speech

Speech and Theatre Arts

Page 7

  • Suprasegmentals

    • Definition: Tools like stress, pitch, volume, and enunciation that affect spoken language perception.

Page 8-12

1. Stress

  • Definition: Emphasis on certain syllables or words.

  • In Speech:

    • Clarity: Helps convey meaning (e.g., "I didn’t say he stole the money").

    • Emphasis: Highlights important information.

  • In Theater:

    • Characterization: Reflects personality or emotional state.

    • Emotion: Enhances emotional impact.

  • Practice:

    • Read aloud with emphasis.

    • Stress drills to practice different meanings.

    • Record and analyze stress patterns.

Page 17-21

2. Pitch

  • Definition: Highness or lowness of voice.

  • In Speech:

    • Intonation: Indicates questions or statements.

    • Expressiveness: Conveys emotions.

  • In Theater:

    • Dynamic Range: Differentiates characters.

    • Mood: Creates dramatic tension.

  • Practice:

    • Pitch exercises to turn statements into questions.

    • Vary pitch to convey emotions.

    • Melody training with musical scales.

Page 26-30

3. Volume

  • Definition: Loudness or softness of speech.

  • In Speech:

    • Audibility: Ensures clarity.

    • Emphasis: Highlights important points.

  • In Theater:

    • Projection: Necessary for large venues.

    • Dramatic Effect: Builds tension and emotional impact.

  • Practice:

    • Volume control exercises.

    • Projection exercises for distance.

    • Volume dynamics for dramatic effects.

Page 36-40

4. Enunciation

  • Definition: Clear articulation of words.

  • In Speech:

    • Understanding: Prevents misunderstandings.

    • Professionalism: Enhances credibility.

  • In Theater:

    • Clarity: Ensures audience comprehension.

    • Character: Reflects background and status.

  • Practice:

    • Tongue twisters for clarity.

    • Slow reading for articulation.

    • Mirror practice for mouth movements.

Page 46-48

Application in Speech and Theater

  • Speech Coaching: Focus on suprasegmentals for effective communication.

  • Theater Training: Actors practice vocal exercises and role-playing.

  • Integrative Practice:

    • Monologue preparation with varied suprasegmentals.

    • Role-playing with feedback.

    • Voice training with a coach.

Page 50-60

Communication Models

  • Berlo’s SMCR Model: Source, Message, Channel, Receiver.

  • Helix Model: Communication as a dynamic, evolving process.

  • Barnlund’s Transactional Model: Simultaneous and interactive communication.

  • Shannon-Weaver Model: Linear communication process with potential noise.

 

 

 

Page 64-71

Types of Noises

  1. Physical Noise: External disturbances (e.g., construction sounds).

  2. Physiological Noise: Internal biological factors (e.g., hearing impairments).

  3. Cultural Noise: Misunderstandings due to cultural differences.

  4. Psychological Noise: Internal thoughts or emotions affecting communication.

  5. Semantic Noise: Misunderstandings of words or symbols.

  6. Technical Noise: Disruptions from technological issues.

  7. Organizational Noise: Structural issues within organizations affecting communication.