| Summary: | Thesis (MA)--University of Stellenbosch, 2005. === ENGLISH ABSTRACT: Actors and singers mainly use their voices as theatrical communication
instruments. The production of sound - for singing, speech and other
derivatives - makes use of the same physiological mechanics. This indicates
that the anatomical components are applicable to all of the the above
mentioned. The goal of exploring the anatomy and physiology of the voice
mechanics is to enhance the artist's and the theoretic's awareness of the
dynamic process. Even though it does not replace technical training in voice
production, it is still of cardinal importance.
By being in possession of a worthy knowledge of the voice and body as an
instrument of unity, singers and actors can challenge their instruments to the
maximum. In this way professional vocal artists can finally come into contact
with their humanness to create a mature character on stage.
The correct body posture, breathing methods, resonance and articulation play
an important role in ensuring good projection. Successful projection and
resonance can only take place if the whole of the sound production instrument
is working in a physiologically correct manner.
Research has been done on the leading theater theorists' expectations of the
regarding voice production. It was specifically their opinions that initiated the
modern approach to sound production in terms of speech and singing in the
modern theatre. A sound production experiment, focusing on the challenge of
the human voice, was staged as a theatre production, and was analysed. The
presentation was predominantly based on the ideas of the directors. These
ideas were discussed in the previous chapter.
This study explores the phsyiological mechanism that produces sound to
promote the creative commerce with sound. === AFRIKAANSE OPSOMMING: Akteurs en sangers gebruik hoofsaaklik hulle stemme as 'n teatrale
kommunikasie-instrument. Die produksie van klank - vir sang, spraak en
ander geluide - spruit uit dieselfde fisiologiese meganika. Dit dui daarop dat
dieselfde anatomiese komponent vir bogenoemde van toepassing is. Die
verkenning van die anatomie en fisiologie van die stem-meganika het ten doel
om die kunstenaar en teoretikus se bewustheid van die dinamiese proses uit
te brei. Hoewel dit geensins die tegniese opleiding in stemgebruik vervang
nie, is dit steeds van kardinale belang.
Deur oor'n waardige kennis van die stem en liggaam as eenheids-instrument
vir die teaterkunstenaar te beskik, kan sangers en akteurs hul instrumente tot
die uiterstes uitdaag. Op hierdie manier kom 'n professionele stemgebruiker
uiteindelik in aanraking met sy/haar potensiaal en kan sodoende 'n
volwaardige karakter op die verhoog skep word. Die korrekte
liggaamshouding, asemhalingsmetode, resonansie en artikulasie speel 'n
kardinale rol in goeie projeksie. Suksesvolle projeksie en resonansie kan
slegs geskied indien die hele klankproduksie-instrument op 'n
natuurwetmatige wyse in werking is.
Daar is ook navorsing gedoen oor die toonaangewende teaterteoretici se
verwagtinge t.o.v. stemproduksie. Dit was juis hierdie persone se opinies wat
die huidige aanwending van klankproduksie in terme van spraak en sang in
die moderne teater geïnisieer het. 'n Klankproduksie-eksperiment (wat
gefokus is op die uitdaging van die menslike stem) is in die vorm van 'n
teaterproduksie gedoen waarin die uitgangspunte van die regisseurs wat in die
vorige hoofstuk bespreek is, prakties ondersoek is.
Die juiste doel van hierdie studie is dus om 'n ondersoek te loods na die
fisiologiese meganisme wat klankproduksie by die menslike stem tot gevolg het, en uiteindelik die kreatiewe omgang met klank in terme van die spraaken
die verwante sangstem te promoveer.
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