Stage speech is one of the leading expressive means of any actor, and people involved in theater or cinema can and should even practice basic stage speech exercises every day. But today we would like to talk not about speech on the stage. And about what techniques and exercises in stage speech should be used by a “simple” person.

Tongue Twisters

Tongue twisters are a tool for honing diction and articulation. Simply put, with their help you can improve the clarity of pronunciation of sounds, enhance the continuity of your phrases, and in general - draw the logic of your speech. “Sing the thought,” said the great actor and director K.S. Stanislavsky, meaning that speech should be coherent, coherent and clear. So, tongue twisters will allow you to solve the tasks. Here are some of the highest quality tongue twisters:

Cook Peter, Cook Pavel

Peter baked, and Pavel soared,

Pavel soared, Peter baked,

Cook Pavel, Cook Peter.

And one more:

From the clatter of hooves

Dust flies across the field.

Grass in the yard

On the grass - firewood,

Firewood across the yard

Firewood deep into the yard,

Will not accommodate a yard of firewood,

Gotta get the wood out

To the wood yard

When pronouncing tongue twisters, you must:

- take your time, try to speak slowly, pronouncing each sound,

- try to speak smoothly (without pauses and hesitation),

- try to speak loudly.

Sound Power Exercises

As the name implies, these exercises are designed to increase the volume (sonority) of your speech. It depends on how your diaphragm works. The diaphragm is a muscle located at the level of your abdomen, the contraction of which determines how much you can be heard. You can find her work if you put your hand on your stomach and laugh. Your hand will diagnose the strength of your stomach shudder when laughing.

How to train the diaphragm? There are several exercises for this:

1. Place your hand on your belly and draw in as much air as possible so that your belly puffs up. Next, begin to slowly pull the sounds “a”, “o” as you exhale. "and", "y" (alternately, of course). When doing this, it is very important that your chin is raised and your eyes are fixed on a point located on the opposite wall or object, just above the top of your head. Of course, the point must be imaginary.

It is desirable to “pull” each sound for at least 7 seconds.

1. After you master the stage speech exercise described above, move on to the next one. Now - it is necessary to alternate the sounds listed above on the same exhalation. That is, pull more than one sound, but a few, so that it turns out: “AAAAAAAAAAAAAAA-OOOOOOOOOOOIIIIIIIIIIIIIIIIIIIIII-UUUUUUUUUUUUUUUUUUUU”.

Each sound on a single exhalation should be pulled for about 3 seconds.

1. After mastering the first two exercises, you should do the so-called “sound accents”. This is a quick amplification and speeding up of the sound at the end, with its final “message” to an imaginary point. For example, take the sound "a". We start to pull it slowly, then we gradually accelerate and amplify the sound, bring the sound to the maximum and, as it were, “spit out” it. When the sound is sent, your stomach should contract strongly and quickly, as your hand lying on it will show.

From the moment the sound starts to the moment the sound is sent, 3-4 seconds should elapse.

Remember that if during exercises on the diaphragm your throat starts to hurt or tickle, it means that the main sound load you still have on the throat ligaments, and this is a mistake. Then try to sound a little quieter so that the ligaments are comfortable. As you can see, stage speech exercises should be performed periodically monitoring your condition, and not overstraining at the initial stage.

Articulation gymnastics

Tongue twisters and exercises on the diaphragm should be preceded by an articulatory warm-up. Here are some of her exercises:

• "pipe smile" Stretch your lips as wide as possible (to get a semblance of an unnatural smile, but you can’t open your lips), and then quickly gather them into a tube (as in a kiss). This exercise should be done quickly for at least 1 minute,
• "spear tongue". With the tip of your tongue, rest against one of the cheeks and press the cheek as much as possible from the inside. Then - do the same with the other cheek. Alternate quickly. The duration of this exercise is also 1 minute,
• "balabolka". Open your mouth and swish your tongue up and down so that your tongue touches your upper and lower lips alternately. You get a sound, something like “rla-rla-rla”. It is important to relax the tongue and rotate it quickly. This exercise should be done from 30 seconds to a minute.

Beginners will find this exercise quite difficult: for some, already at 15 seconds, it begins to “reduce the tongue”. If this is your case, start with 10-15 seconds, but gradually increase the time,

• "dumb". Roll your lips inward so that only the slit of your mouth is visible on your face. Press lightly on your lips, squeezing your mouth (but not to the point of pain). And then, as it were, “spit out” your lips back. This exercise should also be performed for a minute,
• "grimaces". Go to the mirror and make yourself five of the scariest and funniest faces. Try to make sure that with a grimace, all the muscles of the face are involved as much as possible.

Good luck with developing techniques and exercises for stage speech! And if you want to practice stage speech exercises under the guidance of experienced professionals, you

Are you satisfied with the way you speak? Maybe you would like to stop chattering when you are nervous? Do not whisper, lowering your eyes, but calmly defend your opinion? Finally get over the fact that every time you have to perform, your throat catches? To look the interlocutor directly in the eyes?

Voice can tell a lot about us. We do not know how to speak loudly - it means that for some reason we do not release our natural energy, strength. We speak monotonously - perhaps we just do not have enough game, and not only in voice, but also in life? We go astray or chatter against our will - it means it's time to deal with what is happening in our life not of our will. If you don’t like your own timbre, it’s time to find your “own”, natural sound. And to understand that one voice sounds like a violin, another like a cello, a third like a double bass, and none is worse than the others.

Here are some exercises to get your voice heard. They are made by students in theater universities.

Proper breathing is when it is easy for you

It is important to listen to yourself: in some places in a conversation we slow down our breathing, slow down. Some exhale, some inhale. Isn't that why he intercepts the voice at the crucial moment?

Work on the voice begins with the correct breathing. “Breathe deeply, so that it rises up – forget about it,” says Philip Khitrov, stage teacher at the Benefis theater studio. - Proper breathing - abdominal. Not only among us humans, but throughout the animal world: have you ever seen a cat that would breathe from its chest?

Our speech is a resounding breath. This means that you do not need to take full lungs of air, as before jumping into the water. Our goal is a powerful short breath and a light, unconscious exhalation without tension. Learn to "breathe with your back" - to feel how the ribs open, like the gills of a fish.

But the most important feeling that you should have before speaking is that it is easy for you! So, as it is easy in the sea to soar above the depths with a mask, or slide on skis, or roll down the mountain. Everyone has such a memory - find it and remember this picture on the eve of the performance.

We don't say "into space". Our words always have an addressee, we give them to him as a valuable package

Exercise 1. Remove muscle clamps as far as possible from the throat

Thinking about what we are going to say, we forget that before the speech, in the same way, we need to prepare our body. Simple vigorous movements are needed to relieve tension in the body.

Raise both hands up and sharply drop them down with an exhalation: “Ha!” Rotate your head, throw your shoulders as sharply as possible up, “to the ears”, then down.

Shake your hands, shake your hands several times like a rag doll.

Say “rrrr” (this is called “champagne for the tongue”), shout “la-la-la”, stretch out “iiiiii”, so that the sound falls from the highest note to the lowest.

Remember how we loved to do this as a child!

Exercise 2. Throw sound right on target

How do we speak? Hastily or somewhere to the side. But to say: "Alexey!" - it's like throwing a ball into this Alexei's hands. And how exactly you pronounce this word is very important to him.

Practice addressing each other by throwing a tennis ball. The exercise is useful for those who do not often look at the interlocutor: without making eye contact, you can miss.

Exercise 3 Speak so that you can be heard

This is an exercise for those who speak in a barely audible voice, "to themselves." He is very popular in stage speech groups.

Imagine that we are standing on the bank of a river and we need to call a ferryman from the other side. Like in the movie "Volga-Volga". The whole body is involved in “throwing” the sound: we take the sound in the right hand, swing it with all our might, from below, and “throw” it 100 meters forward - “Hey, steamer!” And now even further - a kilometer.

Why do it? To understand: we do not say "into space". Our words have an addressee, we literally convey our words to him as a valuable package, making sure that he receives them intact.

Find "your" voice

Most women artificially raise their voice by squeezing the larynx. For some reason, we think that this is more correct. The voice becomes flat and unnatural.

Our goal is to find your real, natural, deep voice. Our voice is as unique as our fingerprints. And if it is lower than others, this is its beauty.

Timbre is really about how people feel when they hear your voice. What is he for them? Pure, delicate, honey-viscous, velvety, warm, like a cup of chocolate...

A very useful exercise is to record your speech and listen to how it sounds from the outside. I can say right away that most likely you will not like it at first. But many actors do this, precisely in order to get used to, love its sound and go on stage, to people with this inner love for their voice. This exercise must be repeated several times in order to objectively assess how it can be unpleasant for those who hear it. Indeed, many diction errors can be corrected with the help of special exercises.

Prosody(in other words, monotony) is, if you look deeper, the feeling of inner freedom that you convey to others in your every word. If it is not there, the voice sounds boring, on one note.

Few people know that the voice also has such a characteristic as register. You can “place” your voice inside the body, and then it will sound from the chest (they say this is “soulful voice”), from the stomach (uterine, insinuating sound, cooing), “from the head” (flying, flying voice). It has to do with which internal resonator our body uses.

How do you know you've found "your" voice? Your whole body resonates with it: even your fingertips vibrate when you say the words. And this natural voice sounds only on a certain, “your” note: if you take it higher or lower, the vibration will disappear. Some mystic...

The theatrical principle of training is this: make the complex familiar, the familiar easy, the easy fun.

Exercise 1. Find "your" note

Place one palm on your chest, the other on the top of your head, say “mmmm” loudly through closed lips. Vary the pitch until you feel both your chest and head vibrate under your palm. This means that you have caught your natural sound, found a natural voice.

Exercise 2. release vowel sounds

This exercise is especially useful for those whose voices are muffled through the nose. The reason is that your tongue is tense. Suppressed words, suppressed emotions, unshed resentments - all this leads to clamping of the larynx.

Our goal is to “lay” the tongue the way the doctor puts it when he checks the throat. Independently, by an effort of will, this is not obtained immediately. But there is a simple exercise - try to yawn with your mouth closed, clenching your jaw. You will feel how the tongue itself goes down, giving free rein to a wide stream of air. Remember this feeling. Any vowel sound, even “I”, must be pronounced with such a wide opening of the larynx.

Exercise 3 Make clear consonants

But with consonants, the opposite is true. We are not heard for the most part due to the fact that we lubricate them, "swallow", do not pronounce clearly, like Hermione Granger from Harry Potter.

This creates a feeling of casualness, as if we ourselves do not value and do not consider important what we are going to say.. To make it easier to speak, imagine this metaphor: vowels are like a river, consonants are like banks. The river flows smoothly and freely when the bank is not eroded.

Try this exercise: say any tongue twister, but without vowels (for example, “Dust flies across the field from the clatter of hooves”). It is quite possible - moreover, you will even be understood.

Write a whole “story” of tongue twisters on a sheet and read it ... holding a cork between your teeth. It will prevent you from pronouncing consonants - make more effort! Theater students even thread a thread through the cork to wear it around their neck and train in their spare time.

Yes, speech apparatus training is as hard as training in sports. The theatrical principle is this: to make the complex habitual, the familiar - easy, the easy - pleasure.

Exercise 4 Diction is more important than you think

A very simple task: say "The King is an eagle" three times in a row. Most likely, you will not go astray. But you can talk about the clarity of diction when you do not stray by saying this phrase 30 times without stopping.

Why do it? When you own your speech, it already gives weight to everything that you say. And this means that you respect both yourself and your interlocutor, and what you are talking about with him.

***

What if the first words are hard to come by? Psychophysics suggests that just as the mind is related to the body, so is the body to the mind. Try a simple exercise: quickly rubbing your hands and kneading each finger, say whatever you like - without thinking, without pauses. It's not easy at first, but each time it gets easier. And then, before speaking, one such movement will be enough - and the speech will flow by itself!

And finally, one more old theatrical advice to those who are shy and who are afraid to speak in front of an audience. Are they looking at you? It is necessary to catch this ball and throw it into the hall, take it again and throw it - and so shake the audience.

About the expert

- actor, teacher of the theater studio "Benefis".

Do you want your child to become a TV or radio host, a famous actor in the future? Do you plan to build a successful career on stage? Then you need to work long and hard on the development of stage speech. The teaching methodology includes a variety of diction exercises. There are special acting classes for both adults and children. Do you want to know what stage speech is and learn simple exercises for the development of the speech apparatus? Then read this article to the end.

Every person who dreams of becoming a famous actor should definitely perform stage speech exercises regularly. A loud voice, clear diction, correct placement of accents in the text - all this allows you to express feelings and emotions, to beat the work. The technique of stage speech is not as simple as it might seem at first glance. The actor must be able to convey the mood, show the inner world or other psychological traits of his character. If you learn how to do it right, you will soon be able to become a real movie and theater star.

Stage speech, as an integral part of acting, developed gradually, becoming more and more perfect. Ancient Greek orators practiced speech in motion, because such a speech invariably aroused the special interest of the public. Even then, people realized that not only the meaning of the words in the text is important, but also the intonation and the way of reading.

Demosthenes, a famous orator and philosopher, had a very quiet voice by nature, his speech was slurred, and many listeners often did not understand the meaning of his words. Then he began to work on himself, daily performing diction exercises. To do this, Demosthenes went out to the edge of the cliff by the sea and delivered his speech, shouting over the sound of the waves. Also, his contemporaries claim that he often retired to a cave and rehearsed his monologues there in order to be able to hear himself.

Fortunately, today you do not need to resort to such extreme methods to improve your pronunciation and expressiveness of speech. Stage speech lessons for children and beginners are quite simple. You can do simple diction exercises at home on your own or attend classes with a teacher.

How to quickly improve the technique of speech?

If you want your speech to become beautiful, clear and correct, you need to regularly attend special lessons. This is not surprising, because the teachers know their subject very well. You probably had to attend lectures more than once, and listen to a very boring and slurred speech that makes you want to sleep. A professional speaker uses all the possibilities of his speech apparatus to constantly hold the attention and attract the interest of listeners. Stage speech lessons will be equally useful for both future artists and businessmen, politicians and other professionals whose activities are directly related to communication.

To learn how to fully control your voice and improve your diction as quickly as possible, perform simple stage speech exercises daily. It will not take you much time, but will bring the desired effect. For beautiful speech, breathing is no less important than clear diction. That is why in stage speech lessons you will not only pronounce tongue twisters and read texts expressively, but also perform breathing exercises.

Variants of exercises for setting the breath

The quality technique of stage speech largely depends on the correct breathing of the speaker. A person who makes a speech in front of an audience cannot afford to inhale air through his mouth. This will lead to the fact that your breath will go astray and you will not be able to correctly maintain intonation and place accents. To prepare for public speaking, do the following exercises regularly.

• Breathe through your nose (inhale and exhale) with your mouth open for 3-5 minutes.
• Place both hands on the solar plexus. Take a deep and very slow breath (the process should take 3-4 seconds). At the same time, your hands will feel how the stomach rises, filling with air, and when you exhale, it falls. Such a fluctuation should be clearly visible. If you don't feel anything, tilt your torso slightly forward as you inhale. Gradually increase the inhalation time.
• Chest breathing exercise. Inhale deeply as if you are smelling a fragrant flower, then exhale very smoothly and draw in your stomach. A short inhale and a long exhale will help you improve your chest breathing. When this exercise becomes easy for you, start saying long phrases as you exhale.

These exercises are not difficult, but very effective. Do them daily, and soon you will be able to give a long speech without a hitch or a breath failure.

Improving articulation

In order for the pronunciation of individual sounds to be intelligible and clear, you need to constantly train the organs responsible for articulation.

The lesson should start with a simple pronunciation of vowels, consonants and simple connectives. Try to keep your voice loud and bright, not like in normal everyday life.

Various tongue twisters also help to train the speech apparatus. Such rhymes, on the contrary, should be pronounced very quietly, in a whisper. Gradually increase the pace of reading and increase the volume. Consider a few simple options for tongue twisters to improve stage speech.

• "Got the bean beans."
• "Dust flies across the field from the clatter of hooves."
• "Prokop came - the dill was boiling, Prokop left - the dill was boiling."

If you have been attending stage speech lessons for quite some time, you can gradually complicate your task by learning longer and more complex tongue twisters. If you manage to memorize and read by heart, you can be sure that you will become an excellent speaker.

Sound and diction are an integral part of stage speech

The sound of your voice will help express a certain range of emotions. You must learn to adjust the timbre, range of sounds, intonation. To practice your sound, do the following exercises:

• Read any work in prose or verse, constantly changing the volume of speech. Speak the first line very quietly, the second - loudly, etc.
• Speak one phrase with different intonation, try using ordinary words to express different emotions - fear, happiness, surprise, passion, etc.
• Develop your imagination. Think about how the animals would speak if they could talk. Tell a verse on behalf of a fox, a hare, a dog, a cat.

Clear diction is very important for stage speech. It will allow you to achieve success in your career, because people on a subconscious level listen more and positively perceive a clear and intelligible speech of a person. You can develop oratory skills with the help of the following exercises.

• Stand straight, put your hands on your chest, elbows apart. Take a deep breath, and, releasing the air from the lungs, gradually lean forward. Exhalation should be accompanied by the pronunciation of long vowels (o, a, y) in a very low voice.
• Regularly pronounce complex combinations of sounds - STFRA, VZVA, LBAL. At first, this exercise may seem quite difficult for you, but gradually you will begin to succeed.
• Try reading medium-length text with your mouth closed.

The stage speech lesson, like any other, should give results. After completing a block of exercises, you must consolidate the result by reading a complex text as expressively as possible. If you are studying with a teacher, he may offer you to take a special test at the end of the lesson. Correctly completing tasks, you gain a certain number of points.

Exercise "Tongue without bones"

Do you want to remember your childhood and have some fun? Then start doing the exercise for the development of the articulatory apparatus, which from the outside looks like an ordinary antics. To prepare for the stage speech lesson, you must first conduct a small warm-up.

Articulation gymnastics has a lot of advantages, namely:

• Your tongue starts to work very clearly;
• The feeling that you are talking with your mouth full disappears.
• The pronunciation of sounds becomes clearer and more correct.

To perform the Boneless Tongue exercise, you will need a regular mirror. Stand in front of him and start warming up.

• Open your mouth a little. Use the tip of your tongue to make circular motions in different directions. Perform 10 rotations clockwise and counterclockwise.
• Open your mouth wide, stick your tongue out completely and gently lift its sides up. You should get a kind of tube. Now try to move your folded tongue, blow into it.
• Use your tongue to clean the surfaces of your upper and lower teeth. Try to repeat the exercise both with your mouth closed and with your mouth open.

Light biting of the tongue helps to slightly relax this muscle. Do such manipulations before speaking in public, and then your speech will be clear and intelligible.

Simple exercise "Cork"

Even the simplest exercise for the development of the speech apparatus will be effective if performed regularly. "Cork" is very popular among both adults and children. This fun activity allows you to:

• Strengthen the muscles of the cheeks, lips and upper palate.
• Tighten the skin of the face, smooth out fine wrinkles and nasolabial folds.
• Improve diction and speech.

Experts say that the Cork exercise is useful not only for future speakers and actors, but also for everyone who wants to preserve the beauty and youthfulness of their skin for many years.

So, let's get to work. Pre-prepare a small wooden or plastic cork from a champagne bottle, learn a tongue twister.
Hold the cork in your front teeth. Without releasing the product, start reading the tongue twister. Repeat the verse several times in a row. You will be able to independently determine which sounds you get better and which are worse. Constantly improve your pronunciation, train your articulation apparatus, speed up the pace of speech.

A man telling tongue twisters with a champagne cork in his teeth looks very comical. This fun exercise can be turned into a fun and rewarding family challenge. Let each family member read the tongue twister in an unusual way, and then you all decide together who did it best. After you take the cork out of your mouth, you will be surprised how much your speech has improved, because the words will “flow like a river”.

Stage speech teaching methods

Professional specialists who are engaged in the preparation of future speakers, actors, announcers, etc., use various teaching methods. There are several most successful options for improving diction and speech, we will consider them in more detail.

• Continuous formation of stage speech. The teacher offers the student several sets of exercises, between which there is a logical relationship. There are no long breaks between lessons.
• Gradual complication. The student begins learning with the assimilation of the simplest material, the load gradually increases.
• game existence. Learning according to this method is the most pleasant, as the student uses his imagination in the lessons. Fun play activities tend to produce great results.
• Partnership relationships. At the lesson, the teacher and the student are "on an equal footing". The teacher can only advise, but not insist on the repetition of a particular exercise.

Stage speech lessons will be useful to everyone. Do you want to achieve your goal? Get ready for the fact that you will have to constantly learn, train and improve yourself. Be persistent, and very soon your oratorical skills will surprise everyone around you.

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

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 expressiveness of an actor. Stage speech is also a means of theatrical embodiment of a dramatic work. Through the mastery of speech, the actor conveys to the viewer the inner world, social, psychological, national, 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 voice, development of breathing, clarity and clarity of pronunciation (diction), 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. So, the skill of stage speech was honed in ancient Greece by speakers and actors. The most famous example, perhaps, should be considered the research of Demosthenes. Practicing in eloquence, he devoted a lot of time to studies, but spoke indistinctly, for which he was constantly ridiculed by his counterparts and ordinary listeners. Quite desperate, he turned for advice to a friend - a famous theater actor. 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 voice power. Unfortunately, Demosthenes 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 sound of waves and gusts of wind. Demosthenes held small stones in his mouth, uttered long phrases and whole sentences without inhaling. For several months he descended 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 of 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 of the actor's work on the role developed by the latter, they help the actor to reveal not only the meaning of the text, but also the subtext of the spoken words, to capture, convince the partners and the audience with "verbal action".

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

Attending various seminars, conferences, classes (lectures at the university and lessons at school), you probably paid attention to such an interesting fact: at some events you literally want to sleep - both the topic is boring and the lecturer's voice is monotonously lulling. On others, everything is diametrically opposed - undying interest for hours and rich speech of the speaker. Most often, the reason for this is not the semantic fullness of information, but the way it is presented. A story without emotions, monotonous mumbling “under your breath”, 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 artists, but also for many whose employment is related to communication, training, sales.

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

Breathing Exercises

One of the most important skills in this block is the practice of inhaling 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 take a slow breath, counting in the mind to 4. Without delay, exhale, again counting to 4. During the exercise, it is important to feel with your hand how the stomach rises and falls. If these movements are difficult to distinguish, you should tilt the body forward with your hands on your lower back. On inspiration, you should feel the expansion of this area. Each next inhalation-exhalation increase the count by one (5,6,7…).

Chest breathing is considered optimal, it needs to be developed.

1. Starting position standing. As you inhale, imagine that you are smelling a flower. The exhalation is smooth, with the sound "pff", while you need to draw in the stomach. Inhale - short, exhale - long.
2. Classic exercise. You need to inhale, and on exhalation, in “one” breath, say a long phrase.

Articulation exercises

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

During the exercises for articulation, you should start with the usual pronunciation of sounds. First, vowels (single U, S, I, O, E, A, Yu, E, I, E, then in conjunction U - U - S - S; 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, H, C, C, W, W, H, F; hard and soft separately), complete with combinations of vowels and consonants by type: KA - KU - KE - KO - KI. During training, sounds need to be pronounced stronger and brighter than in everyday speech.

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

1. There is a priest on a shock, a cap on the priest, a shock under the priest, a priest under the cap.
2. Got the 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. Carl stole the corals from Clara, and Clara stole the clarinet from Carl.
6. About love, didn’t you kindly pray for me, and beckoned me to raspberries?

Sounding exercises

Sound - tonality, range, intonation.

1. Read the verse in this way: the first line is loud, the second is quiet.
2. Practice pronouncing an ordinary phrase, putting shades of different feelings into it: sadness, joy, reproach, anger, passion, surprise.
3. Say a neutral phrase in the voices of different animals, according to your idea. Even better is 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, as you exhale, begin to slowly lean forward, while pronouncing the vowels "y" 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. Any text can be read 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. Only 1 option can be correct for each question. 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 passing. Please note that the questions are different each time, and the options are shuffled.

BREATH

Breathing is the basis of the foundations of speech sounding. Without proper breathing, the art of speech is impossible, just as life is impossible without air. Not only the beauty, lightness, smoothness of our voice, but also the melodiousness of speech, the harmony of thoughts, and, finally, as a result, the ability to correctly express them depend on how we breathe.

The process of learning correct mixed-diaphragmatic breathing is quite laborious, but having mastered it, we will be able to control breathing consciously.

We form our breath gradually. We start with simple exercises that introduce the student to the very principle of proper breathing; we try to fix the student's consciousness on the meaning of the term "breathing down the abdomen", which we use to facilitate the process of understanding the technology of inhalation. We are careful to ensure that the student understands the principle of such breathing. The result depends on understanding the principle of proper breathing.

Special attention should also be paid to the fact that breathing training must be carried out in dynamics, since it is impossible to imagine an actor speaking exclusively in a static state. We have already said that the acceleration of the tempo-rhythm is observed all over the world. The speed of submission and perception of information has increased. And since art is the "litmus test" of society, therefore, it is also undergoing changes in the direction of speeding up the tempo-rhythm. Slow conversations sitting on chairs are far in the past, more and more often dialogues take place in motion, therefore, the actor must be able to distribute his exhalation in such a way that speech sounds easy and relaxed even with very active physical action, while running, dancing, chases, horse races, etc. As a result of combining the work of the motor and speech apparatuses, we achieve an increase in sound in strength, duration and lightness. Therefore, using movements that train the respiratory muscles and at the same time form a muscular feeling, it is possible to achieve a more accurate organization of sound-speech movements. The combination of these movements creates a wide range of devices that allow you to achieve an organic fusion of breath and sound.

When compiling the optimal breathing training, we took advantage of the exact comments of the teacher of the Chelyabinsk State Institute of Art and Culture E.V. Proskuryakova.

Getting started, you need to know that:

Rotation of the head (turns, tilts), activating the muscles located near the upper respiratory tract, relieves excessive tension from the muscles around the throat and improves blood supply to the upper parts of the lungs;

Exercises performed with inclinations with the arms at the waist create conditions for better ventilation of the upper parts of the lungs;

Exercises in which the arms are spread apart help regulate the movement of the intercostal muscles and are thus responsible for the work of the middle pelvis of the lungs;

Exercises with the movement of the hands above head level are responsible for the work of the lower lobes of the lungs, activating the respiratory function in the lower part of the chest and diaphragm;

Leg movement exercises from any position (lying, sitting, and standing) strengthen the abdominal, diaphragm, and psoas muscles that are so important for mastering full breathing.

Exercises should be performed smoothly, easily. Strive in them to ensure that during breathing training the student experiences the most pleasant sensations, since any violence against his body leads to the appearance of muscle clamps, which inevitably deform into mental clamps.

Before proceeding to the description of the exercises, let us pay attention to the very precise division of them into groups by E.V. Proskuryakova:

1. Breathing exercises with specially selected physical movements that facilitate the correct inhalation and exhalation and help to consolidate the skills of full, mixed-diaphragmatic breathing with the activation of the abdominal muscles during inhalation and exhalation.

2. Breathing exercises, in the prone position, sitting and standing, the task of which is to master the technique of mixed-diaphragmatic breathing with the activation of the abdominal muscles, conscious regulation of its rhythm, the correct ratio of inhalation and exhalation.

3. Breathing training in everyday life, which should help to consolidate and use in life the skills acquired in special breathing classes.

4. Breathing training while reading texts using the skills acquired in the previous exercises. The goal is to learn how to distribute the exhalation into certain parts, dictated by the content, logic, syntax of the author of the work.

“Without a well-developed, active flow of the respiratory stream, striving from the bottom up - into the resonating cavities of the face, the frontal sinus (parietal bones), it is impossible to achieve either correctly flying vowels or an even sound line in the registers.” The beauty, strength and lightness of the voice, its richness in dynamic effects, musicality, melodiousness of speech depend on how a person knows how to breathe. Rational speech breathing contributes to the physical development of the vocal apparatus, relieves fatigue, both general and vocal, helps to give the voice lightness, individual sound, brightness, roundness, flight, timbre coloring. In addition, proper breathing protects the voice from fatigue, premature wear and tear and allows you to keep its best qualities for a long time.

The conditions for the success of the educational process in the technique of speech will be: excellent knowledge and understanding of the mechanisms of speech, understanding of the goals and objectives of these lessons, knowledge and understanding of the methods that lead to the fastest achievement of these goals. In the systematic and perseverance of completing tasks, in the activity and creative approach to mastering various skills and abilities lies the path to the successful mastery of this discipline.

Insisting on a creative approach to speech technique lessons, we mean the following aspects: at each lesson, the teacher should involve students in interesting and positive games, thereby awakening the children's imagination; so build exercises to develop their attention; strive to ensure that the guys turn their “eyes inward”, learn to listen to themselves, feel themselves and, in the end, love themselves, only in this way can they be taken away from the mechanical learning process, which, as practice shows, is completely unconstructive.

Before starting the training, you need to encourage students to observe their breathing, then, to study the muscle groups involved in the respiratory process, determine the type of breathing of each of them.

To do this, you need to perform exercises in a standing, sitting and lying position, observing the following rules.

The first condition necessary for the correct initial work on breathing is muscle freedom, emancipation, which is characteristic of a sleeping person:

The facial muscles and tongue should be completely relaxed;

When inhaling, the muscles of the lower back are relaxed, while the abdominal muscles stretch automatically;

The chest remains at rest, it cannot be raised and lowered. This condition also applies to the clavicles.

It makes sense to use some of the exercises from the practice of Nancy Zee. Nancy Zee was born in the United States to a Chinese family. She spent her childhood in China, then returned to the US and received a bachelor's degree in music and voice. Nancy Zee has over thirty years of experience teaching speech and vocal disciplines. In her developments, she combined the centuries-old experience of Chinese breathing practices ("Qigong") and the modern American speech and vocal school.

She offers several exercises to help you use mental images. The purpose of these exercises is to become aware of certain specific sensations in the body. "These images are metaphorical descriptions of special movements that cannot be described in any other way." When performing these movements, it is required not just the work of certain muscles, but the representation of an image-movement. Images are needed to show invisible internal movements and their subtle nuances. The main task of this technology is to gently and harmoniously develop deep breathing, that is, such breathing, in which all muscle groups work in a balanced way.

Mental imagery exercises can be difficult for those who are not accustomed to controlling their breathing apparatus. Many athletes, singers, artists, and wind players breathe consciously and are comfortable with these exercises. Our students will need to spend some time before they learn to hold mental images correctly and without tension.

“As you perform the exercises while simultaneously holding the mental images, a relationship is established between the images and internal sensations, and they begin to reinforce each other. The retention of images is necessary in order to reorient the perception of our sensations.

Exercises using mental images

"Pipette"

Become straight, but relaxed, make sure that the head does not tilt to the side or down. Imagine that there is a huge pipette inside us, with the rubber chamber down. Squeeze the chamber and squeeze out all the air. Let go of the chamber, allowing it to expand, and air enters the body.

Imagine that the end of the glass tube is in the larynx at the level of the nose. Allow air to flow in and out through this single opening, rather than individually through the nose or mouth. You should breathe while holding this image.

As the exercise progresses, the student should find that he naturally develops abdominal breathing.

Abdominal breathing does not mean that you are actually breathing with the belly into which air is being drawn in. It is just that as you inhale, the abdominal wall and torso muscles move outward, causing the diaphragm to descend, and this gives the impression that the belly is inflating with air.

"Accordion"

Create a mental image of the diaphragm as an overlap resting on the walls of the peritoneum. Imagine that these floor walls are made of rubber that can bend and stretch.

Viewed from the other side, the diaphragm is also the floor on which the lungs rest. Imagine that the lungs are a vertically placed accordion. As the diaphragm descends, the accordion expands, creating a vacuum space that sucks in air.

This whole respiratory complex can be represented as follows: by protruding the abdominal walls outward, the abdominal cavity expands, and the overlap falls, leaving more space at the top into which air enters. This image will help you understand how inhalation and exhalation interact with the abdominal cavity and lungs. In this exercise, the air freely fills the lungs completely and creates the illusion that air enters the abdominal cavity.

"Funnel Balloon"

You should feel the place where the nasal passages pass into the larynx, and imagine it in the form of a funnel. When you inhale, air, like water, flows into this funnel and flows down a very long pipe.

Then imagine a balloon connected to the end of this pipe. As you inhale lightly and smoothly, the balloon slowly fills with air. You need to stop breathing when the balloon is full enough, hold the air in the balloon for a few seconds, enjoying this pleasant fullness.

"Rope Rings"

Imagine a rope laid in rings in the lower abdomen. Imagine that air enters and leaves the belly like a ring of rope, while the lower ring always remains inside the belly.

"Stack of Books"

You should form a mental image of inhalation as a process of folding books into a pile. You need to start folding books from the bottom and gradually add one at a time to make a pile. The higher the stack, the more weight the bottom book has to support. Exhalation is built by analogy - you need to remove books, starting from the top.

You can do this exercise both slowly and quickly, but always evenly.

"Lotus"

Imagine that there is a large lotus flower bud in the lower abdomen. Inhale - the lotus gradually opens to the end, exhale - it slowly closes, hiding all its petals and becoming a bud again.

Having mastered the basics of proper breathing with the help of mental images , proposed to us by Nancy Zee, we can safely move on to the following exercises, which should be done lying on our backs.

Close eyes. Focus on the work of the respiratory apparatus. Breathe calmly, freely, easily. Inhale through the nose, exhale through the mouth.

Inhale, exhale. Put one hand on the lower abdomen (four fingers below the navel), the other on the chest. Inhale in such a way that the stomach protrudes upwards, and the chest remains motionless. When exhaling, the stomach contracted (clung to the spine), the chest is still motionless.

Inhale in the same way for a count of up to 4, hold your breath for a count of up to 16, while making wave-like movements with your stomach (we observe how the air moves from the lungs from the bottom up and back). Then exhale through your mouth, (silent whistle), counting up to 8. It is very important to count to yourself, as the vocal cords work correctly.

Continue breathing with a count as follows. Inhale for 2 - exhale for 4; inhale for 4 - exhale for 8; inhale for 6 - exhale for 12; inhale for 8 - exhale for 16. Repeat everything in reverse order. It is very important to watch the movement of the abdomen and the absence of movement of the chest. Before each exercise, be sure to take a sharp breath. (breath release).

Intermittent breath. After releasing the breath, you need to hold it for a count of up to 4, then inhale up to 4, another delay (4) and another breath (4), then exhale, also lasting for a count of up to 4. This exercise should be done with a gradual increase in breaths from two in the first phase of the exercise, up to six in the last.

Intermittent exhalation. Repeat the entire previous exercise, replacing inhalation with exhalation. After breathing out, you need to take a full breath, hold your breath for a count of up to 4, while you need to relax the abdominal muscles, then exhale for 4, hold your breath, etc., just as in the previous block of exercises, increase the number of exhalations from two to six.

Take a smooth breath with your nose in such a way as if you are inhaling the pleasant aroma of your favorite flower. When we feel the overflow of the lungs with air, we begin a smooth exhalation with a barely audible sound “ha”. We will refer to such an exhalation as “warm”.

Let's repeat the previous exercise, but with an intermittent exhalation "ha-ha-ha-ha".

Take a breath through the mouth, as if we are drawing air through a cocktail straw. Feel the chill on the front teeth and the tip of the tongue. Stick out your stomach as much as possible. Then we make an intermittent exhalation with a barely audible sound "P" (Such an exhalation is called "cold").

We repeat the same exercise, breathing in through the nose. If, when inhaling, it is not possible to achieve full breathing, then it is necessary to close one nostril. Due to this, the respiratory draft increases and the work of the diaphragm will be felt better.

After inhaling, wait a few seconds and make a fractional exhalation on an imaginary whistle. This exercise helps to feel the work of the abdominal muscles, diaphragm, intercostal muscles well.

It is impossible to allow tension of the pectoral muscles located under the collarbone, and participation in the process of breathing of the neck muscles and shoulder girdle should be completely excluded.

“Throughout our lives – and especially during childhood – we unconsciously imitate those around us: peers, parents, teachers, and others. For many good purposes, it is not uncommon for people to recommend taking a deep breath and then demonstrating this by raising their shoulders. Since breathing is mainly an internal action, it is very difficult to show it externally. Raising the shoulders seems to be the only gesture available for inhalation. You may recall a music teacher who enthusiastically shrugged his shoulders, urging the class to take a deep breath. Or remember a doctor who asks you to breathe deeply and, listening to a stethoscope, moves his shoulders, imitating deep breathing.

We ourselves can sometimes unconsciously mislead someone when we raise our shoulders to show that we need to take a breath.

Raising the shoulders, we simultaneously pull up the diaphragm. It compresses the lower part of the lungs, and the volume of the lungs is significantly reduced.

With proper breathing, the diaphragm should drop, allowing the lungs to expand. Raising your shoulders has the opposite effect, pulling your diaphragm up just as you want to inhale.

Shallow breathing has another disadvantage. By straining the shoulders with each breath, all muscle groups responsible for speech-forming functions are automatically tensed. Tension tends to take over a larger area. Sustained tension often leads to chronic pain and spreads to other parts of the body.

Thus, having realized and mastered the respiratory movements, we must understand that more expansion is needed, more space for breathing and speech, that active inhalation and exhalation leads to a beautiful sound.

When starting classes on the technique of speech, you need to know that posture plays a huge role in the process of voice formation.

Posture is understood as the manner in which a person is used to holding his body. If a person, without much tension, freely holds his head and body straight, if his shoulders are freely at the same level, naturally, without much tension, slightly lowered down and laid back, the chest is moderately raised, the stomach is slightly tucked up, if he is used to maintaining this position not only when standing, but also while walking, sitting, working, then we say that this person has the correct posture.

It is curious to note that in the process of developing correct posture, it is precisely those muscles that are actively involved in breathing that develop. Therefore, doing breathing exercises, we contribute to the formation of correct posture in the same way that correct posture itself determines the success of mastering the skills of rhythmic correct breathing, which is the basis of phonation breathing.

In the absence of organic defects, the cause of incorrect posture may be the general laxity of a person, the relaxation and lethargy of his skeletal muscles, mainly the muscles of the back and abdominals. In order to cultivate the correct posture and demeanor, you need desire, perseverance and constant self-control, as well as the use of special exercises to strengthen the muscles.

In addition to the well-known exercises (walking with a book on the head, with a gymnastic stick behind the back, held by the elbows under the shoulder blades, with hands clasped at the back of the head, etc.), we offer a block of exercises that, in addition to improving posture, strengthens and aligns the spine and prepares the whole body to sound. We conditionally call these exercises “stretch” (see Appendix p. 121).

Almost all students at the first stage of training produce a mouth breath, which is unacceptable from the point of view of speech. Our task is to explain to them that inhaling air through the mouth is just as unnatural as eating through the nose, and teach them to breathe through the nose.

Under normal conditions, a person should breathe through the nose, which is physiologically correct. The air exhaled through the nose is moistened, filtered, warmed. 25% more air enters the body than when inhaled by mouth (K. Dineika). Inhalation through the nose improves the blood supply to the brain, increases working capacity. With difficulty in nasal breathing, people often suffer from chronic runny nose, sinusitis, and headaches. Also, the breath during speech slows down, becomes noisy, the flow of speech is interrupted by long pauses. When inhaled through the mouth, the air is not biologically processed. A large amount of dust enters the larynx, trachea and lungs. There is dry mouth, sore throat, cough.

Exercises for the development of nasal breathing:

Close the right nostril with your finger, exhale through the left nostril and vice versa. Repeat 4-6 times.

When inhaling, stroke the sides of the nose from the tip to the bridge of the nose, while exhaling, pat the index or middle fingers on the wings of the nose.

On exhalation, make screwing movements at the base of the wings of the nose.

Repeat the same movements while inhaling.

It is advisable to repeat all these exercises 8, 16, 24, etc. once. Since almost all breathing exercises are rooted in ancient Eastern breathing practices, it is better to do them based on Eastern traditions, which say that the repetition of exercises should be a multiple of eight.

Mastering preparatory exercises

for trainingfull type of phonation breathing with activation of the abdominal muscles,

diaphragmatic, intercostal, lumbar muscles

Since we build the entire training on the principle of maximum expediency, in the next block of exercises we also use ancient Eastern exercises that were widely used and are still being used in various theatrical teachings.

"Sun Worship"

Stand up straight, heels together, toes apart.

Fold your hands with your palms facing each other at chest level, exhale slowly and calmly.

Stretch your arms up, exposing your face to the sun, slowly and enthusiastically inhale through your nose.

Bending down, touch the floor with your palms, while remaining on straight legs, exhale all the air from the lungs.

Without taking your hands off the floor, stretch your right leg back, bending in the spine, stretch your face towards the sun - inhale.

Return the right leg to its original position, resting the palms on the floor, check if the neck is relaxed and if the legs are straightened at the knees.

Breathe out calmly.

Now stretch your left leg back and, bending in the spine, stretch your face towards the sun. Inhale.

Return to the forward bend position with palms on the floor, exhale to the end.

Slowly lifting the body up, fill the lungs with air.

Bring your palms together at chest level, exhale.

It is necessary to inhale through the nose, exhale through the mouth, imitating the sound "HU".

This exercise should be started slowly with further acceleration and repeated from 8 times to 10, 15 minutes.

In addition to the fact that this ancient exercise greatly ventilates the lungs, strengthens all the muscles involved in it, it very noticeably aligns the spine.

"Towards the Sun"

We take two steps to the right, spreading our arms to the sides, as if opening up to the sun, while inhaling through the nose.

Then, with one step, we return to the starting position, press our hands folded with our palms to our chest, exhale through our mouths.

Now we take two steps to the left, spreading our arms to the sides in such a way as if we are hugging the air, inhale.

We return to the starting position, bring the palms to the chest - exhale.

And again two steps to the right, and so on.

We do the exercise with speed. We repeat it as much as it gives us pleasure.

"Circles with brushes"

We stand straight, feet shoulder-width apart, feet parallel. We spread our arms to the sides, connecting the fingertips into “pinches”.

We inhale with the nose into the “stomach” and exhale sharply with the sound “F”, making a quick circular motion with the brushes.

Then we inhale again and exhale for two circular movements with the brushes.

Inhale again - exhale for three movements.

Inhale - exhale in four movements.

Thus, we increase the length of the exhalation to six circular movements. And we repeat the exercise in reverse order. That is - from six circles to one.

While doing this exercise, we feel how all the abdominal muscles and the diaphragm are actively working.

"Harlequin"

We spread our arms to the sides, raise our elbows to shoulder level, relax our neck and hands.

We inhale into the "stomach" and at the same time with the exhalation to the sound "F" we make a circular motion with the hand from the elbow. This gesture resembles the movement of Harlequin.

Inhale again, and exhale for two circular motions. Then exhale for three, four, five and six circles. And in reverse order. Six to one circle.

It is important that in this entire block of exercises, in the phase of performing them in reverse order, the movements are performed in the opposite direction than in the first half of the exercise.

"Shoulder circles"

After inhaling through the nose into the "stomach", we exhale quickly through the mouth with a simultaneous circular movement of the shoulders. This movement is reminiscent of the "jacket off" gesture.

Just as in the previous two exercises, we increase the length of the breath in proportion to the increase in the number of circular movements from one to six, followed by a decrease from six to one.

It is important to pay attention to the fact that the movements should be light, not pinching the neck muscles.

"Circles with feet"

Stand straight, feet together, hands on the waist. Raise one knee up, inhale into the "stomach" and exhale with a simultaneous circular motion of the foot.

When we finish working with one leg (up to six circles and back), we release tension from the feet with shaking movements.

Then we take the other leg and repeat the entire exercise in detail.

It is important to do these exercises evenly and calmly, without splitting the exhalation and without fussing while inhaling.

"Leg circles from the knee"

This exercise is exactly the same as the previous one. The only difference is that we do the circles with the foot fixed in the knee joint, while the knee is raised forward and up, the thigh is parallel to the floor.

It should be noted that in our practice we always encourage the student to be attentive to himself. He must listen to himself, feel his body. We believe that each exercise is positive and useful only when it is done with pleasure and the student does not experience the slightest discomfort. Otherwise, if he is uncomfortable doing this exercise, we try to find a mistake that is made during the exercise. Since, with the correct performance of these exercises, a physiologically healthy person always experiences a surge of vigor and strength, this error is necessarily detected.

"Ragdoll"

Stand straight, feet shoulder-width apart, feet parallel to each other. With a slight wave of hands free from muscle clamps up - inhale.

Relax the body and throw it down - exhale.

Then repeat the exercise with dropping the body alternately to the right, then forward, then to the left. Repeat it 8 times.

"Mill"

Stand straight, feet shoulder-width apart, feet parallel to each other. After breathing out, simultaneously with inhaling with the nose, we make a free (in no case forceful) lean forward and make a circular motion with our hands, similar to the movement of the blades of a mill. We raise the body up, making a similar movement of the hands above the head - exhale.

We repeat this exercise 8 times.

"Coffee grinder"

Standing straight, feet shoulder-width apart, feet parallel, we bend our knees (“sit on the ball”) and make circular movements with the pelvis.

While moving behind - inhale, while moving in front - exhale with the sound "HU".

Thus, we mechanically force to work exactly those muscle groups that are involved in the respiratory process. With a circular movement of the hip joints from behind, we stretch the muscles, while moving forward - we squeeze, thereby helping to physiologically accurately inhale and exhale. We repeat the exercise 8 times in one direction and 8 times in the other.

« Primus

From the same position, slightly bending the legs at the knees, we make sharp movements with the pelvis back and forth. Back - inhale, forward - exhale with the sound "F". When exhaling with the sound “F”, we make sure that the cheeks do not swell.

We repeat the exercise 8-16 times.

A block of exercises aimed at the full

lung ventilation

We stand straight, feet shoulder-width apart, feet parallel to each other, with an inhalation we make a slight tilt forward so that the arms extended above the head are parallel to the floor, we take a light breath through the nose.

We raise the body together with the hands up, lower the hands down through the sides, slowly exhaling with the sound "C".

While doing this block of exercises, we encourage the guys to trace which part of the lungs at the moment, with the given position of the hands, the air enters.

If they are attentive, they will certainly feel a bursting sensation in the lower back, in the region of the kidneys. In this case, air entered the lower pelvis of the lungs.

Then we repeat the same exercise, but, inhaling simultaneously with the inclination, we spread our arms to the sides.

Exhaling with the sound “Sh”, we raise the body and lower our hands.

Now the feeling of fullness of air can be traced in the hypochondrium, at the level of the diaphragm. Air ventilates the middle part of the lungs.

The third phase of the exercise repeats the previous ones, only inhalation is performed while bending over with hands on the waist.

Raising the body, exhale with the sound "F".

Now the air fills the upper pelvis of the lungs.

Development exercises

and strengthening the abdominal muscles

"Barrier"

This exercise is performed lying on your back. With an inhalation “into the stomach”, we raise straight legs so that they are 90 degrees relative to the floor. Exhaling air, slowly lower straight legs to the floor at the expense. We start the count from 5, each time increasing by 5. For example, the first time we lower our legs by 5, the second by 10, the third by 15, etc., gradually, from lesson to lesson, bringing it to fifty.

"A bike"

We begin the exercise, in the same way as the “barrier”, but, raising our legs, we make rotational movements with them, similar to those that are performed when riding a bicycle. Exhalation is made with the sound "F-S-Sh". One movement is combined with one sound. However, it is worth noting that in this exercise, as well as in all exercises with phonation sound, it is impossible to sound with residual breathing, that is, the sound must be stopped before the air in the lungs runs out.

It is also important to note that these exercises, due to physical complexity, provoke clamps in the neck muscles. To prevent this from happening, you need to draw the attention of students to this problem and from time to time encourage them to make rolling head movements from side to side.

"Scissors"

We start the exercises in the same way as the previous two, only on exhalation we make foot movements that imitate the movements of scissors. This exercise, like the "Bicycle", we do not count. It is necessary that each student exhale independently, focusing on his maximum exhalation lasting in time.

But the number of breaths must be determined exactly (for example, today 4 breaths, tomorrow - 6, etc.)

"Parachutist"

The exercise is performed lying on the floor, face down. While inhaling with the nose “into the stomach”, you need to tear your arms and legs extended forward from the floor as much as possible and then, slowly exhaling at the sound “C”, lower your arms and legs. Do the exercise on the basis of the principle of increasing each subsequent exhalation by five counts.

It should be noted that absolutely every lesson and, moreover, every exercise in the training must be dressed in a game form. For example, when doing the “Bicycle” exercise, specify what kind of bike we have today: is it a mountain bike, on which we ride along a country road, or a three-wheeler, running along an asphalt path surrounded by beautiful fragrant flowers, etc. It is necessary to awaken the imagination of students by offering various options for the scene. For example, today we are in the mountains at an altitude of 3000 meters, tomorrow - on the seashore, the day after tomorrow - in a pine forest, etc.

It is very important before each lesson, at any time of the year and under any weather conditions, to thoroughly ventilate the audience and be sure (this is the main condition of the teacher) to do wet cleaning. Since the guys, as a rule, really like these activities, they do the cleaning with pleasure. This physical action is, as it were, an attribute of the game he proposed.

Exercises aimed at training

spontaneous inspiration

"Rope Walker"

Stand up straight, put your feet heel to toe, arms to the sides. Imitating the movements of a tightrope walker, we take a step forward and begin to actively balance with our hands, at the same time exhaling often to the sound “XY”. We gradually calm down the movements and align the exhalation. Then we repeat the entire exercise, transferring the center of gravity to the other leg. During this and the next exercise, we think only about the exhalation. At the same time, inhalation occurs automatically, and it does not matter to us whether we do it through the nose or mouth.

This block of exercises provokes dry mouth, which is a natural factor. You do not need to be afraid of dry mouth, but you need to do the following intermediate exercises that increase salivation:

First, actively yawn and swallow saliva,

Secondly, put your fists under the cheekbones on both sides of the chin and make them a few light but active rotational movements, after which swallow again; making sure that the dryness has passed, continue the basic exercises.

"Vertical Cutter"

Stand straight, feet shoulder-width apart, feet parallel to each other. Slightly bend your knees, keep your back straight. Imagine that there is a large flat metal cutter in front of you, the center of which is looking at you. We put one hand on its lower part, the other on the upper one and begin to actively twist it first in one direction (clockwise), then in the other direction. With each movement, we exhale sharply with the sound "HU". You don't have to think about breathing.

"Horizontal cutter"

Repeat the exercise, imagining that the cutter is on the table. We twist it with a sharp movement. Since the edges of the imaginary cutter are sharp, we hide the stomach with each movement. In the same way as in the previous exercise, we exhale with each movement, without caring about the quality of the breath.

"Glove"

Stand straight on hard legs (shoulder-width apart). Place your left hand on your stomach. Imagine that we hold a glove in our right hand, which we throw away from ourselves with a very sharp movement, exhaling with the sound “T”. After 16 movements, we begin to discard the glove with a double movement - “T-T”, after again 16 movements - triple “T-T-T”, and continue the exercise in the reverse order. With the left hand, we control the movement of the diaphragm. With each exhalation, there should be a sharp contraction of the muscles. Inhalation is done automatically.

Exercises for training spontaneous exhalation

These exercises include "paradoxical gymnastics" by A. Strelnikova. It has been repeatedly described in many works devoted to respiratory problems. Therefore, we will not describe in detail all the exercises from this gymnastics, but we will pay special attention to some necessary features of its implementation, which are not always taken into account by adherents of "paradoxical gymnastics". The consequence of the inaccuracy of the exercises that A. Strelnikova offers us is that they are not always effective, and sometimes not useful.

Attention in these exercises is focused exclusively on breaths, which should be short, like injections, active and the more natural, the better. You only need to think about inhaling: “It smells of burning! Anxiety!" and sniff the air sharply, noisily.

Exhalation is the result of inhalation. You should not prevent the exhalation from leaving after each breath as you like, as much as you like, but it is better with your mouth than with your nose. You only need to make sure that the inhalation goes simultaneously with the movement, and the exhalation is silent.

You should not drive yourself into a very fast rhythm. It must be remembered that in order to teach speech, the speed of the exercises is not important.

A. Strelnikova herself suggested a fast rhythmic structure for her exercises. But this rhythm was explained by the fact that she pursued, for the most part, health-improving goals. Or work with professionals. We prefer to make movements at an average pace, convenient for execution.

When performing exercises, you need to know that they are all done on “soft legs”. That is, you can not perform them with motionless legs in the knee joints.

You need to start with 16 breaths on each movement, gradually increase to 96. If desired, you can take more breaths.

The norm of the lesson can reach 1000 - 1200 breaths.

“palms” inhale - clenching the palms into fists;

for each breath - turning the head to the right, to the left;

“ears” - while inhaling, alternately tilt your head with your ear to your shoulder;

"small pendulum" - inhales while moving the head up and down;

"Cat" - while inhaling, transfer the center of gravity from one leg to another, imitating the movements of a cat;

"pump" - inhalation at the extreme point of inclination during movement, simulating the pumping of a car tire with a pump;

“Hug your shoulders” - while inhaling, crouching, we hug our shoulders;

"big pendulum" - breaths in the upper position, similar to the "hug your shoulders" exercise and in the lower position, similar to the movements in the "pump" exercise.

Studying the respiratory disciplines, we came to the conclusion that it is absolutely necessary during the training to alternate exercises with « warm » and « cold » exhale.

"Cold" exhalation activates the movement of the diaphragm, "warm"- the abdominal muscles, oblique muscles of the abdomen and, most importantly, warms up the vocal cords, thereby preparing them for sound.

« Flower"("cold" breath)

Stand up straight. Exhaling at the sound “P”, draw a tiny flower with the tip of the nose.

Exhaling in the same way, draw a flower a little larger. The neck muscles are activated, the exhalation becomes more assertive.

Now, as you exhale, draw a giant flower with your nose.

The whole body participates in the exercise. Exhalation becomes maximally active.

"Flower"("warm" breath)

Exactly repeat the previous exercise, replacing the sound "P" with the sound "HA".

"Candle"

This exercise is done in three stages.

First stage We will conditionally call this exercise “stubborn candle”.

Stand straight, feet shoulder-width apart. Take the right breath and, imagining a candle, with an even, long exhalation to the sound “P”, you need to keep its flame in a horizontal position. You need to exhale slowly and as long as possible.

At the second stage performing the “candle” exercise, you need to slowly blow out the candle, imitating the pronunciation of the sound “P”. The second exercise differs from the first in exhalation speed.

Third stage- I'll put out the candle. Blow out the candle with a quick, sharp exhale.

Each exercise should be repeated 4-6 times.

"The lion cub is warming up"

Standing straight, feet shoulder-width apart, take a full breath. With a hot exhalation, silently pronouncing the sound “HA”, we warm up alternately first the outer sides of the palms, then the backs.

Then we take our elbows to the sides and alternately warm them up, trying to reach them with hot breath.

Then alternately exhale on the right, then on the left shoulder. At the same time, we try to reach out with our lips to the shoulder rather than pull the shoulders to the mouth.

After that, we begin to warm up the “tail”. That is, we do half-turns with the body back, squat slightly and, as we exhale, straighten our legs at the knees. We make these turns in one direction and the other.

Tilt your head forward and exhale into the chest area.

We relax the lumbar muscles, lean forward and exhale the stomach.

We bend even lower and warm our knees alternately.

And finally, we exhale as much as possible to the feet, while leaving the legs straight.

Each part of the body (hands, elbows, shoulders, etc.) is warmed up twice.

"House"

The exercise is performed in pairs. Students sit on the floor in twos, opposite each other, and begin to build an imaginary house with warm breath. For example, the first student laid the foundation - exhale, the second laid the bottom layer of bricks - exhale, etc. The final point should be the construction of an attic or attaching a weather vane. Students must stand with their hands raised above their heads. Thus, during the exercise, the body must go through all positions from sitting on the floor to standing with arms raised.

We ask the guys to very accurately imagine the building they are erecting, since the quality of breathing depends on the style of this building.

We have given a number of exercises that are available to everyone during classes in the classroom and at home. These exercises are carried out during the first and second years of study, gradually turning into voice exercises already in the third or fourth lesson.

Each sound is produced by exhalation. Even during phonation breathing exercises, you need to learn to listen carefully to yourself and distinguish unevenness and vibration in the sound. By correcting these irregularities, we improve the work of the respiratory muscles. You need to learn to recognize the irregularity in the sound of the voice and be able to explain the reason for this irregularity. Therefore, you should learn to listen not only to yourself, but also to listen carefully to your classmates, look at them in order to notice such mistakes as raising the shoulders, incorrectly folded lips, muscle clamps, etc. .

Exhalation training on consonant sounds. The first consonant with which exhalation is trained is the sound "F". When pronouncing this sound (as well as the sound "AT") it must be remembered that the upper teeth must be bare. This increases their acoustic power. The lower lip is raised up, the upper teeth almost touch the lower lip. A gap is formed between the lips and teeth, through which a stream of exhaled air exits.

The next consonant included in the work when training phonation breathing is "WITH". It is well audible, its evenness is easily checked. When pronouncing this sound, you need to rest your tongue on the roots of the lower teeth, while in no case stretch your lips in a half smile. Our task is to ensure that the sound lasts a long time, evenly, without condensing or weakening.

When practicing exhalation on sounds, you should not pronounce them loudly. If in the very first months of work, not yet able to control the voice and respiratory muscles, we allow the use of loud sounding, then we get only a poorly controlled exhalation and tense sounding, which is extremely not useful.

Next sounds "Sh" and "Zh". Their sound resembles the buzzing of insects or the low and quiet sounds of a running motor. They sound good if the teeth are tightly clenched and the lips are open and stretched forward. The base of the tongue rises on both sides and presses against the molars, while the tip of the tongue resembles a razor blade. Inaccurate sound shaping results in an uneven, discontinuous sound.

Sound "R" perfectly organizes the exhalation. Its pronunciation helps to release the muscles of the tongue, this is very important when training phonation exhalation. When pronouncing this sound, the teeth are slightly unclenched. At the first stage of work, you can allow your lips to open in a half smile, then you need to remove it.

Having mastered the sound "R", you can switch to sonorants. In breathing training we prefer sound "L". It is formed with the participation of the tip of the tongue, which rests on the front teeth. When pronouncing this sound, the air jet directly enters the upper resonators. It is necessary to ensure that the muscles of the larynx are free, and the sounding stream of air is directed forward. If the sound goes right, then the lips and the tip of the tongue feel a slight tremor.

The main indicator of the correct exhalation is the evenness of the sound and its freedom; there cannot be a good exhalation with a sharp, jerky or clamped sound. It is necessary to strive to ensure that the sound line is like a flat board, which we cut in the right places. The length of our sound lines increases as the respiratory muscles develop. Evenness must be achieved from the very first lessons.

Having mastered the sound with isolated consonant sounds, you can connect vowel sounds to the training of phonation breathing.

Vowel sounds create the melody of speech and, with their proper organization, contribute to the sonority of the voice. Each vowel separately, as well as in combination with consonants, has its own individual sound, each of them requires its own articulation, acoustic devices, sound alignment. Common to the pronunciation of all vowels should be the shape of the mouth, which must always be preserved. When pronouncing vowels, the mouth should always open vertically, the corners of the mouth should be strong.

It is advisable to pay attention to the rhythmic structure of the speech-voice process. “Rhythm (Greek rhuthmos) - movement, beat, rhein - flow or eruein - pull. Initially, according to the definition of ancient art theorists from Plato to Augustine, the division of time or space.

Trying to explain the essence of this universal phenomenon, which manifests itself everywhere - both in the nature around us, and in human physiology, and in art - most often and above all, the category of rhythm is combined with the category of orderliness, that is, with the orderly repetition of some of the same phenomena, parts or shares ...

The human body is the most complex system of rhythmic fluctuations... Violation of the rhythm of individual physiological functions of the body destroys the correct interaction of its parts.

The most important rhythmic unit is the respiratory movement. The rhythm of successive inhalations and exhalations, oxidizing the blood, the brain, is the most important condition for the “natural stability of development” of the human body. Imperfection and irregularity of breathing lead to disruption of the systems associated with it and, in particular, to imperfect development and even diseases of the vocal apparatus.

The respiratory support of sound is such a physiological effect in which the inspiratory muscle - the diaphragm - is in tonic tension throughout the entire speech cycle. Speech beats in speech are built whimsically, and in everyday life a person, without suspecting it, is forced to subordinate the rhythm of his speech to the possibilities of his breathing. In a literary text and in a dramatic dialogue, the semantic and phonetic richness of the text, the richness and diversity of its rhythmic structure sometimes require the actor to master the respiratory rhythm. To develop professional phonation breathing means to teach him to cope with any difficulties, strictly fulfilling his task. And the inspiratory muscle - the diaphragm - should automatically and, in fact, instantly return to tone, having time to "serve" the work both in physiological gas exchange and in ensuring the speed and rhythm of speech.

The main and necessary thing is to hear, feel, highlight the breath of rhythm in any text, since every text has its own breath, that is, its own rhythmic structure, without mastering which it turns into a heap, a queue of words, and no amount of comprehension will help unravel its mystery to the end.

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