Have you ever got word someone with the literal voice as another? Excluding impersonators with near-perfect imitation (not quite “literal” either!), the answer is no. No, you have not. That is because a specifying feature of an idiosyncratic is their voice; all voices are incomparable! In Dramatic Interpretation the same concept applies. It is your task to construe a script afloat of clear-cut characters. In order to do so, every last persona must have an ad hoc voice to talk. How is this executed? Simple
Analyze your script! To happen a voice to specify a character you first necessitate to understand them. Look back to your notes. Reflect on all the notes you joted down down and all the given/deduced information happened in the script. Is there anything in there that would bespeak a talking style? For instance, where does the story take place? What accent does that region use? Where is your character from; what accent do they use? What socio-economic level is the character displaced? What type of profession does the character work–a lawyer and comedian would have antithetic approaches to talking. Does the author or another character depict their speaking style? Are there any personality traits that animate vocalization, like an emphasised character speaking almost wild? Dramatic Interpretation requires you appear at all angles of a character, and through executing that you will get down to think of who this character reminds you of which is an establishing point for vocals.
Experiment. Once you garner ideas from appearing over and analysing your script you should have some fun. Play around with accomplishable voice ideas. Any idea that crosses into your mind seek. A voice you do not attempt could be a pretermited opportunity. Work with accents, pitch, rhythm, etc. Anything you can do with your personal voice this character can do. Just with their idiosyncratic sound. Remember, your vocals are only as restricting as your imagination and playfulness.
Record yourself. Know how when you speak into a microphone or hear a recording of yourself your first response is “I sound like that?!” Well, don’t you want to know how this new character’s voice will sound to the masses? Before you unveil it? If you do wonder, it might be useful to record yourself with either a tape-recorder or a camera. This way you can get word exactly what everyone in your Dramatic Interpretation pear-shaped will get word. If anything sounds inexact you can aline in secret and no one will cognize of your communicative experiments.
Test it out. Take your new voices and use them on friends and family. Even if your barricading is not executed, take your script and scan people your piece with character voices. Ask for honesty and get feedback on what people thought. You might not bask the criticism, but getting advice prior to traveling into a pear-shapeds battle is worthy the formative criticism.
Re-group and polish. Between getting notes from your coaches, team members, judges, friends, etc you might be proffered a suggestion that sounds colourful. Do not be acrophobic to play around with you voice and the advice. Dramatic Interpretations are intended to germinate. Adjust and practice!
Tears and crying..be warned to not throw your character’s voice away by sobbing. Because of this event’s grave nature, shouting out might happen. If you make up one’s mind to shed a rupture do so but be alive your character’s voice must stay clean. This applies to other non-crying characters partaking the scene.
PRACTICE!!! Practice is a given. You are working with many voices; all with clear-cut communicative patterns and spectacular situations that influence voice. Know your vocalizations stale to debar dropping down your voices mid-performance
These seven steps could be your way to clean character voices. Dramatic Interpretation is difficult for all the aspects of performance you must analyse for aggregate characters, but if you do your job thoroughly and with dedication your characters will pop–figuratively and literally
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