the shocked Kremlin

To the walls of motionless China,

Sparkling with steel bristles,

Will the Russian land not rise?

(A.S. Pushkin)

To convey conviction, the full force and effectiveness of these lines must be interrogative intonations on each word. The announcer must be able to use this technique of the so-called “full question”. It is necessary for the voice to express question marks in different strengths, inflection of the voice, with more rapid or creeping upward intonations of the question.

One of the very effective punctuation marks is the colon:

A slight stop in intonation on this sign prepares something, recommends, exposes or indicates exactly what follows.

Radivy noticed a long time ago:

A lazy person does the same thing twice.

Don't brag about your successes before the deadline:

Those who brag are far from them.

In a speaker's speech, it is recommended to use this sign more often in order to interest listeners in what will be said next. Draw their attention to the most important thing, prepare them to perceive the necessary fact or thought.

Correct intonation of characters such as commas and periods is very important. Our everyday intonation is ragged, without a pronounced lowering of the voice at full stops, without good vocal bends at commas. A comma in a sentence strengthens the speaker’s communication with the audience, connecting him more firmly with the listeners. In general, the comma has miraculous properties. “Her bend, like a hand raised in warning, makes listeners patiently wait for the continuation of an unfinished phrase,” said Stanislavsky.

For example:

Be, the word, like a ruby ​​blazing with fire.

It's light in weight, but heavy in price.

Disadvantages of intonation

Monotonous intonation of the speaker's speech. This is speech at a constant or almost constant pitch. To overcome this deficiency in intonation, it is necessary to train the voice not only to expand the range, but also to modulate speech sounds. In speech, even one stressed vowel can be emphasized melodically in five ways: the tone of the voice sounds even - “ma”; gradually rises towards the end of the syllable - “ma”, decreases - “Ma”; First it increases, then it decreases; on the contrary, it first decreases, then increases. It is necessary to “bend” the voice so that it can be freely modulated during the intonation of speech.

The announcer's tone is too high. Such intonation has an unpleasant effect on the ear and irritates listeners. If you have a high-pitched voice, you need to practice to lower it. All of the above exercises that train lowering the tone are suitable.

The announcer's tone is too low. The reason for such intonation of speech in most cases is the lack of energy and enthusiasm of the speaker. Range development exercises help improve tone.

Also, the shortcomings of the speaker's intonation include insufficient expressiveness in more significant words and repeated intonation turns.

Accurate and truthful intonation of speech, resulting from an appropriate change in pitch, a certain tempo rhythm and the skillful use of logical and emotional expressive means of intonation, makes the speaker’s broadcast intelligible and convincing.