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Projection

THE VOICE MECHANISM:

the moment there is tension, the first place affected is the throat, physically tightening and restricting the voice mechanism.  When working with the voice, use a variety of situations that will vary your experience - from comic to serious, the fast-moving and excitable to the tranquil and calm, from the noisy to the secretive.


Breathing is at the heart of all voice work. If you don’t support your voice with sufficient breath, you will soon tire and strain your voice.

 

BREATHING

Using just one breath for each task, count aloud :


Extend a phrase on one breath:

Where are you going to in such a hurry?

Tip: Keep extending the phrase, without losing your breath connection,        the loose jaw or your light articulation.

Where are you going to in such a hurry

            this fine Sunday morning

            when the bells are ringing

            the sun is shining

 

Where are you going to in such a hurry

            this fine Sunday morning

            when the bells are ringing

            the sun is shining

and everything invites you to take time


Where are you going to in such a hurry

            this fine Sunday morning

            when the bells are ringing

            the sun is shining

and everything invites you to take time

and stay a short while for a friendly talk?



Do you want to be heard?


I think many people are not convincing in their response to that question, perhaps because

Simply OPENING YOUR MOUTH makes a huge difference.

Slacken the lower jaw and open your mouth until you are able to fit two fingers (one resting on the other, not side-by-side!) between your teeth. The difference in volume, clarity and quality is substantial.

Just try speaking with your teeth clamped together and barely moving your lips (as if you were impersonating a ventriloquist!) Hear how muddy and indistinct you sound (bottle of beer becomes ‘gottle of geer’)

Advice on telling a story

from Mark Twain


The pause is an exceedingly important feature in any kind of story, and a frequently recurring feature, too.

It is a dainty thing, and delicate, and also uncertain and treacherous; for it must be exactly the right length - no more and no less - or it fails of its purpose and makes trouble.


ROGER says:  taking a pause before an important word, preferably with a slight upward inflection, creates a sense of anticipation.


A pause is also important for allowing a moment to sink in, for a reaction to subside (eg a big laugh, or after a ‘jump’ in a scary story) or for audiences to let their imaginations work in the space to which your telling has led them.