Developing Your Voice

LESSON 1 ? Relaxation and Breathing LESSON 2 ? Quality, Pitch, and Flexibility LESSON ? !rticulation and Pronunciation LESSON " ? #olu$e and Rate LESSON % ? Pro&ection ? accent ? 'itch ? articulation ? 'oi(e ? breath control ? 'o(ture ? breathing ? 'ro&ection ? dialect ? 'ronunciation ? dia'hrag$ ? )uality ? diction ? rate ? *lexibility ? relaxation ? in*lection ? +ocal *old( ? o(cillo(co'e ? +olu$e Relaxation and Breathing LESSON OBJECTIVES 1 ? ,e*ine relaxation and breathing? .nder(tand the *unction and i$'ortance o* relaxation and breathing? Partici'ate in drill(, exerci(e(, and acti+itie( *or de+elo'ing and i$'ro+ing relaxation and breathing techni)ue(-

Relaxation $ean( *reedo$ *ro$ all bodily ten(ion(/t gi+e( the actor a dee'er le+el o* a0arene(( and 'ro+ide( the energy needed *or the (tage-

1hich $ethod hel'( you relax? a- $u(ic b- (ilence in a roo$ c- daydrea$ing d- exerci(e( Being relaxed doe( not $ean ha+ing a body li2e a 0et noodle- 3he body and $ind $u(t be 2eenly alert and ready, yet cal$ and *ree *ro$ di(traction( and ten(ion1. u!ical Relaxation. 1hile li(tening to $u(ic, lie on your bac2 on the cla((roo$ *loor- Relax each 'ortion o* your body by 'icturing the $u(cle( 0ith your $ind4( eye- See the$ relaxing a( you breath (lo0ly and dee'ly- Start 0ith the to' o* your head and $o+e do0n to your toe(". #$a% &it' Ten!ion( Li(ten to $u(ic 'ro+ided by your teacher and ex'erience the di**erence bet0een ten(ion and relaxation- Start 0ith the to' o* your head and $o+e do0n to your toe(- 3ighten u' the $u(cle( and then co$'letely relax- 5oncentrate on each (ection o* your body by (eeing the $u(cle( in your $ind4( eye change *ro$ bright red to (o*t 'in2 a( they relax- End u' co$'letely relaxed, and re$ain that 0ay *or % $inute(). Space &al*. 1hile (tanding in the cla((roo$ 6*ind your o0n ('ace to 'er*or$ 0ithout bu$'ing or di(ru'ting other (tudent(7, 'retend that you are in ('ace- 8o+e co$'letely relaxed, a( i* you 0ere *loating- Ex'lore the *eeling o* co$'lete *reedo$ but 0ith the control o* (lo0 $otion+. Silence i! ,ol-en( ,uring co$'lete (ilence, (it at your de(2 *or $inute(- Relax your entire body- Sit u'right, but roll your head do0n and let your hand( dangle by your body- /n your $ind4( eye, (ee your body co$'letely relaxed during the(e $inute( 0ithout interru'tion(.. Bo-% /art! in otion- 1hile li(tening to $u(ic, do the *ollo0ing re9 laxation exerci(e( three ti$e( each: (houlder (hrug(; (houlder roll( *or0ard and bac20ard; head roll( *or0ard and bac20ard; ar$ (0ing( *or0ard and bac20ard; 0ai(t (tretche( to the le*t and right; $a((age your nec2 and (houlder(; leg (0ing( one at a ti$e to the (ide(, *or9 0ard, and bac20ard; *oot (tretche( u' and do0n; $a((age your *eet and hand(0. S1ile( S$ile in an exaggerated $anner (e+eral ti$e( to (tretch and relax your *ace $u(cle(- Re'eat thi( acti+ity, u(ing a *ro0n in(tead o* a ($ile-

2. 3acial a!!age( cial $u(cle(-

8a((age your *ace, and co$'letely relax your *a9

4. Sleep% Ti1e( <a0n (e+eral ti$e( to relax the &a05. ,oing 6p7 ,oing Do$n( Sit on the *loor o* the cla((roo$ and get co$*ortable- Pretend that you are in an ele+ator- Start at the t0entieth *loor and (lo0ly go do0n- 3here 0ill be 'au(e( at each *loor, but you 0ill not get o**- Finally, at the *ir(t *loor, 'retend to get o** in a co$'letely relaxed (tate o* $ind and body- !( the leader call( out the di**erent *loor(, *eel your body get $ore relaxed at each *loor a( you go do0n18. Countr% Ti1e( Stand in the cla((roo$ 6*ind your o0n ('ace7- Rai(e your ar$( u' and reach high into the air- Stretch higher and higherBend o+er and relax your body a( i* it 0ere a li$' doll- Re$ain in thi( 'o(ition, and let your ar$( dangle *or 1 $inute- Slo0ly co$e u', relaxing each 'art o* your body a( you rebuild your bac2bone 0hile gradu9 ally (traightening u'- !( you co$'letely (tand erect, 'retend that you are alone in the country, (tanding under the $o(t beauti*ul tree you ha+e e+er (een- S$ell the country air- =ear the bird(- Feel the country gra(( (o*t beneath your *eet- Stretch your body to the le*t and to the right- Stand u' on the ball( o* your *eet and loo2 to the le*t and to the right- Loo2 *or0ard and behind you- See the gorgeou( country(ide 0ith it( hill( and +alley(, *lo0er(, and cool (trea$(- !ll o* a (udden, a beau9 ti*ul hor(e co$e( u' to you- >u$' u' on the hor(e and ride barebac2?allo' in the 0ind- Relax and en&oy the ride through the country- ?uide the hor(e bac2 to the tree and get o**- Lie do0n and 'retend that a cloud co$e( do0n to ta2e you bac2 to the cla((roo$Breat' control i( ho0 $uch *orce you u(e in inhalation and exhalation1. Boo* Re!t. Lie do0n on the *loor in the cla((roo$- Re(t a boo2 on your dia'hrag$ 6the $u(cle bet0een the abdo$en and the rib cage71atch the boo2 ri(e 0hen you inhale and *all 0hen you exhale- 5ontinue thi( exerci(e *or about a $inute". O9!ervation Ti1e. Ob(er+e clo(ely the di**erence bet0een e+eryday breathing and breathing 0hile ('ea2ing- Ob(er+e inhaling and exhaling *or both ty'e( o* breathing by 'lacing your hand( on your (to$ach, &u(t belo0 the rib cage- !l(o notice change( in u''er body and lo0er body ten(ion a( you breathe). #ir Relea!e. Breathe dee'ly and inhale (lo0ly- =old your breath and

relea(e the air (lo0ly, counting 1 to @- Re'eat thi( 'roce(( to (ee ho0 0ell you can control your breathing a( you (ay the nu$ber(+. :a7 :a7 :a( Slo0ly inhale and hold your breath *or 1A count(- Exhale on the (ound o* Bha-C .. #'(((((( Slo0ly inhale and hold *or 1A count(- Exhale on the (ound o* Bah-C 0. Sna*e. /nhale a( i* you 0ere about to ('ea2- No0 exhale and $a2e the (ound o* a (na2eDB(9(9(9(9(9(9(-C 2. /uc*er 6p( Puc2er your li'(, and hold the ti' o* your *inger in *ront o* your li'(- Quic2ly inhale and blo0 out a (trea$ o* air- 5oncentrate on 'roducing a (teady, ($ooth (trea$ o* air each ti$e you re'eat thi( ex9 erci(e- Feel the di**erence in the air on your *inger 0hen there i( a change in the (trea$ o* air4. /'ra!e!. Slo0ly inhale- Next 'ractice (aying 'hra(e(, 0or2ing on your breath control- Sugge(ted 'hra(e( are: good $orning, good luc2, brea2 a leg, nice day, good (ho0, and than2 you5. 6!ing /oetr% ;or Breat' Control. Read >ac2 Prelut(2y4( 'oe$ BLi*e4( Not Been the Sa$e in 8y Fa$ilyC to 'ractice breath control- See ho0 *ar you can read 0ithout ta2ing a breathLi*e4( Not Been the Sa$e in 8y Fa$ily Li*e4( not been the (a$e in $y *a$ily (ince the day that the ne0 baby ca$e, $y 'arent( co$'letely ignore $e, they (carcely re$e$ber $y na$e3he baby get( all their attention, BOh, i(n4t (he 'reciou(EC they croon, they thin2 (he loo2( li2e an angel, / thin2 (he re(e$ble( a 'rune3hey4re thrilled 0hen (he giggle( and gurgle(, BShe bur'edEC they exclai$ed 0ith delight, they don4t e+en $ind 0hen (he 0a2e( u( 0ith dea*ening (crea$( in the night3hey (ee$ to belie+e (he4( a trea(ure, there4( (i$'ly no 0ay / agree, / 0i(h (he4d (to' being a baby

and (tart being older than $e18. /oetr% Scavenger :unt. Find three other 'oe$( that 0ould hel' de+elo' your breath control-

<ualit%7 /itc'7 an- 3lexi9ilit%

LESSON OBJECTIVES ? ,e*ine )uality, 'itch, and *lexibility? .nder(tand the *unction and i$'ortance o* )uality, 'itch, and *lexibility? RecogniFe and brea2 bad ('ea2ing habit(? Partici'ate in drill(, exerci(e(, and acti+itie( *or de+elo'ing and i$'ro+ing an actor4( +oice )uality, 'itch, and *lexibility? Begin de+elo'ing good ('ea2ing habit( *or a li*eti$eQuality i( the +oice ele$ent that $a2e( you (ound di**erent *ro$ e+eryone el(e-

1- Quality 1ar$9.'(- Roll your head *or0ard, bac20ard, and (ide9 0ay(- 8a((age your *ace and li'( to loo(en the $u(cle(- Relax your tongue, &a0, and throat by ya0ning (lo0ly- !*ter 'hy(ically exerci(ing the(e area(, $entally 're'are the(e body 'art( be*ore you 'artici'ate in the exerci(e( to i$'ro+e your +oice )uality- 3o be $entally 're'ared, *ocu( on 2ee'ing the *ace, li'(, tongue, &a0, and throat relaxed *or ade9 )uate control2- E$otional Sur+ey.(ing di**erent e$otion(, (ay the(e 0ord(: ye(, no, it4( o2ay, *inally, (ure, great- Sugge(ted e$otion( to u(e are: ha''y, (ad, *ear*ul, angry, and &ealou(- Louder, / 5an4t =ear <ouSay the *ollo0ing 0ord( )uietly at *ir(t3hen re'eat the$ louder and louder, then *inally (tronger u(ing $ore breath (u''ort- Practice u(ing your be(t +oice )uality$ay 0on 'lay 0in2 tune (ay (un clay (in2 loon day done 0ay rin2 $oon

/itc'
/itc'
i( the $u(ical tone o* your +oiceDho0 high or ho0 lo0 you ('ea2 on a $u(ical (cale- /t i( one o* the +oice ele$ent( that gi+e( $eaning and color to ('eech- Pitch i( deter$ined by the +ibration o* your +ocal *old( , $u(cular $e$brane( located in the larynx, or 0hat i( o*ten called the B+oice box-C 3he *a(ter the *old( +ibrate, the higher the 'itch-

1. &'ic' /itc' Di- You 6!e= Say the *ollo0ing three ti$e(, changing your 'itch each ti$ea- <e(c- / don4t 2no0b- Nod- / 2ne0 thatRe'eat the acti+ity- Be 're'ared to ex'lain 0hat you $eant each ti$e you (aid the 0ord or 0ord(- For exa$'le, Bye(,C can $ean B/ 0ill do it,C B/4$ not (ure,C or BSureC uttered (arca(tically". Ri!ing an- 3alling In;lection. Say the nu$ber( 2, ", @, G, 0ith a ri(ing in*lection- Say the nu$ber( 2, ", @, G 0ith a *alling in*lection- Re'eat thi( drill (e+eral ti$e(). &'at Di- You Sa%= .(ing gibberi(h 6(en(ele(( chatter7 and +arying the in*lection in your +oice, ex'lain the *ollo0inga- ho0 to get (o$e0here *- ho0 to o'erate a ($all a''liance b- 0hat4( in an i$aginary box g- ho0 to 'lay a ('ort c- 0hat (o$eone loo2ed li2e h- 0here you are *ro$ d- ho0 to (ol+e a $ath 'roble$ i- 0ho4( in your *a$ily e- ho0 to coo2 an egg &- an idea o* your o0n +. /attern!. /* your (cience lab ha( an o(cillo(co'e 6an in(tru$ent that record( +ibration( 'roduced by charge( o* electricity7, ta2e turn( read9 ing thi( (entence: B/t 0a(n4t (o $uch 0hat he (aid a( ho0 he (aid it-C 1atch the 'attern o* your +oice on the o(cillo(co'e- 5o$'are all +oice 'attern( in the cla((.. &oul- You /lea!e Repeat T'at= Practice re'eating thi( )ue(tion DB1hat did you do?CD*i+e di**erent 0ay(- Place e$'ha(i( on the di**erent 0ord( in the )ue(tion to $a2e each 0ay e**ecti+e-

Flexibility *lexibility i( the 'roce(( o* +arying in*lection( o* the +oice1- /t4( a ,ateE ,i+ide into 'air(, a girl and a boy- 5arry on a con+er(ation a(2ing *or a date and acce'ting the date, u(ing only *ir(t na$e( a( the dialogue- #ary your in*lection *or e$'ha(i( and intere(t2- Ex're(( <our(el* 0ith a SongSing the *ollo0ing (ong( a( 0ar$9 u'(, drill(, exerci(e(, acti+itie(, and *una- =a''y Birthday g- OhE Su(annaE b- Ro0, Ro0, Ro0 <our Boat h- <an2ee ,oodle 1ent to 3o0n c- London Bridge i- She4ll Be 5o$ing !round the d- 3hi( Old 8an 8ountain e- /4$ a Little 3ea'ot &- another (ongDyour choice *- Old 8ac,onald =ad a Far$ - Poetry /n*lection- Read the *ollo0ing 'oe$, B! 1ordC by the *a$ou( !$erican 'oet, E$ily ,ic2in(on, three di**erent 0ay(: ! 0ord i( dead 1hen it i( (aid, So$e (ay/ (ay it &u(t Begin( to li+e 3hat day"- Short State$ent(- Practice (aying the *ollo0ing (hort (entence(5oncentrate on changing $eaning 0hen you re'eat the$, adding color and e$'ha(i( to di**erent 0ord(a- 3he 0orld4( a (tageg- 5o$e on do0nb- <ou are $y (un(hineh- .nited 0e (tandc- <ou ha+en4t (een anything yet- i- ,i+ided 0e *alld- / ne+er $et a $an / didn4t li2e- &- ,o 0hate+er it ta2e(e- Oh, 0hat a beauti*ul $orning2- 3a2e a ri(2*- <ou can4t do thatl- 8a2e a di**erence%- Say /t !gain Sa$E Re'eat the (entence( in exerci(e ", a((u$ing a di**erent character each ti$e- 8a2e u' your o0n character(D*or exa$'le, a co0boy, a doctor, an old 0o$an, a young child, a ne0(ca(ter, an a(tronaut, a roc2 (tar, a ('ort( hero, a $o+ie (tar, a 'reacher-

#rticulation an- /ronunciation

LESSON OB>E53/#ES ? ,e*ine articulation and 'ronunciation? .nder(tand the *unction and i$'ortance o* articulation and 'ronunciation? Partici'ate in drill(, exerci(e(, and acti+itie( that de+elo' and i$'ro+e an actor4( articulation and 'ronunciation1. Tongue T$i!ter!. Practice your articulation 0ith the *ollo0ing tongue t0i(ter(- Practice each one three ti$e(- /* you ha+e di**iculty 0ith any tongue t0i(ter, ('end $ore ti$e 'racticing it until you ha+e $a(tered all t0enty9(ix tongue t0i(ter(a- Ruby red rubber baby buggy bu$'er(b- Eight great gray gee(e graFing gaily into ?reecec- 3ie t0ine to three tree t0ig(d- 3he old cold (cold (old the (chool coal (cuttlee- 1hat noi(e annoy( a noi(y oy(ter $o(t? ! noi(y noi(e annoy( a noi(y oy(ter $o(t*- ,id you (ee Peter Pi'er4( 'u''y 'ee'ing 'lay*ully? g- She (ell( (ea(hell( at the (ea(hore4( (ea(hell (toreh- Let Letty linger longer at the luncheoni- =e i( a nice $an, not an ice $an&- Sin*ul 5ae(ar (i''ed hi( (ni*ter, (eiFed hi( 2nee and (neeFed2- She (ay( (uch (habbily (e0ed (ea$( (ho0 (eriou(lyl- Strange (trategic (tati(tic($- Round and round the rugged roc2( the ragged ra(cal rann- 3hi((ian 3hi(tle, the (ucce((*ul thi(tle (i*ter, (i*t( (ie+e( *ull o* three thou(and thi(tle( through the thic2 o* thi( thu$bo- ,ouble bubble gu$ bubble( double'- Six (lic2 (li$ (li''ery (li$y (lee2 (lender (ic2ly (a'ling()- 5an a (ta$$erer *latter a *latterer? r- 3he (un (hine( on (ho' (ign((- 3ruly rural ru(tic tree(t- Shy Sarah (a0 S0i(( 0ri(t0atche(u- 3he (ixth (hei24( (ixth (hee'4( (ic2+- !re you co''er9botto$ing the$, $y $an? No, /4$ alu$inu$ing He$, $u$0- Fro$ B! Fly and a Flea in a FlueC by an anony$ou( 'oet-

! *ly and a *lea in a *lue 1ere i$'ri(oned, (o 0hat could they do? Said the *ly, BLet u( *leeEC BLet u( *lyEC (aid the *lea, !nd they *le0 through a *la0 in the *luex- Fro$ B?race at Iir2udbrightC by Robert Burn(So$e ha+e $eat and cannot eat, So$e cannot eat that 0ant it: But 0e ha+e $eat and 0e can eat, Sae let the Lord be than2ity- Fro$ B1eatherC by an anony$ou( 'oet1hether the 0eather be *ine Or 0hether the 0eather be not, 1hether the 0eather be cold, Or 0hether the 0eather be hot, 1e4ll 0eather the 0eather 1hate+er the 0eather, 1hether 0e li2e it or notF- Fro$ B! Publi(her 1ho Publi(hed Pa'er(C by an anony$ou( 'oet! 'ubli(her 0ho 'ubli(hed 'a'er( Plenty o* 'en( and 'icture( 0i(hed, 3o 'ile u' hi( 'age( 0ith ca'er( O* 're(tigiou( 'ro*e((or( 0ho *i(hed". Clear #rticulation C'ec*. !(2 your teacher or a cla(($ate to li(ten to you read the *ollo0ing (entence(- !(2 a 'artner to circle the (ound( o* the 0ord( 6on a (e'arate (heet o* 'a'er7 that are not ('o2en clearlya- 3he healthier, the better*- 3he 0o$en cli$bed the $ountainb- Feel *ree to lea+eg- 3he $en ran the racec- /t (ound( correct to $eh- 3he hot chocolate burned $y tongued- / li2e *ried *rench *rie(i- Plea(e go a0aye- 3hi( 0ill (oon 'a((&- Stay another hour). R'%1e Ti1e. Practice your articulation 0ith the(e nur(ery rhy$e(a- 8ary had a little la$b- /t( *leece 0a( 0hite a( (no0!nd e+ery0here that 8ary 0ent the la$b 0a( (ure to gob- >ac2 be ni$ble- >ac2 be )uic2- >ac2 &u$' o+er the candle

(tic2c- 3here 0a( an old lady 0ho li+ed in a (hoeShe had (o $any children (he didn4t 2no0 0hat to dod- >ac2 and >ill 0ent u' the hill 3o *etch a 'ail o* 0ater>ac2 *ell do0n and bro2e hi( cro0n !nd >ill ca$e tu$bling a*tere- Ro0, ro0, ro0 your boat ?ently do0n the (trea$, 8errily, $errily, $errily, $errily, Li*e i( but a drea$*- 3hree blind $ice, 3hree blind $ice, See ho0 they runE See ho0 they runE 3hey all ran a*ter the *ar$er4( 0i*e, 1ho cut o** their tail( 0ith the car+ing 2ni*e, ,id you e+er hear (uch a thing in your li*e, !( three blind $ice? g- Oh 0here, oh 0here ha( $y little dog gone? Oh 0here, oh 0here can he be? 1ith hi( ear( cut (hort and hi( tail cut long, Oh 0here, oh 0here can he be? h- >ac2 S'rat could eat no *at=i( 0i*e could eat no leanBet0ixt the t0o o* the$ they lic2ed the 'latter clean+. 3at'er to Son. and +italityB<ou are old,C (aid the youth, Band your &a0( are too 0ea2 For anything tougher than (uet; <et you *ini(hed the goo(e, 0ith the bone( and the bea2D Pray, ho0 did you $anage to do it?C B/n $y youth,C (aid hi( *ather, B/ too2 to the la0, !nd argued each ca(e 0ith $y 0i*e; !nd the $u(cular (trength 0hich it ga+e to $y &a0, =a( la(ted the re(t o* $y li*e-C Read the *ollo0ing line( *ro$ Le0i( 5arroll4( !lice4( !d9 +enture( in 1onderland- .(e all your articulator( 0ith energy

Volu1e an- Rate

LESSON OB>E53/#ES ? ,e*ine +olu$e and rate-

? .nder(tand the *unction and i$'ortance o* +olu$e and rate? Partici'ate in drill(, exerci(e(, and acti+itie( *or de+elo'ing and i$'ro+ing an actor4( +olu$e and rate-

#olu$e i( ho0 loudly or (o*tly you ('ea2- 3he ba(i( *or a 'er(on4( +olu$e i( breath control- !ctor( $u(t de+elo' breath control to regu9 late the a$ount o* air being u(ed 0hen ('ea2ing1. Counting t'e .!. 5ount (lo0ly by %(D%, 1A, 1%, 2A, and (o onD increa(ing your +olu$e 0ith each nu$ber". Counting t'e .! $it' Stre!!. Re'eat exerci(e 1, thi( ti$e e$'ha(iF9 ing e+ery other nu$ber- On each nu$ber that i( e$'ha(iFed, $entally and +erbally 'ro&ect the (ound *arther and *arther a0ay). :ello( 1hile care*ully inhaling, (ay the 0ord BhelloC and re'eat it (e+er9 al ti$e(- Begin (o*tly and increa(e the loudne((- Re'eat the drill in re9 +er(e, going *ro$ loud to (o*t+. #BC!. Recite the letter( o* the al'habet, increa(ing the +olu$e 0ith each letter- Re'eat the drill (tarting 0ith the la(t letter o* the al'habet3hi( ti$e begin loudly and get (o*ter.. T'e Co1ic! #re Ever%$'ere. Bring your *a+orite co$ic (tri' or co$ic boo2 to cla((- Read the 'a((age in a +ariety o* 'lace(- For exa$9 'le, begin by reading to a ($all grou'; next, read in *ront o* the entire cla((; then $o+e to a ca*eteria or an auditoriu$; and *inally, read out(ide to a grou'- <ou $u(t 'hy(ically and $entally ad&u(t your breathing and +olu$e *or each location0. 3avorite C'il-ren>! Stor%. hood (toryRe'eat exerci(e % u(ing a *a+orite child9

Rate i( the ('eed at 0hich you ('ea2- Rate and +olu$e a**ect each other- !gain, breath control i( i$'ortant in ha+ing an e**ecti+e rate both *or e+eryday ('ea2ing and on(tage1. &atc'ing Ti1e ,o B%. .(ing the (econd hand on a 0atch, ti$e your(el* counting- 5ount *ro$ 1 to % in % (econd(- 5ount *ro$ 1 to 1A in 1A (econd(- 5ount *ro$ 1 to 2A in 2A (econd(- Learn to control your rate 0hen you ('ea2- Re'eat the drill and a(2 a cla(($ate to li(ten to your

rate- Ex'eri$ent 0ith ('ea2ing at +ariou( rate(- =a+e the +olunteer (ug9 ge(t your be(t rate o* ('ea2ing to be ea(ily under(tood". Stor% Ti1e. Bring a *ol2tale, *airy tale, or children4( (tory to cla((- ,i9 +ide into 'air( and read the (torie( to each other- Practice reading at a rate that i( under(tandable- #ary your rate to $a2e the (tory intere(ting and li+ely). R'%1e Ti1e. Read the *ollo0ing 'oe$( aloud, +arying your rate *or the be(t +ocal readingSil+er Slo0ly, (ilently, no0 the $oon 1al2( the night in her (il+er (hoon; 3hi( 0ay, and that, (he 'eer(, and (ee( Sil+er *ruit u'on (il+er tree(; One by one the ca(e$ent( catch =er bea$( beneath the (il+ery thatch; 5ouched in hi( 2ennel, li2e a log, 1ith 'a0( o* (il+er (lee'( the dog; Fro$ their (hado0y cote the 0hite brea(t( 'ee' O* do+e( in a (il+er9*eathered (lee'; ! har+e(t $ou(e goe( (ca$'ering by, 1ith (il+er cla0(, and (il+er eye; !nd $o+ele(( *i(h in the 0ater glea$, By (il+er reed( in a (il+er (trea$1alter de la 8are 5ity, 5ity / 5ity, city, 1rong and bad, Loo$( abo+e $e 1hen /4$ (ad, 3hro0( it( (hado0 On $y care, Shed( it( 'oi(on /n $y air, Pound( $e 0ith it( Noi(y *i(t, S'ray( $e 0ith it( Sooty $i(t3ill, 0ith (adne(( On $y *ace, / long to li+e !nother 'lace-

// 5ity, city, ?olden9clad, Shine( around $e 1hen /4$ glad, Li*t( $e 0ith it( Strength and height, Fill( $e 0ith it( Sound and (ight, 3a2e( $e to it( 5ro0ded heart, =old( $e (o / 1on4t de'art3ill, 0ith gladne(( On $y *ace, / 0ouldn4t li+e !nother 'lace98arci Ridlon +. Ju-ging Rate ;ro1 t'e Stage. Bring to cla(( an acce'table article *ro$ a *a+orite $agaFine or boo2- 5hoo(e a 'aragra'h to read aloudFocu( on your rate o* ('ea2ing- ?o to the (tage or ca*eteria to read the 'a((age- Re'eat the acti+ity, but tell *ro$ $e$ory 0hat you ha+e read to the cla((- Notice the change( in your rate-

Pojection Pojection is the placement and delivery of all the characteristics

of an effective voice to communicate with your audience. 1. Outdoor Theatre. Select or write a short monologue (script for one
person) using themes involving teenage students (for example, peer pressure, boy/girl relationships, friendships, or problems youth face). Either read or memorize the monologue and present it outside, with the class as the audience. ocus on the placement and delivery (where your listeners are) of your lines.

2. Alphabet Olympics. Everyone in class participates at the same

time, reciting the letters of the alphabet. !se pro"ection, not volume, to be heard. #hoose the classmate with the best pro"ection and write in your "ournal why this person has effective pro"ection. $e specific with your explanation of the effective vocal elements.

3. How Far Can You Pro ect! %ocate a large room, such as the cafeteria
or auditorium. &or' in pairs. (emorize the following sentence) *+ have told you a hundred times, and the answer is still the same., Stand -. feet apart from each other and ta'e turns reciting the line. #ontinue by moving farther and farther apart. ocus on pro"ecting, not shouting.

". #tories $or Pro ection. Select one of the following stories to tell in
front of the class or onstage. a. /he /hree $ears b. /he /hree 0igs c. %ittle 1ed 1iding 2ood d. /hree $illy 3oats 3ruff e. Spea'er4s choice &hen pro"ecting onstage, remember these points) 5 &arm up the voice and body before performing. 5 $e prepared mentally and physically. 5 1elax the throat, and don4t strain your throat muscles or the vocal folds. 5 !se breath control, and breathe from the diaphragm. 5 !se energy to apply effective voice elements clearly, distinctly, and without dropping the last words you spea'. 5 !se a clear, distinct tone when you spea'6not a yell. 5 Spea' to other characters onstage as well as to the audience. 5 ocus your lines as far bac' as the last seat in the auditorium.

%. &ines $or Pro ection. 1ead the following lines from various plays in front of the class, onstage, outside, and at home, for practice with pro"ection.

from Butterflies are Free by Leonard Gershe MRS. BAKER. Of course not. And I know youre not Snow White. JILL. (Takes the app e! rises! crosses be ow "rs. #aker! throu$h kitchen to %. L. post.& I may ha'e to wait hours before I read. I probab y star'e to death before their eyes. MRS. BAKER. ((rosses to kitchen! takes ettuce! picks off a few pieces! washes them! puts them on p ate.& )oure $oin$ to $et that part! you know. JILL. What makes you so sure* MRS. BAKER. We ! youre a 'ery pretty $ir and thats what they want in the theatre! isnt it* JILL. ((rosses be ow to %. +. post! away from "rs. #aker.& Today you ha'e to ha'e more than a pretty face. Anyway! Im not rea y pretty. I think Im interestin$, ookin$ and in certain i$hts I can ook sort of . . . o'e y . . . but Im not pretty. MRS. BAKER. ((rosses with ettuce! sits (. sofa.& -onsense. )oure e/treme y pretty. JILL. (Lau$h.& -o! Im not. MRS. BAKER. )es! you are. JILL. (Turns! eans post.& -o! Im not. I'e $ot beady itt e eyes ike a bird and a fi$ure ike a po$o stick. (Waits for a reaction from "rs. #aker. There isnt one.& We * Arent you $oin$ to deny you said that* MRS. BAKER. (0nperturbed.& 1ow can I! dear* Ob'ious y! you heard it. JILL. ((rosses abo'e directors chair.& There are p enty of

true thin$s you can put me down with. )ou dont ha'e to put me down with ies. MRS. BAKER. )ou know what I ike about you* JILL. 0h,huh. -othin$. MRS. BAKER. Oh yes. I ike your honesty . . . your candor. )oure rea y 2uite a wor d y youn$ woman! arent you! "rs. #enson* JILL. I suppose I am. ((rosses abo'e 3picnic!4 away from "rs. #aker.& I wish you wou dnt ca me "rs. #enson. MRS. BAKER. Isnt that your name . . . "rs. #enson* JILL. #ut you dont say it as thou$h you mean it. MRS. BAKER. Im sorry. Why dont I ca you 5i * Thats more friend y . . . and I try to say it as thou$h I mean it. -ow! 5i ! (5i 6+. turn! back to audience.& you were te in$ me about your chi dhood. JILL. I was* Youre A Good Man Charlie Brown #ased on the comic strip 7eanuts by (har es ". Schu 8 C ARLIE BR!"#. I think unchtime is about the worst time of the day for me. A ways ha'in$ to sit here a one. Of course! sometimes mornin$s arent so p easant! either6wakin$ up and wonderin$ if anyone wou d rea y miss me if I ne'er $ot out of bed. Then theres the ni$ht! too6 yin$ there and thinkin$ about a the stupid thin$s I'e done durin$ the day. And a those hours in between6when I do a those stupid thin$s. We ! unchtime is amon$ the worst times of the day for me. We ! I $uess Id better see what I'e $ot. (1e opens the ba$! unwraps a sandwich! and ooks inside& 7eanut butter. (1e bites and chews& Some psychiatrists say that peop e who eat peanut butter sandwiches are one y. I $uess theyre ri$ht. And if youre rea y one y! the peanut butter sticks to the roof of your mouth. (1e munches 2uiet y! id y fin$erin$ the bench& #oy! the 7TA sure did a $ood 9ob of paintin$ these benches. (1e ooks off to one side& Theres that cute itt e redheaded $ir eatin$ her unch o'er there. I wonder what shed do if I went o'er and asked her if I cou d sit and ha'e unch with her. Shed probab y au$h ri$ht in my face. Its hard on a face when it $ets au$hed in. Theres an empty p ace ne/t to her on the bench. Theres no reason why I cou dnt 9ust $o o'er and sit there. I cou d do that ri$ht now. A I ha'e to do is stand up. (1e stands& Im standin$ up. (1e sits& Im sittin$ down. Im a coward. Im so much of a coward she wou dnt e'en think of ookin$ at me. She hard y e'er does ook at me. In fact! I cant remember her e'er ookin$ at me. Why shou dnt she ook at me* Is there any reason in the wor d why she shou dnt ook at me* Is she so $reat and am I so sma that she cou dnt spare one itt e moment 9ust to . . . (1e free8es& Shes ookin$ at me. (In terror he ooks one way! then another& Shes ookin$ at me. (In terror he ooks one way! then another& Shes ookin$ at me. (1is head ooks a around! frantica y tryin$ to find somethin$ a so to notice. 1is teeth c ench. Tension bui ds. Then! with one motion! he pops the paper ba$ o'er his head. L0() and 7ATT) enter& L$CY. -o! 7atty! youre thinkin$ of that other dress! the one I wore to Lucindas party. The one Im ta kin$ about was this 'ery i$ht b ue one and had a desi$n embroidered around the waist.

%A&&Y. I dont remember that dress. L$CY. (Takes a penci and draws matter,of,fact y on the bottom of the paper ba$& Somethin$ ike this. The skirt went out ike this and it had these puffy s ee'es and a sash ike this. %A&&Y. Oh yes! I remember. L$CY. )es! we that was the dress I was wearin$ ast week when I met :rieda and she to d me shed seen one 9ust ike it o'er at . . . (The $ir s ha'e e/ited. (1A+LI; #+OW- sits immobi e as their 'oices fade& C ARLIE BR!"#. (The paper ba$ sti pu ed o'er his head& Lunchtime is amon$ the worst times of the day for me . . . . . . Sele'ted Lines () "illia* Sha+es,eare Let me ha'e men about me that are fat! S eek,headed men! and such as s eep a,ni$hts. )ond (assius has a ean and hun$ry ook. 1e thinks too much. Such men are dan$erous. 5u ius (aesar! Act. <! Scene =! <>=?<>@ A the wor ds a sta$e! And a the men and women mere y p ayers. They ha'e their e/its and their entrancesA And one man in his time p ays many parts. As )ou Like It! Act. =! Scene B! <C>?<D= To,morrow! and to,morrow! and to,morrow! (reeps in this petty pace from day to day! To the ast sy ab e of recorded timeA And a our yesterdays ha'e i$hted foo s The way to dusty death. Out! out! brief cand e. Lifes but a wa kin$ shadow! a poor p ayer That struts and frets his hour upon the sta$e And then is heard no moreE it is a ta e To d by an idiot! fu of sound and fury! Si$nifyin$ nothin$. "acbeth! Act @! Scene @! <>?=F Good name in man and woman! dear my ord! Is the immediate 9ewe of their sou sA Who stea s my purse stea s trashA Gtis somethin$! nothin$A GTwas mine! Gtis his! and has been s a'e to thousands #ut he that fi ches from me my $ood name +obs me of that which not enriches him And makes me poor indeed. Othe o! Act =! Scene C! <@@?<H<