Stage Monologue and its Linguistic Features (Textual and Prosodic Analysis) (original) (raw)
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A prosodic analysis of discourse segments in direction-giving monologues
Proceedings of the 34th annual meeting on Association for Computational Linguistics -, 1996
This paper reports on corpus-based research into the relationship between intonational variation and discourse structure. We examine the effects of speaking style (read versus spontaneous) and of discourse segmentation method (text-alone versus text-and-speech) on the nature of this relationship. We also compare the acoustic-prosodic features of initial, medial, and final utterances in a discourse segment.
International Journal of Academic Research in Business and Social Sciences, 2021
The improvisation in dialogue pronunciation will give significance based on the suitability of its application in teaching contexts. Copying, repetition, appreciation, action and reaction are the elements included in the techniques practised in acting. This study is fully dedicated to the implementation of dialogue pronunciation through improvisation technique which is often highlighted for the actors and actresses in acting. However, what goes unnoticed is the fact that the way a teacher delivers a lesson in a classroom has similarities in function and role as a stage performer. Voice is the main instrument which needs to be used during the whole lesson or performance. The problem statement in this study can be seen from the inability of the teacher to apply an effective dialogue projection technique in their lesson, causing a somber and gloomy classroom. Apart from that, understanding the teaching content alone is not enough if dialogue pronunciation is unclear throughout the lesson. Therefore, this study aims to give exposure on the techniques and introduction to voice mechanism so that the lesson can be delivered more effectively and interesting by the teachers. The process of this study leads towards qualitative form guided by observation and open interviews to review the current teaching methods as well as using suitable library and database references. The result of this study shows the importance of understanding the improvisation in dialogue pronunciation in teaching which can be implemented consciously in teaching and learning process in school.
Intonation is an important resource in the English language for structuring information and delineating paratone boundaries. This paper reports on a study which investigates the use of this resource by students of English during the delivery of academic oral presentations (monologues) in class. It compares Chinese students with European students of English to determine whether there are significant differences in a number of measures of vocal pitch range. Since Chinese is a tonal language, a hypothesis is that these students will encounter more difficulty in the deployment of intonation resources than their European counterparts leading to monologues which are flat and undifferentiated. The paper also compares the pitch range of the students with more experienced, charismatic presenters who are native speakers of the language to determine whether they use a wider, more expansive pitch range when delivering monologues. The results of the study are mixed and suggest that simple quantitative measures of pitch range are not sufficient to capture the complexity of intonation as a construct. Instead a holistic view of intonation needs to be taken in order to understand how the successful delivery of a monologue requires intonation to be deployed in a consistent and contrastive way regardless of the range of pitch used.
Blackwell Publishing Ltd eBooks, 2007
There are no stories without a storytelling instance. Virtually all narratologists agree on this point. Films differ, however, from novels in that a film can show an action rather than tell it. In that regime of showing (monstration), notably in theatrical staging or in the "documentary" recordings of the LumiGre Brothers, the discursive instance is less apparent than in a written tale. Events seem to tell their own stories. Yet this is misleading, because without any mediation there would have been no recording and we would not have seen the events at all. This perception of events recounting themselves, which some spectators might have (for example in watching a surveillance video) or certain critics might argue for (such as Andre Bazin, when he invokes the "impartiality of the camera" or "the fragment of 'raw reality' in Italian neorealism" [Bazin 1981: 280-l]), does not stand up to analysis. We are confronted with a key question: should narratology start from spectatorial perception, however flawed, or look for a system of narrative instances capable of explaining the textuality of film? This question was posed at a time when the possibility of a film as a narrative was no longer accepted as a postulate and after the decline of the euphoria of those who believed there was a necessary correspondence between messages sent and messages understood in a communication system where every message encoded by a sender was supposed to be received intact, or almost intact, by a receiver. Since then, narratologists have responded diversely to this methodological question. T o simplify what is at stake, consider this image: a ventriloquist and his dummy, for example the impertinent Hugo of Dead o f the Night (Albert0 Cavalcanti, 1945). Here, the dummy has a monologue, confiding his love for this or that well-known singer. If the situation seems comic, that is because the spectator believes (or pretends to believe) that the dummy is responsible for what it "says". But if it turns to the man holding it on his knee to begin a dialogue, the spectator momentarily adheres to the fiction that these two figures are autonomous subjects, sometimes in disagreement with one another. That belief will be strong or weak, depending on whether the viewer is a child or an adult, a "good" 45
Pauses and Hesitations in Drama Texts
Pauses and hesitations are phenomena that can be found in speech. They can help both the speaker and the hearer, due to the functions they have in a dialogue. Their occurrence in speech has a value that they make it more understandable. In this regard, the researchers intend to critically examine the pauses and hesitations used in the two texts as well as their functions. The present paper aims to identify the types of pauses and hesitations used by Pinter's The Homecoming and Baker's Circle Mirror Transformation as well as the functions they serve and to compare both playwrights in this regard. To do so, the sequential production approach of turn taking, in combination with the contributions of some scholars who state the multifunctional use of pauses and hesitations, has been used. The findings of the present study show that pauses and hesitations do not exist arbitrarily in speech but they are found to serve certain functions depending on the context in which they occur. Regarding the two selected extracts, it is noticed from the comparison that the two writers do not use pauses and hesitations equally. Baker uses them more frequently than Pinter due to the context in which they are used which requires using pauses to aid comprehension.
Revista Tradterm, 2020
The question of neutrality in audio description (AD) has been discussed by professionals and researchers. Following several studies started by Praxedes Filho and Magalhães (2013, 2015), this article analyzes if evaluative stances identified via the Appraisal System (AS) in the AD script of the play Miralu and the Magic Telescope (Miralu e a Luneta Encantada) can be related to narratological elements. For this purpose, we have adopted a corpus-based methodology, using categories of AS, up to the second level of delicacy, as well as narratological ones based on Jiménez Hurtado (2010) and Pavis (2011, 2015). As a result, we have found 166 co-occurrences of evaluative stances and narratological elements, among which there are 73 (43,98%) associated to gesture, 42 (25,30%) to costume and 40 (24,10%) to lighting descriptions. These findings suggest that these co-occurrences are probably not coincidental, taking into consideration that other studies have already pointed out the importance of subjective description in the AD scripts.
SPEAKING: Insights into Dramatic Text for Classroom Reading
The text of a short story, novel, or drama as literary works is a created one, yet it offers a full and vivid context in which characters from many social backgrounds can be depicted. The students as a reader can discover their thoughts, feelings, customs, and possessions: what they buy, believe in, fear, enjoy; how they speak and behave behind closed door. As one of literary works, reading drama is for most students a difficult and unfamiliar task. One problem that can be experienced by the readers of dramatic text is in visualizing the stage and what is going in there. Appropriate approaches, therefore, are needed to have the students see dramatic text as a speech event rather than a mute text on the page. Hence, this writing is aiming to highlight an approach in reading a speech event in drama called SPEAKING (settings, participants, ends, act sequences, keys, instrumentalities, norms, and genres) proposed by Hymes (1972). It is an analytic and descriptive tool to the analysis of spoken discourse which offers insights into dramatic text for classroom reading to help the students have a considerable exercise of the imagination to make the dramatic text come alive. Keywords: Dramatic Text, SPEAKING, Classroom Reading
Tradterm
The question of neutrality in audio description (AD) has been discussed by professionals and researchers. Following several studies started by Praxedes Filho and Magalhães (2013, 2015), this article analyzes if evaluative stances identified via the Appraisal System (AS) in the AD script of the play Miralu and the Magic Telescope (Miralu e a Luneta Encantada) can be related to narratological elements. For this purpose, we have adopted a corpus-based methodology, using categories of AS, up to the second level of delicacy, as well as narratological ones based on Jiménez Hurtado (2010) and Pavis (2011, 2015). As a result, we have found 166 co-occurrences of evaluative stances and narratological elements, among which there are 73 (43,98%) associated to gesture, 42 (25,30%) to costume and 40 (24,10%) to lighting descriptions. These findings suggest that these co-occurrences are probably not coincidental, taking into consideration that other studies have already pointed out the importance ...
SPEECH INFLECTION IN AMERICAN MUSICAL THEATRE COMPOSITIONS
This dissertation examines the role of speech inflection in the composition of melodies of American Musical Theatre and investigates how composers approached speech inflection in their work throughout this genre's history. Through analysis of songs and interviews with composers, this dissertation investigates the relevance of speech inflection in the various styles of composition existing on Broadway. The main focus of musical theatre compositions, especially post Rodgers and Hammerstein's musical Oklahoma, is to move the plot along through songs. Therefore, the delivery of the text must be of ultimate consideration in the writing of modern musicals. A wellwritten speech-melody facilitates the process of a speech-melody-interpretation, which will result in the delivery of lyrics with an understandable, natural sounding quality.