Expressive Voice Culture | Page 7

quality from that which would be used in expressing the value of something exquisitely delicate. All elements of expression modify each other, so that no mere rule can cover all cases. Volume is not always expressed in the form of extension of power, but is frequently manifested in the form of intensity or compressed volume. It is scarcely necessary to explain the difference between the expression of mere vital power in the voice and that manifestation of the will which gives the impression of directed energy. The will determines, and the impetus of the thought is measured by, the adjustment of volume. Vitality is expressed in radiation; will is expressed in focus.
The term "volume" may be broadly used to cover the characteristics of the thing estimated, and hence to include something of that subtle expression which we call color in the voice. Volume expresses will; color expresses imagination. For this use of the voice in the special service of will-power, or propelling force, it is necessary first to test its freedom. This may be done by taking the humming tone and bringing to bear upon it a strong pressure of energy. If the tone sharpens under the strain it is not perfectly focused. If it remains mellow one may venture upon the next step, which is to practise various vowel sounds and elements of speech with concentrated energy. The sense of bearing on to the voice, or endeavoring to push the tone by any pressure whatever, should be absolutely avoided. Tone support should be carefully regarded. In order to secure this a correct standing position must be held and the muscles about the waist and the abdominal muscles must be firm and elastic.
The chin is, in articulation, the pedal of power, and decision in the conscious action of the chin (not the jaw) will induce by reflex action that stroke which expresses well-aimed will-power. It may be noticed in connection with this suggestion that when a person means what he says the action of the chin is likely to be noticeably decided.
The perfectly alert and self-commanding attitude of the body cannot be too strongly urged at this point, for the voice cannot be used safely with great power when the body itself is in a negative attitude; for it must be remembered that the voice is a reporter, and if we attempt to force it to report something that is not there it will repay us by casting the lie in our throat. Power is the result of growth, and can be developed only by patience and the securing of such conditions as will establish freedom and certainty. The certainty of any tone depends upon the perfection of its focus. Quality is the synthetic effect of these attributes in the voice. Under this head selections of a warlike nature may be practised, and those which have in them the thoughts of magnitude and importance. Spartacus's "Address to the Gladiators" is excellent; also, Byron's "Apostrophe to the Ocean," "The Rising in '76," and selections of a similar nature.
TIME
Including Poise and Rhythm The significance of time is determined by the movement of any selection, or, in other words, the rhythm. It will be noticed that a selection may be read with rhythmical effect and be made quite impressive without much emphasis of other characteristics. However, the responsiveness of the voice in variety of pitch, quality, and power is also a very large factor in the illumination of the pause. The pause, as a mere interruption of sound, has little significance, but the relations that the different sounds bear to each other lend significance to the pause. A pause should always suggest an orbit of thought. These characteristics of expression can be made effective only by the practice of concentration in the mind itself upon the thoughts to be suggested. Nevertheless, the quick responsiveness of one's sensibilities in the expression of the various qualities developed by the cultivation of the voice greatly facilitates the manifestation of the thought itself.
All selections of a high order have relation to rhythm in their composition, and that style of movement in the composition should find its ready response in the organism of the speaker or reciter. It should be remembered that the sense of rhythm may be misapplied, as may any other element, by allowing the mind to go off into the sensation of "jingle" without reference to its expression of the thought or its relation to the thought. But if the sense of rhythm is duly developed, and then this sensibility, as well as all others, is surrendered to the service of the thought, it furnishes an element of beauty which cannot easily be dispensed with. The reason we associate rhythm with the significance of time is that rhythm is a measurer of time.
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