Surely you want to be listened to with an enthusiastic look and an open mouth? Or maybe your field of activity is unthinkable without public speaking, in which voice training and precise pronunciation are so important? But due to the lack of certain skills and knowledge, you don’t even try to improve yourself? Next, we will tell you how, with the help of simple voice training exercises, you can hone your speaking technique, which will help you achieve success both in the professional sphere and in your personal life.

Speech technique is a science in the field of speech production, articulation, diction, intonation, facial expressions and other elements. People of certain professions need to study this science throughout their lives. Their task is to make their speech technique correct, beautiful and understandable.

A significant indicator that characterizes the quality of a person’s speech technique is diction (this is how clearly he pronounces sounds). This element of speech is comparable to handwriting. A message written in crooked, illegible handwriting will be incomprehensible and uninteresting to the addressee, just as a crumpled, inarticulate speech is unlikely to interest the listener or will raise a lot of counter questions. Next, we will tell you how to strengthen your voice and improve your pronunciation with the help of regularly performed exercises.

One of the methods was used by the main character from the film “Carnival”; she honed her speech by repeating the tongue twister about the cuckoo, while stuffing her mouth with walnuts. In addition, there are a number of breathing exercises, which we will talk about a little later.

Voice

A pleasant voice is one of the main indicators of correct speech. The voice can also be trained and can be mastered. Each person is capable of learning to control the power of his voice, raising or lowering it depending on the situation, sufficiently restraining emotions, being calm and speaking measuredly. An important factor is a healthy throat and you need to quit smoking.

Timbre

The next indicator is voice timbre. In this case, the main thing is not to overdo it, since an excessively low or high voice is perceived as false. To practice voice timbre, the most important point is breathing and you need to work with the diaphragm.

Intonation

Watch the intonation and correct pronunciation; it is important to correctly place stress in words and make logical pauses. This gives you the opportunity to take a breath, properly structure your further speech, and also attract the attention of your listeners.

So, before you start doing the exercises, you need to create a working environment. Sit comfortably in front of a mirror in a spare room, remove unnecessary objects and ensure the necessary acoustics. Complete all tasks for about 5–10 minutes, proceed to the next one after you have mastered the previous task. Record a video in order to correct errors in the future.

Lessons to improve speech

Breath

To complete this task, you need to remember to breathe through your nose, this is important!

Practicing breathing:

• Place your feet shoulder width apart;
• Place your palms on your waist and slowly exhale so that you feel the air counteracting your lips (at the same time you need to repeat the quatrain).
• Do the exercise while walking, accelerating into an easy run, imitating cutting grass, chopping trees and sweeping the floor. When performed accurately, the exhalation should be smooth and not stray.
• Keep your back straight, lean forward and take a deep breath.
• When straightening to the original position, exhale and slowly say “gi-mm-mm-mm.” synchronously combining with light running.
• Return to the straight stance position. Taking a deep breath, bend straight and clasp your hands behind your head. In the same position, exhale and straighten up, saying “Gn-n-n...”, combining with light running; Next, you need to complete a task to improve nasal breathing.
• With your mouth covered, take a small nasal inhalation, widening your nostrils, and while exhaling, lightly hit them with your fingertips. Based on the previous example, as we exhale, we slowly pronounce the letters “M” and “N” and lightly hit the nostrils in turn with the edges of our fingers.

Preparing the muscles of the palate

• Say the consonants “K” and “G” three times without stopping. Next, say the vowels “A”, “O”, “E” also three times, but when yawning.
• Inhale the air through your mouth, as if rinsing it. Open your mouth and say: “AMMMMM...AMMMMM”, “A” should be barely audible, “M” should be sonorous and then do it three times.

Exercise for lips and tongue

• To practice the upper lip, say: “GL”, “VL”, “VN”, “TN”, for the lower lip - “KS”, “GZ”, “VZ”, “BZ”.
• Relax your tongue and repeat the shovel shape, placing it on your lower lip, pronounce: “I”, “E”, five times.
• With your tongue, take the shape of a curved hook and run the tip of your tongue across the sky, synchronously pronouncing “O”, “U”.
• Extend the letter “M” with your mouth closed and your tongue moving towards your lips, cheeks and roof of the mouth.

Exercises to help open and strengthen the voice of the main speech

• Speak a random tongue twister using exclusively consonant letters; the vowels will therefore be dull and long.
• After this, say the same tongue twister, only in a perfect voice. By diligently listening to yourself, you will feel the epicenter of your own speech voice, establish in what state the articulatory apparatus sounds free and genuine. Repeat the exercise with head tilts, alternately back/forward, right/left.
• Read the tongue twister using the indicated technique, but putting your tongue on your lips, lowering it and thereby replacing the pronunciation of vowels.
• Take a deep breath and slow down your breathing (you can squeeze your nose with your palms) and read some text out loud. Exhale and inhale through your nose again in those passages of text where this is required by grammar and semantic pauses.

After completing all the work, read the text again, in a relaxed voice, and listening to the sound, understanding the difference in pronunciation before and after completing the tasks.

Exercises to improve diction

These exercises for developing diction are performed only after practicing the tasks described above, which are aimed at eliminating common errors in pronunciation caused by the underdevelopment of the speech apparatus. If you have any questions about completing the tasks, you can find a video on YouTube and watch it clearly.

Exercises for a weakened lower jaw

• Say “PIE”, “BAY”, “MAY” while holding your chin in a constant state with your palm, your head should lean back. With the sound “Y” it takes on its initial state. Next, do this step in your usual position, comparing whether the feeling of muscle independence has arisen.
• Repeat the exercise, but with your head turned left/right, try to reach your chin to your shoulders. When you hear the sound “Y”, return your head to its original position.

Pliable sky

• Bow your head back and rinse your larynx with air, pronouncing the sound “M” at length, but do not stick out your lower jaw. Try to yawn with your mouth closed.
• Inhale air through your nose and draw in your cheeks, in addition, keep your jaw down and your lips compressed; as you exhale, extend the letter “M”.

Exercises to strengthen your tongue and mouth

Be sure to repeat each of the listed activities three times in a row.

• pronounce “BYA”, placing your tongue on your lower lip;
• pronounce “AS”, actively working your tongue forward/backward;
• pronounce “TKR”, “KTR”, “DRT”, “RKT” in a row, repeat three times;
• in order to correct the activity of the lips, say “MB”, “TV”, “BM”;
• Curl your lips and make the sound “M-M-M-M”, then smile.

Exercises to correct the lack of sound in the speaking oral cavity

• with a straight and direct state of the body, on a leisurely exhalation, say: “SSSSSSSS...”, “SHSHSHHHHHHH...”, “ZHZHZHZH...”, “RRRRRRRR”, “RRRRRRR...”;
• in the same position, with a tense, constant exhalation, say: “F!” F! F! F! F! F! F! ", which is transmitted into the unchanged sound "FFFFFFFF...";
• Cover your nose and mouth with your palm, in this position try to pronounce the sound “M”, then remove your palm and read some text with the maximum number of “M”, “N”.

Exercises to develop undeveloped sound in the chest

• Take a comfortable body position, place your palm on your chest to feel the pulsation, and close your mouth with the other to examine your own breathing. Try to make different vowels: a gentle exhalation - a sound ("UUUUUU") - a gentle inhalation. If you do everything correctly, you will feel a desire to yawn and lightness in the throat area.
• The next step is similar, the only thing at the moment of groaning is to try to stretch it out and pronounce the emphasis with a light blow of the diaphragm deep into it, then gently exhale.

Any subsequent task increases the number of stresses by one and, in the same way, you need to bring up to five stresses one after another.

Fighting heavy breathing during a fast-paced conversation

• It is necessary to assume an inclined state and begin to look for an imaginary object, while at the same time reciting a random poem loudly, but watch your breathing evenly.
• Jumping rope with synchronized pronunciation of quatrains so that the jumps correspond to the syllables of the words. If the task, at first glance, seems difficult, speech and breathing will be confused, it is recommended to reduce the speed and step by step increase them, bringing them to the maximum.

Developing range and raising your voice

• Choose some poetic text consisting of eight or more lines, and begin to pronounce it in such a way that the weakest level of your range falls at the beginning of the line and with each line it gradually increases, reaching the limit at the final one.
• After you have practiced this exercise, start with the highest and end with the low range of your own voice.
• Based on the results of successful performance, increase the number of lines of the poetic story.

This also quite effective technique is called “voice chanting.” Choose and sing any verse you like, first using exclusively vowels, and then only consonants.

Another way (we already talked about it at the very beginning) is to repeat tongue twisters by filling your mouth with walnuts, reciting the text and singing songs using a wine cork, holding it between your teeth. The first time you should pronounce it slowly, gradually speeding up, watch carefully so as not to swallow endings and sounds.

Speech must sound correct and loud, you need to work on it. For this purpose, select your favorite quatrains and read them alternately, one line loudly, the next quietly, then vice versa.

Don’t forget about the intonation of your voice, read the texts with changing feelings, sad, happy, angry, passionate, reproachful, surprised. The more often you do this exercise and the more emotions you work out, the richer your speaking technique will become.

Increasingly, in professional activities, much attention is paid to speech technique; it becomes a kind of tool of labor. Therefore, it is imperative to develop and improve diction, voice production and business and daily communication skills. This way you can create a positive image, because people around you instinctively fall under the influence of a person who knows how to express his speech beautifully and clearly.

Are you happy with the way you speak? Maybe you'd like to stop chattering when you're nervous? Don’t whisper with your eyes downcast, but calmly defend your opinion? Finally get over the fact that every time you have to perform, your throat gets tight? Looking your interlocutor straight in the eye?

The voice can tell a lot about us. If we don’t know how to speak loudly, it means that for some reason we are not releasing our natural energy and strength. We speak monotonously - perhaps we just don’t have enough play, and not only in our voice, but also in life? If we get confused or jabber against our will, it means it’s time to figure out what is happening in our lives not of our will. If you don’t like your own timbre, it’s time to find “your” natural sound. And understand that one voice sounds like a violin, another like a cello, a third like a double bass, and none is worse than the rest.

Here are some exercises to make your voice heard. They are made by students at theater universities.

Proper breathing is when you feel at ease

It is important to listen to yourself: here and there in a conversation we slow down our breathing, slow down. Some - on exhalation, some - on inhalation. Is this why the voice intercepts at a crucial moment?

Working on your voice begins with proper breathing. “Breathe deeply, so that it rises up - forget about it,” says Philip Khitrov, a teacher of stage speech at the Benefis theater studio. – Correct breathing is abdominal breathing. Not only among us humans, but throughout the entire animal world: have you ever seen a cat that breathes from its chest?

Our speech is a sounding exhalation. This means that you don’t need to take in full lungs of air, as you would before jumping into water. Our goal is a powerful short inhalation and a light, unconscious exhalation without tension. Learn to “breathe with your back” - feel how your ribs open, like the gills of a fish.

But the most important feeling that you should have before speaking is that it’s easy for you! Just as it can be easy to soar above the depths with a mask in the sea, or glide on skis, or roll down a mountain. Everyone has such a memory - find it and remember this picture on the eve of the performance.

We don't say "into space." Our words always have an addressee, we pass them on to him like a valuable parcel

Exercise 1. Remove muscle tension as far from the throat as possible

While thinking about what we are going to say, we forget that before speaking we need to prepare our body in the same way. Simple, vigorous movements are needed to relieve tension in the body.

Raise both arms up and sharply drop them down with an exhalation: “Ha!” Rotate your head, throw your shoulders up as sharply as possible, “towards your ears,” then down.

Shake your hands and swing your hands around a few times like a rag doll.

Say “rrrr” (this is called “champagne for the tongue”), shout “la-la-la”, stretch out “eeeeee” so that the sound falls from the highest note to the lowest one.

Remember how much we loved to do this as children!

Exercise 2. Throw sound exactly at the target

How do we talk? Hastily or somewhere to the side. But to say: “Alexey!” - it’s like throwing a ball right into this Alexey’s hands. And exactly how you pronounce this word is very important to him.

Practice addressing each other by throwing a tennis ball. The exercise is useful for those who do not often look at the interlocutor: without making eye contact, you can miss.

Exercise 3. Speak so that you can be heard

This exercise is for those who speak barely audibly, “into themselves.” He is very popular in speech groups.

Imagine that we are standing on the bank of a river and we need to call the ferryman from the other bank. Like in the movie "Volga-Volga". The whole body is involved in “throwing” the sound: we take the sound in our right hand, swing with all our might from below, and “throw” it 100 meters forward - “Hey, steamer!” And now even further - a kilometer.

Why do this? To understand: we are not talking “into space”. Our words have an addressee; we literally convey our words to him like a valuable parcel, making sure that he receives them intact.

Find “your” voice

Most women artificially raise their voices by compressing their larynx. For some reason it seems to us that this is more correct. The voice becomes flat and unnatural.

Our goal is to find your real, natural, chest voice. After all, our voice is as unique as our fingerprints. And if it is lower than others, that is its beauty.

Timbre is really about how people feel when they hear your voice. What is it like for them? Pure, delicate, honey-sticky, velvety, warm, like a cup of chocolate...

A very useful exercise is to record your speech and listen to how it sounds from the outside. I can tell you right away that most likely you won’t like it at first. But many actors do this, precisely in order to get used to it, to love its sound and with this inner love for their voice to go on stage, to people. This exercise needs to be repeated several times in order to objectively assess how it may be unpleasant to those who hear it. After all, many diction errors can be corrected with the help of special exercises.

Prosody(in other words, monotony) is, if you look deeper, the feeling of inner freedom that you convey to others in every word you say. If it is not there, the voice sounds boring, on one note.

Few people know that the voice also has such a characteristic as register. You can “place” your voice inside the body, and then it will sound from the chest (this is what they say - “soulful voice”), from the stomach (uterine, insinuating sound, cooing), “from the head” (flying, flying voice). This has to do with which internal resonator our body uses.

How do you know that you have found “your” voice? The whole body resonates with it: even your fingertips vibrate when you speak the words. And this natural voice sounds only on a certain, “your” note: if you take it higher or lower, the vibration will disappear. Some kind of mysticism...

The theatrical principle of training is this: make the difficult familiar, the familiar easy, make the easy a pleasure

Exercise 1. Find “your” note

Place one palm on your chest, the other on the top of your head, and say “mmmmmm” loudly through closed lips. Vary the pitch of the sound until you feel both your chest and head vibrating under your palm. This means you have caught your natural sound, found your natural voice.

Exercise 2. Release vowel sounds

This exercise is especially useful for those whose voices sound muffled and nasal. The reason is that your tongue is tense. Repressed words, suppressed emotions, uncryed out grievances - all this leads to clamps in the larynx.

Our goal is to “place” the tongue the way the doctor puts it when he checks the throat. It is not possible to achieve this on your own, by force of will, right away. But there is a simple exercise - try yawning with your mouth closed, clenching your jaw. You will feel how the tongue itself goes down, giving free rein to a wide flow of air. Remember this feeling. Any vowel sound, even “I,” must be pronounced with such a wide opening of the larynx.

Exercise 3. Make consonants clear

But with consonants it’s the other way around. They don’t hear us for the most part because we blur them, “swallow them,” and don’t pronounce them clearly, like Hermione Granger from “Harry Potter.”

This creates a feeling of carelessness, as if we ourselves do not value or consider what we are about to say important. To make it easier to speak, imagine this metaphor: vowels are like a river, consonants are like banks. The river flows smoothly and freely when the bank is not washed away.

Try this exercise: say any tongue twister, but without vowels (for example, “Dust flies across the field from the clatter of hooves”). This is quite possible - moreover, they will even understand you.

Write a whole “story” of tongue twisters on a piece of paper and read it... holding a cork between your teeth. It will interfere with your ability to pronounce consonants - make more effort! Theater students even thread a thread through a cork to wear around their necks and practice in their spare time.

Yes, training the speech apparatus is as hard as training in sports. The theatrical principle is this: make the difficult familiar, the familiar easy, the easy pleasure.

Exercise 4. Diction is more important than you think

A very simple task: say “King is an eagle” three times in a row. Most likely you won't get lost. But you can talk about clarity of diction when you don’t get lost after pronouncing this phrase 30 times without stopping.

Why do this? When you own your speech, it already gives weight to everything you say. And this means that you respect both yourself and your interlocutor, and what you are talking about with him.

***

What to do if the first words are difficult? Psychophysics suggests that just as the mind is connected to the body, so the body is connected to the mind. Try a simple exercise: quickly rubbing your hands and stretching each finger, say whatever you want - without thinking, without pause. It won't be easy at first, but it will get easier each time. And then, before speaking, one such movement will be enough - and the speech will flow by itself!

And finally, one more old theater advice for shy people and those who are afraid to speak in front of an audience. Are they looking at you? You need to catch this ball and throw it into the hall, pick it up again and throw it - and so rock the audience.

About the expert

– actor, teacher at the “Benefit” theater studio.

BREATH

Breathing is the basis of speech sound. Without proper breathing, the art of speech is impossible, just as life is impossible without air. Not only the beauty, lightness, and smoothness of our voice depends on how we breathe, but also the melody of speech, the harmony of thoughts, and, finally, as a result, the ability to express them competently.

The process of learning correct mixed-diaphragmatic breathing is quite labor-intensive, but having mastered it, we will be able to control breathing consciously.

We form breathing gradually. We start with simple exercises that introduce the student to the very principle of proper breathing; We try to fix the student’s consciousness on the meaning of the term “inhale down the belly,” which we use to facilitate the process of understanding the technology of inhalation. We carefully ensure that the student understands the principle of such breathing. The result depends on understanding the principle of proper breathing.

You should also pay special attention to the fact that breathing training must be carried out in dynamics, since it is impossible to imagine an actor speaking exclusively in a static state. We have already said that all over the world there is an acceleration of tempo-rhythm. The speed of presentation and perception of information has increased. And since art is a “litmus test” of society, therefore it is undergoing changes in the direction of accelerating tempo-rhythm. Slow conversations while sitting on chairs are far in the past; more and more often, dialogues take place in motion, therefore, the actor must be able to distribute his exhalation in such a way that speech sounds easy and relaxed even with very active physical action, when running, dancing, chases, horse racing, etc. As a result of combining the work of the motor and speech apparatus, we achieve an increase in sound in strength, duration and ease. Consequently, using movements that train the respiratory muscles and at the same time form muscle feeling, it is possible to achieve a more accurate organization of sound-speech movements. Combining these movements creates a wide range of devices that allow you to achieve an organic fusion of breath and sound.

When creating optimal breathing training, we took advantage of the precise comments of the teacher of the Chelyabinsk State Institute of Art and Culture E.V. Proskuryakova.

When starting classes, you need to know that:

Rotating the head (turning, bending), activating the muscles located near the upper respiratory tract, relieves excess tension from the paralaryngeal muscles and improves blood supply to the upper parts of the lungs;

Exercises performed with bending over with hands placed on the waist create conditions for better ventilation of the upper parts of the lungs;

Exercises in which the arms are spread to the sides help regulate the movements of the intercostal muscles and are thus responsible for the work of the middle pelvis of the lungs;

Exercises with arm movements above head level are responsible for the work of the lower lobes of the lungs, activating the respiratory function in the lower part of the chest and diaphragm;

Exercises that move your legs from any position (lying, sitting, or standing) strengthen the abdominal, diaphragm, and psoas muscles that are so important for mastering full breathing.

Exercises should be performed smoothly and easily. They strive to ensure that during breathing training the student experiences the most pleasant sensations, since any violence against his body leads to the appearance of muscle clamps, which inevitably deform into clamps of a mental nature.

Before moving on to the description of the exercises, let us pay attention to their very precise division into groups E.V. Proskuryakova:

1. Breathing exercises with specially selected physical movements that facilitate correct inhalation and exhalation and help consolidate the skills of full, mixed-diaphragmatic breathing with activation of the abdominal muscles during inhalation and exhalation.

2. Breathing exercises, in a lying, sitting and standing position, the task of which is to master the technique of mixed-diaphragmatic breathing with activation of the abdominal muscles, conscious regulation of its rhythm, the correct ratio of inhalation and exhalation.

3. Breathing training in everyday life, which should help consolidate and use in life the skills acquired in special breathing classes.

4. Breathing training when reading texts using the skills acquired in previous exercises. The goal is to learn to distribute the exhalation into certain parts, dictated by the content, logic, and syntax of the author of the work.

“Without a well-developed, active flow of the respiratory stream, striving from bottom to top - into the resonating cavities of the face, frontal sinus (parietal bones), it is impossible to achieve either correctly flying vowels or a sound line that is even in the registers.” The beauty, strength and lightness of the voice, its richness in dynamic effects, musicality, and melody of speech depend on how a person knows how to breathe. Rational speech breathing promotes the physical development of the vocal apparatus, relieves fatigue, both general and vocal, helps give the voice lightness, individual sound, brightness, roundness, flight, and timbre coloring. In addition, proper breathing protects the voice from overwork, premature wear and tear, and allows you to preserve its best qualities for a long time.

The conditions for the success of the educational process in speech technique will be: excellent knowledge and understanding of the mechanisms of speech, understanding of the goals and objectives of these lessons, knowledge and understanding of methods that lead to the fastest achievement of these goals. The systematic and persistent implementation of tasks, activity and a creative approach to mastering various skills and abilities lies the path to successful mastery of this discipline.

Insisting on a creative approach to lessons on speech technique, we mean the following aspects: in each lesson, the teacher should involve students in interesting and positive games, thereby awakening the children’s imagination; build exercises in this way to develop their attention; strive to ensure that children turn their “eyes inward”, learn to listen to themselves, feel themselves and, ultimately, love themselves; only in this way can they be led away from the mechanical learning process, which, as practice shows, is not at all constructive.

Before starting the training, you need to encourage students to observe their breathing, then, to study the muscle groups involved in the respiratory process, determine the type of breathing of each of them.

To do this, you need to perform exercises in a standing, sitting and lying position, observing the following rules.

The first condition necessary for correct initial work on breathing is muscle freedom, liberation, characteristic of a sleeping person:

The facial muscles and tongue should be completely relaxed;

When inhaling, the lower back muscles are relaxed, while the abdominal muscles automatically stretch;

The chest remains at rest and cannot be raised or lowered. This condition also applies to the collarbones.

It makes sense to use some exercises from the practice of Nancy Zee. Nancy Zee was born in the United States to a Chinese family. She spent her childhood in China, then returned to the United States and received a bachelor's degree in music and vocal performance. Nancy Zee has over thirty years of experience teaching speech and vocal studies. In her developments, she combined the centuries-old experience of Chinese breathing practices (“Qigong”) and modern American speech and vocal schools.

She suggests mastering several exercises aimed at using mental images. The purpose of these exercises is to become aware of certain specific sensations in the body. “These images are metaphorical descriptions of special movements that cannot be described in any other way.” When performing these movements, it is not just the work of certain muscles that is required, but the representation of an image-movement. Images are needed to show invisible internal movements and their subtle nuances. The main task of this technology is to gently and harmoniously develop deep breathing, that is, breathing in which all muscle groups work in a balanced manner.

Exercises using mental imagery can be difficult for those who are not used to controlling their breathing apparatus. Many athletes, singers, artists and musicians who play wind instruments breathe consciously and easily cope with these exercises. Our students will need to spend some time before they learn to hold mental images correctly and without tension.

“As you perform exercises while simultaneously holding mental images, a relationship is established between the images and internal sensations, and they begin to reinforce each other. Holding images is necessary in order to reorient the perception of our sensations."

Exercises Using Mental Imagery

"Pipette"

Stand straight, but relaxed, making sure that your head does not tilt to the side or down. Imagine that there is a huge pipette inside us, with the rubber chamber facing down. Squeeze the chamber and squeeze out all the air. Release the chamber, allowing it to expand, and air will enter the body.

Imagine that the end of the glass tube is in the larynx at the level of the nose. Allow air to flow in and out through this single opening, rather than separately through the nose or mouth. You should breathe while holding this image.

As the student progresses through the exercise, he should find that he naturally develops abdominal breathing.

Abdominal breathing does not mean that you are actually breathing through your belly, which is filled with air. It is just that when you inhale, the abdominal wall and torso muscles move outward, causing the diaphragm to descend, and this creates the impression that the abdomen is inflating with air.

"Accordion"

Create a mental image of the diaphragm as a ceiling resting on the walls of the peritoneum. Imagine that these floor walls are made of rubber that can bend and stretch.

From another perspective, the diaphragm is also the floor on which the lungs lie. Imagine that your lungs are a vertical accordion. When the diaphragm drops, the accordion stretches, creating a vacuum space that sucks in air.

This entire respiratory complex can be represented as follows: by protruding the abdominal walls outward, the abdominal cavity expands, and the ceiling is lowered, leaving more space at the top into which air enters. This image will help you understand how inhalation and exhalation interact with the abdominal cavity and lungs. In this exercise, air freely fills the lungs completely and creates the illusion that air is entering the abdominal cavity.

"Balloon with Funnel"

You should feel the place where the nasal passages meet the larynx, and imagine it in the form of a funnel. When you inhale, air, like water, flows into this funnel and flows down a very long pipe.

Then imagine a balloon connected to the end of this pipe. As you inhale lightly and smoothly, the balloon slowly fills with air. You need to stop inhaling when the ball is sufficiently filled, hold the air in the ball for a few seconds, enjoying this pleasant fullness.

"Rings of Rope"

Imagine a rope laid in rings in the lower abdomen. Imagine that air flows into and out of the abdomen like a ring of rope, while the lower ring always remains inside the abdomen.

"Stack of Books"

You should form a mental image of inhalation as the process of stacking books. You need to start stacking books from the bottom and gradually add one at a time to make a stack. The higher the stack, the more weight the bottom book has to support. The exhalation is based on an analogy - you need to remove the books, starting from the top.

You can do this exercise either slowly or quickly, but always evenly.

"Lotus"

Imagine that there is a large bud of a lotus flower in the lower abdomen. Inhale - the lotus gradually opens to the end, exhale - it slowly closes, hiding all its petals and again becoming a bud.

Having mastered the basics of proper breathing with the help of mental images , suggested to us by Nancy Zee, we can safely move on to the following exercises, which should be done while lying on your back.

Close eyes. Focus on the operation of the breathing apparatus. Breathe calmly, freely, easily. Inhale through the nose, exhale through the mouth.

Inhale, exhale. Place one hand on the lower abdomen (four fingers below the navel), the other on the chest. Inhale so that the stomach sticks out and the chest remains motionless. When exhaling, the stomach contracts (presses against the spine), the chest remains motionless.

Inhale in the same way for a count of 4, hold your breath for a count of 16, while making wave-like movements with your stomach (observe how the air moves from the lungs from bottom to top and back). Then exhale through your mouth (silent whistle) for a count of 8. It is very important to count to yourself, as this allows your vocal cords to work correctly.

Continue breathing with a count as follows. Inhale for 2 – exhale for 4; inhale for 4 – exhale for 8; inhale for 6 – exhale for 12; inhale for 8 – exhale for 16. Repeat everything in reverse order. It is very important to monitor the movement of the abdomen and the lack of movement of the chest. Before each exercise, be sure to exhale sharply. (breathing release).

Intermittent breath. After relieving your breathing, you need to hold for a count of up to 4, then inhale to 4, hold another hold (4) and inhale again (4), then exhale, also lasting for a count of 4. This exercise should be done with a gradual increase in breaths from two in the first phase of the exercise, up to six in the last phase.

Intermittent exhalation. Repeat the entire previous exercise, replacing inhalation with exhalation. After relieving your breathing, you need to take a full breath, hold your breath for a count of 4, while you need to relax your abdominal muscles, then exhale for 4, hold your breath, etc., just as in the previous block of exercises, increase the number of exhalations from two to six.

Take a smooth breath through your nose as if you are inhaling the pleasant aroma of your favorite flower. When we feel the lungs are full of air, we begin to exhale smoothly with a barely audible “ha” sound. We will henceforth call such an exhalation “warm.”

Let's repeat the previous exercise, but with an intermittent exhalation “ha ha ha ha.”

Inhale through your mouth, as if we were sucking in air through a cocktail straw. Feel the cold sensation on your front teeth and the tip of your tongue. Stick out your stomach as much as possible. Then we exhale intermittently with a barely audible “P” sound (This exhalation is called “cold”).

We repeat the same exercise, inhaling through the nose. If, when inhaling, it is not possible to achieve full breathing, then it is necessary to close one nostril. Thanks to this, the respiratory thrust increases and the work of the diaphragm will be felt better.

After inhaling, wait a few seconds and exhale fractionally while making an imaginary whistle. This exercise helps you feel the work of the abdominal muscles, diaphragm, and intercostal muscles.

Tension of the pectoral muscles located under the collarbone should not be allowed, and participation in the breathing process of the neck muscles and shoulder girdle should be completely excluded.

“Throughout our entire lives – and especially in childhood – we unconsciously imitate those around us: peers, parents, teachers and others. For many good purposes, people often recommend taking a deep breath, and then demonstrate this visually by raising their shoulders. Since breathing is mainly an internal action, it is very difficult to show it externally. Raising the shoulders seems to be the only available gesture for inhalation. You may remember the music teacher who enthusiastically throws up his shoulders, encouraging the class to take a deep breath. Or remember the doctor who asks you to breathe deeply and, listening through a stethoscope, moves his shoulders to imitate deep breathing.

We ourselves can sometimes unknowingly mislead someone when we raise our shoulders to indicate that we need to take a breath.

By raising our shoulders, we simultaneously pull up the diaphragm. It compresses the lower part of the lungs, and the volume of the lungs is significantly reduced.

When breathing correctly, the diaphragm should lower, allowing the lungs to expand. Raising your shoulders has the opposite effect, pulling up your diaphragm at the exact moment you want to inhale.

Shallow breathing has another disadvantage. By tensing your shoulders with each inhalation, all muscle groups responsible for speech production functions are automatically tensed. Tension tends to spread over an increasingly larger area. Sustained tension often leads to chronic pain and spreads to other parts of the body."

Thus, having realized and mastered the breathing movements, we must understand that greater expansion is needed, more space for breathing and speech, that active inhalation and exhalation leads to a beautiful sound.

When starting speech technique classes, you need to know that posture plays a huge role in the process of voice formation.

Posture refers to the manner in which a person is accustomed to holding his body. If a person, without much tension, freely holds his head and body straight, if his shoulders are located freely at the same level, naturally, without much tension, slightly lowered down and laid back, his chest is moderately raised, his stomach is slightly tucked, if he is used to maintaining this position not only when standing, but also while walking, sitting, working, then we say that this person has correct posture.

It is interesting to note that in the process of developing correct posture, it is precisely those muscles that are actively involved in breathing that develop. Consequently, by doing breathing exercises, we contribute to the formation of correct posture in the same way that correct posture itself determines the success of mastering the skills of rhythmic correct breathing, which is the basis of phonation breathing.

In the absence of organic deficiencies, the cause of incorrect posture may be a person’s general laxity, relaxation and lethargy of his skeletal muscles, mainly the muscles of the back and abdominals. In order to develop correct posture and demeanor, you need desire, perseverance and constant self-control, as well as the use of special exercises to strengthen muscles.

In addition to the well-known exercises (walking with a book on your head, with a gymnastic stick behind your back, held by your elbows under the shoulder blades, with clasped hands on the back of your head, etc.), we offer a block of exercises that, in addition to improving posture, strengthens and aligns the spine and prepares the whole body to the sound. We conventionally call these exercises “stretch” (see Appendix p. 121).

Almost all students at the first stage of training inhale through the mouth, which is unacceptable from the point of view of speech. Our task is to explain to them that inhaling air through the mouth is as unnatural as eating through the nose, and to teach them how to breathe through the nose.

Under normal conditions, a person should breathe through the nose, which is physiologically correct. The air exhaled through the nose is moistened, filtered, and warmed. The body receives 25% more air than when inhaling through the mouth (K. Dineika). Inhaling through the nose improves blood supply to the brain and increases productivity. With difficulty in nasal breathing, people often suffer from chronic runny nose, sinusitis, and headaches. Also, inhalation during speech slows down, becomes noisy, and the flow of speech is interrupted by long pauses. When inhaling through the mouth, the air is not subjected to biological processing. A large amount of dust enters the larynx, trachea and lungs. Dry mouth, sore throat, and cough occur.

Exercises to develop nasal breathing:

Close your right nostril with your finger and exhale through your left nostril and vice versa. Repeat 4 – 6 times.

When inhaling, stroke the sides of the nose from the tip to the bridge of the nose, and when exhaling, pat the wings of the nose with your index or middle fingers.

As you exhale, make screwing movements at the base of the wings of the nose.

Repeat the same movements while inhaling.

It is advisable to repeat all these exercises 8, 16, 24, etc. once. Since almost all breathing exercises are rooted in ancient Eastern breathing practices, it is better to do them based on Eastern traditions, which state that the repetition of exercises should be a multiple of eight.

Mastering preparatory exercises

for trainingfull type of phonation breathing with activation of the abdominal muscles,

diaphragmatic, intercostal, lumbar muscles

Since we build the entire training on the principle of maximum expediency, in the next block of exercises we also use ancient Eastern exercises, which were and are widely used in various theatrical teachings.

"Worship of the Sun"

Stand straight, heels together, toes apart.

Place your hands with your palms facing each other at chest level and exhale slowly and calmly.

Stretch your arms up, exposing your face to the sun, inhale slowly and enthusiastically through your nose.

Bending over, touch your palms to the floor, while remaining on straight legs, and exhale all the air from your lungs.

Without lifting your hands from the floor, stretch your right leg back, bending your spine, stretch your face towards the sun - inhale.

Return your right leg to the starting position, resting your palms on the floor, check that your neck is relaxed and your knees are straight.

Breathe out calmly.

Now stretch your left leg back and, bending your spine, stretch your face towards the sun. Breathe.

Return to the forward bending position with your palms on the floor and exhale until the end.

Slowly lift your body up and fill your lungs with air.

Bring your palms together at chest level and exhale.

You need to inhale through your nose and exhale through your mouth, imitating the sound “XU”.

This exercise should be started slowly with further acceleration and repeated from 8 times to 10, 15 minutes.

In addition to the fact that this ancient exercise greatly ventilates the lungs, strengthens all the muscles involved in it, it very noticeably aligns the spine.

"Towards the Sun"

We take two steps to the right, spreading our arms to the sides, as if opening up to the sun, while inhaling through our nose.

Then, in one step, we return to the starting position, press our folded hands to our chest, and exhale through our mouth.

Now we take two steps to the left, spreading our arms to the sides as if we were hugging the air, inhale.

We return to the starting position, bring our palms to our chests - exhale.

And again two steps to the right, etc.

We do the exercise with speed. We repeat it as much as it gives us pleasure.

"Circles with Brushes"

We stand straight, feet shoulder-width apart, feet parallel. We spread our arms to the sides, connecting our fingertips into “pinches.”

We inhale through our nose into the “stomach” and exhale sharply with the sound “F”, making a quick circular movement with our hands.

Then we inhale and exhale again for two circular movements with our hands.

Inhale and exhale again for three movements.

Inhale – exhale for four movements.

Thus, we increase the length of exhalation to six circular movements. And repeat the exercise in reverse order. That is, from six circles to one.

By doing this exercise, we feel how actively all the abdominal muscles and the diaphragm work.

"Harlequin"

We spread our arms to the sides, raise our elbows to shoulder level, relax our neck and hands.

We inhale into the “belly” and at the same time as we exhale to the sound “F” we make a circular movement with our hand from the elbow. This gesture resembles the movement of a Harlequin.

Inhale again, and exhale for two circular movements. Then exhale for three, four, five and six circles. And in reverse order. From six to one circle.

It is important that in this entire block of exercises, during the phase of performing them in the reverse order, the movements are made in the opposite direction than in the first half of the exercise.

"Shoulder circles"

After inhaling through your nose into your “stomach,” you quickly exhale through your mouth while simultaneously moving your shoulders in a circular motion. This movement is reminiscent of the "dropping the jacket" gesture.

Just as in the two previous exercises, we increase the length of the inhalation in proportion to the increase in the number of circular movements from one to six, followed by a decrease from six to one.

It is important to pay attention to the fact that the movements should be light, not pinching the neck muscles.

"Circles with feet"

Stand straight, feet together, hands on your waist. Raise one knee up, inhale into the “stomach” and exhale while simultaneously moving the foot in a circular motion.

When we finish working with one leg (up to six circles and back), we relieve tension from the feet with shaking movements.

Then we take on the other leg and repeat the entire exercise in detail.

It is important to do these exercises evenly and calmly, without splitting your exhalation or fussing during inhalation.

"Kick circles from the knee"

This exercise is completely similar to the previous one. The only difference is that we make circles with the leg fixed at the knee joint, while the knee is raised forward and up, the thigh is parallel to the floor.

It should be noted that in our practice we always encourage students to be attentive to themselves. He must listen to himself, feel his body. We believe that every exercise is positive and useful only when it is done with pleasure and the student does not experience the slightest discomfort. Otherwise, if he is uncomfortable doing this exercise, we try to find the mistake that is made during the exercise. Since when these exercises are performed correctly, a physiologically healthy person always experiences a surge of vigor and strength, this error is sure to be detected.

"Ragdoll"

Stand straight, feet shoulder-width apart, feet parallel to each other. With a slight wave of the arms free from muscle clamps up, inhale.

Relax your body and throw it down - exhale.

Then repeat the exercise with dropping the body alternately to the right, then forward, then to the left. Repeat it 8 times.

"Mill"

Stand straight, feet shoulder-width apart, feet parallel to each other. After releasing the breath, simultaneously with inhaling through the nose, we make a free (in no case forceful) tilt forward and make a circular movement with our hands, similar to the movement of the blades of a mill. Raise the body up, making a similar movement of the arms above the head - exhale.

We repeat this exercise 8 times.

"Coffee grinder"

Standing straight, feet shoulder-width apart, feet parallel, bend your knees (“sit on the ball”) and make circular movements with your pelvis.

While moving behind - inhale, while moving in front - exhale with the sound “HU”.

Thus, we mechanically force exactly those muscle groups that are involved in the respiratory process to work correctly. When moving the hip joints in a circular motion from behind, we stretch the muscles, when moving in front, we compress, thereby helping to physiologically accurately inhale and exhale. We repeat the exercise 8 times in one direction and 8 times in the other.

« Primus"

From the same position, slightly bending your knees, make sharp movements of your pelvis forward and backward. Back - inhale, forward - exhale with the sound “F”. When exhaling with the sound “F”, make sure that your cheeks do not swell.

We repeat the exercise 8-16 times.

A block of exercises aimed at complete

ventilation

We stand straight, legs shoulder-width apart, feet parallel to each other, while inhaling, we bend forward slightly so that our arms extended above our heads are parallel to the floor, and we inhale lightly through our nose.

We raise the body with our arms up, lower our arms down through the sides, slowly exhaling with the sound “C”.

While doing this block of exercises, we encourage the children to track which part of the lungs is receiving air at the moment, with a given position of the hands.

If they are careful, they will certainly feel a bursting sensation in the lower back, in the area of ​​the kidneys. In this case, the air entered the lower pelvis of the lungs.

Then we will repeat the same exercise, but, inhaling at the same time as bending, we spread our arms to the sides.

Exhaling with the sound “Ш”, we raise our body and lower our arms.

Now the feeling of being filled with air can be traced in the hypochondrium, at the level of the diaphragm. Air ventilates the middle part of the lungs.

The third phase of the exercise repeats the previous ones, only the inhalation is done while bending over with your hands on your waist.

Raising the body, exhale with the sound “F”.

Now air fills the upper pelvis of the lungs.

Exercises aimed at development

and strengthening the abdominal muscles

"Barrier"

This exercise is performed lying on your back. Inhaling “into the stomach,” we raise our straight legs so that they are 90 degrees relative to the floor. Exhaling air, slowly lower your straight legs to the floor on a count. We start counting from 5, each time increasing by 5. For example, the first time we lower our legs by 5, the second by 10, the third by 15, etc., gradually, from lesson to lesson, bringing it to fifty.

"Bike"

We start the exercise in the same way as the “barrier”, but by raising our legs, we make rotational movements with them, similar to those performed when riding a bicycle. Exhalation is made with the sound “F-S-SH”. One movement is combined with one sound. However, it is worth noting that in this exercise, as well as in all exercises with phonation sound, you cannot sound during the residual breath, that is, the sound must be stopped before the air in the lungs runs out.

It is also important to note that these exercises, due to their physical complexity, provoke tension in the neck muscles. To prevent this from happening, you need to draw students' attention to this problem and from time to time encourage them to make rolling movements with their heads from side to side.

"Scissors"

We begin the exercises in exactly the same way as the previous two, only as we exhale we make movements with our legs that imitate the movements of scissors. We do this exercise, like the “Bicycle” exercise, without counting. It is necessary for each student to exhale independently, focusing on their longest exhalation.

But the number of breaths must be determined precisely (for example, today 4 breaths, tomorrow – 6, etc.)

"Skydiver"

The exercise is performed lying on the floor, face down. Inhaling through your nose into your stomach, you need to lift your arms and legs extended forward from the floor as much as possible and then, slowly exhaling to the sound “C,” lower your arms and legs. Do a counting exercise based on the principle of increasing each subsequent exhalation by five counts.

It should be noted that absolutely every lesson and, moreover, every exercise in the training must be dressed in a game form. For example, when doing the “Bicycle” exercise, clarify what kind of bicycle we have today: is it a mountain bike, on which we ride along a country road, or a three-wheeled one, running along an asphalt path surrounded by beautiful fragrant flowers, etc. It is necessary to awaken students' imagination by offering different options for the setting. For example, today we are in the mountains at an altitude of 3000 meters, tomorrow - on the seashore, the day after tomorrow - in a pine forest, etc.

It is very important before each lesson, at any time of the year and in any weather conditions, to thoroughly ventilate the classroom and be sure (this is the main condition of the teacher) to do wet cleaning. Since children, as a rule, really enjoy these activities, they enjoy cleaning. This physical action is, as it were, an attribute of the game he proposed.

Exercises aimed at training

spontaneous inspiration

"Rope Walker"

Stand straight, place your feet heel to toe, arms to the sides. Imitating the movements of a tightrope walker, we take a step forward and begin to actively balance with our hands, at the same time exhaling frequently to the sound “HU”. We gradually calm down the movements and even out the exhalation. Then we repeat the entire exercise, transferring the center of gravity to the other leg. During this and the following exercise, we think only about exhalation. Inhalation occurs automatically, and it does not matter to us whether we do it through our nose or mouth.

This block of exercises provokes dry mouth, which is a natural factor. There is no need to be afraid of dry mouth, but you need to do the following intermediate exercises to increase salivation:

First, yawn actively and swallow saliva,

Secondly, place your fists under your cheekbones on both sides of your chin and make several light but active rotational movements with them, after which you swallow again; After making sure that the dryness has passed, continue the basic exercises.

"Vertical cutter"

Stand straight, feet shoulder-width apart, feet parallel to each other. Bend your knees slightly and keep your back straight. Imagine that there is a large flat metal cutter in front of you, the center of which is facing you. We place one hand on its lower part, the other on its upper part and begin to actively twist it, first in one direction (clockwise), then in the other direction. With each movement, we exhale sharply with the sound “HU”. You shouldn't think about inhaling.

"Horizontal cutter"

Repeat the exercise, imagining that the cutter is lying on the table. We twist it with a sharp movement. Since the edges of the imaginary cutter are sharp, we hide our belly with every movement. In the same way as in the previous exercise, we exhale with each movement, without worrying about the quality of the inhalation.

"Glove"

Stand straight on your feet (shoulder-width apart). Place your left hand on your stomach. Imagine that in our right hand we are holding a glove, which we throw away from ourselves with a very sharp movement, exhaling with the sound “T”. After 16 movements, we begin to throw away the glove with a double movement - “T-T”, after again 16 movements - with a triple “T-T-T”, and continue the exercise in the reverse order. With your left hand we control the movement of the diaphragm. With each exhalation, a sharp muscle contraction should occur. Inhalation is done automatically.

Exercises to train spontaneous exhalation

These exercises include “paradoxical gymnastics” by A. Strelnikova. It has been repeatedly described in many works devoted to breathing problems. Therefore, we will not describe in detail all the exercises from this gymnastics, but we will pay special attention to some necessary features of its implementation, which are not always taken into account by adherents of “paradoxical gymnastics”. The consequence of the inaccuracy of performing the exercises that A. Strelnikova offers us is that they are not always effective, and sometimes not useful.

The attention in these exercises is focused exclusively on breaths, which should be short, like injections, active and the more natural the better. You only need to think about inhaling: “It smells like burning! Anxiety!" and sniff the air sharply and noisily.

Exhalation is the result of inhalation. You should not prevent the exhalation from leaving after each inhalation as much as you like, but it is better to use your mouth than your nose. You only need to make sure that the inhalation occurs simultaneously with the movement, and the exhalation is silent.

You should not force yourself into a very fast rhythm. It must be remembered that for the purpose of learning speech, the speed of the exercises is not important.

A. Strelnikova herself proposed a fast rhythmic structure for her exercises. But this rhythm was explained by the fact that she pursued, for the most part, health-improving goals. Or worked with professionals. We prefer to perform movements at an average pace that is convenient for execution.

When performing exercises, you need to know that they are all done on “soft legs”. That is, you cannot perform them with motionless legs in the knee joints.

You need to start with 16 breaths for each movement, gradually increase to 96. If you wish, you can take more breaths.

The lesson norm can be up to 1000 – 1200 breaths.

“palms” inhale – clenching your palms into fists;

for each breath - turn the head to the right, left;

“ears” – while inhaling, alternately tilt your head with your ear to your shoulder;

“small pendulum” - take breaths while moving your head down and up;

“cat” – while inhaling, transfer the center of gravity from one leg to the other, imitating the movements of a cat;

“pump” – inhale at the extreme point of inclination during a movement simulating pumping up a car tire;

“Hug your shoulders” - while inhaling, squatting, we hug our shoulders;

“large pendulum” – inhalations in the upper position, similar to the “hug your shoulders” exercise and in the lower position, similar to movements in the “pump” exercise.

While studying breathing disciplines, we came to the conclusion that it is absolutely necessary during training to alternate exercises with « warm » And « cold » exhale.

"Cold" exhalation activates the movement of the diaphragm, "warm"– abdominal muscles, oblique abdominal muscles and, most importantly, warms up the vocal cords, thereby preparing them for sound.

« Flower"(“cold” exhalation)

Stand up straight. Exhaling to the sound “P”, we draw a tiny flower with the tip of the nose.

Exhaling in the same way, we draw a slightly larger flower. The neck muscles are activated, exhalation becomes more forceful.

Now, as you exhale, draw a giant flower with your nose.

The entire body takes part in the exercise. Exhalation becomes as active as possible.

"Flower"(“warm” exhalation)

Repeat the previous exercise exactly, replacing the sound “P” with the sound “HA”.

"Candle"

This exercise is performed in three stages.

First stage We will call this exercise “stubborn candle”.

Stand straight, feet shoulder-width apart. Take the correct breath and, imagining a candle, with an even, long exhalation to the sound “P” you need to keep its flame in a horizontal position. You need to exhale slowly and for as long as possible.

At the second stage To perform the “candle” exercise, you need to slowly blow out the candle, imitating the pronunciation of the sound “P”. The second exercise differs from the first in the speed of exhalation.

Third stage- “I’ll put out the candle.” Blow out the candle with a quick, sharp exhalation.

Each exercise must be repeated 4-6 times.

"The lion cub is warming itself"

Standing straight, feet shoulder-width apart, take a full breath. With a hot exhalation, silently pronouncing the sound “HA”, we warm up one by one, first the outer sides of the palms, then the backs.

Then we move our elbows to the sides and warm them up one by one, trying to reach them with hot breath.

Then we exhale alternately on the right and then on the left shoulder. At the same time, we try to reach the shoulder with our lips rather than pull the shoulders towards the mouth.

After this, we begin to warm up the “tail”. That is, we make half-turns with our body back, squat slightly and, as we exhale, straighten our legs at the knees. We make these turns in one direction and the other.

Bend your head forward and exhale into the chest area.

We relax the lumbar muscles, lean forward and exhale to warm up the stomach.

We bend down even lower and warm our knees one by one.

And finally, exhale as much as possible, stretching towards the feet, while keeping the legs straight.

We warm up each area of ​​the body (hands, elbows, shoulders, etc.) twice.

"House"

The exercise is performed in pairs. Students sit on the floor in twos, opposite each other, and begin to build an imaginary house with warm breath. For example, the first student laid the foundation - exhale, the second student laid the bottom layer of bricks - exhale, etc. The final point should be building an attic or attaching a weather vane. Students must stand with their arms raised above their heads. Thus, during the exercise, the body must go through all positions from sitting on the floor to standing with raised arms.

We ask the guys to very accurately imagine the building they are erecting, since the quality of breathing depends on the style of this structure.

We have given a number of exercises that are available to everyone when practicing in classrooms and at home. These exercises are carried out during the first and second years of training, gradually moving into voice exercises already in the third or fourth lesson.

Every sound is produced by exhalation. Even during phonation breathing exercises, you need to learn to listen carefully to yourself and distinguish irregularities and vibrations in the sound. By correcting these irregularities, we improve the functioning of the respiratory muscles. You need to learn to recognize the irregularity in the sound of your voice and be able to explain the reason for this irregularity. Therefore, you should learn to listen not only to yourself, but also to listen carefully to your classmates, look at them to notice mistakes such as raised shoulders, incorrectly folded lips, muscle tension, etc. .

Exhalation training on consonant sounds. The first consonant with which exhalation is trained is the sound "F". When pronouncing this sound (as well as the sound "IN") you need to remember that the upper teeth must be exposed. This increases their acoustic power. The lower lip is raised up, the upper teeth almost touch the lower lip. A gap forms between the lips and teeth, through which a stream of exhaled air exits.

The next consonant that comes into play when training phonation breathing is "WITH". It is clearly audible and its evenness can be easily checked. When pronouncing this sound, you need to rest your tongue on the roots of your lower teeth, and under no circumstances stretch your lips into a half-smile. Our task is to ensure that the sound lasts a long time, evenly, without becoming thicker or weakening.

When practicing exhalation using sounds, you should not pronounce them loudly. If in the very first months of work, not yet able to control the voice and respiratory muscles, we allow the use of loud sound, then the result is only a poorly controlled exhalation and tense sound, which is extremely unhelpful.

Next sounds "Sh" and "F". Their sound is reminiscent of the buzzing of insects or the low and quiet sounds of a running motor. They sound good if the teeth are clenched tightly and the lips are open and extended forward. The base of the tongue is raised on both sides and pressed against the molars, while the tip of the tongue resembles a razor blade. Inaccurate sound shaping results in uneven, choppy sound.

Sound "R" perfectly organizes exhalation. Pronouncing it helps release the muscles of the tongue, this is very important when training phonation exhalation. When pronouncing this sound, the teeth are slightly unclenched. At the first stage of work, you can allow your lips to open in a half-smile, then you need to remove it.

Having mastered the sound "R", You can move on to sonorous ones. We prefer sound in breathing training "L". It is formed with the participation of the tip of the tongue, which rests on the front teeth. When pronouncing this sound, the air stream directly hits the upper resonators. It is necessary to ensure that the muscles of the larynx are free and the sounding stream of air is directed forward. If the sound is correct, then the lips and tip of the tongue feel a slight trembling.

The main indicator of correct exhalation is the evenness of the sound and its freedom; there cannot be a good exhalation with a sharp, jerky or clamped sound delivery. We must strive to ensure that the sound line is like a smooth board, which we cut in the right places. The length of our sound lines increases as our respiratory muscles develop. Evenness must be achieved from the very first lessons.

Having mastered the sound of isolated consonants, you can add vowel sounds to phonation breathing training.

Vowel sounds create the melody of speech and, when properly organized, contribute to the sonority of the voice. Each vowel separately, as well as in combination with consonants, has its own individual sound, each of them requires its own articulation, acoustic devices, and sound alignment. What is common to the pronunciation of all vowel sounds is the shape of the mouth, which must always be maintained. When pronouncing vowel sounds, the mouth should always open vertically, the corners of the mouth should be strong.

It is advisable to pay attention to the rhythmic structure of the speech-voice process. “Rhythm (Greek rhуthmos) - movement, beat, rhein - flow or erуein - pull. Initially, according to the definition of ancient art theorists from Plato to Augustine, the division of time or space.

Trying to explain the essence of this universal phenomenon, which manifests itself everywhere - in the nature around us, in human physiology, and in art - most often and first of all, the category of rhythm is combined with the category of orderliness, that is, with the ordered repetition of some of the same phenomena, parts or shares...

The human body is a complex system of rhythmic oscillations... Disruption of the rhythm of individual physiological functions of the body destroys the correct interaction of its parts.

The most important rhythmic unit is the respiratory movement. The rhythm of successive inhalations and exhalations, which oxidize the blood and brain, is the most important condition for the “natural stability of development” of the human body. Imperfect and irregular breathing leads to disruption of the systems associated with it and, in particular, to imperfect development and even diseases of the vocal apparatus.

The respiratory support of sound is a physiological effect in which the inhalation muscle - the diaphragm - is in tonic tension throughout the entire speech beat. Speech beats in speech are constructed whimsically, and in everyday life a person, without knowing it, is forced to subordinate the rhythm of his speech to the possibilities of his breathing. In a literary text and in a dramatic dialogue, the semantic and phonetic richness of the text, the richness and diversity of its rhythmic structure sometimes require the actor to masterly master the breathing rhythm. To develop professional phonation breathing means to teach him to cope with any difficulties, strictly fulfilling his task. And the inhalation muscle - the diaphragm - should automatically and, in fact, instantly return to tone, having time to “serve” the work of both physiological gas exchange and ensuring the speed and rhythm of speech.

The main and necessary thing is to hear, feel, highlight the breath of rhythm in any text, since every text has its own breath, that is, its own rhythmic structure, without the mastery of which it turns into a pile, a queue of words, and no amount of comprehension will help to fully unravel its secret.

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Do you want your child to become a TV or radio presenter or a famous actor in the future? Are you planning to build a successful career on stage? Then you need to work long and hard on developing stage speech. The teaching method includes a variety of diction exercises. There are special acting classes for both adults and children. Do you want to know what stage speech is and learn simple exercises for the development of the speech apparatus? Then read this article to the end.

Every person who dreams of becoming a famous actor must regularly perform stage speech exercises. A loud voice, clear diction, correct placement of accents in the text - all this allows you to express feelings and emotions, and play out the work. The technique of stage speech is not as simple as it might seem at first glance. The actor must be able to convey the mood, show the inner world or other psychological traits of his character. If you learn to do this correctly, you can very soon become a real star of cinema and theater scenes.

Stage speech, as an integral part of acting, developed gradually and became more and more perfect. Ancient Greek orators practiced speech in motion, because such a speech invariably aroused special interest of the public. Even then, people realized that not only the meaning of the words in the text is important, but also the intonation and method of reading.

Demosthenes, a famous orator and philosopher, had a very quiet voice by nature, his speech was slurred and many listeners often did not understand the meaning of his words. Then he began to work on himself, doing diction exercises every day. To do this, Demosthenes went out to the edge of a cliff by the sea and made his speech, shouting over the noise of the waves. Also, his contemporaries claim that he often secluded himself in a cave and rehearsed his monologues there in order to be able to hear himself.

Fortunately, today you don’t need to resort to such extreme methods to improve your pronunciation and expressiveness. Stage speech lessons for children and beginners are quite simple. You can do simple diction exercises at home on your own or attend classes with a teacher.

How to quickly improve your speaking technique?

If you want your speech to become beautiful, clear and correct, you need to regularly attend special lessons. This is not surprising, because the teachers know their subject very well. You've probably attended lectures more than once and listened to a very boring and inarticulate speech that made you want to sleep. A professional speaker uses all the capabilities of his speech apparatus to constantly hold the attention and attract the interest of listeners. Stage speech lessons will be equally useful for both future artists and businessmen, politicians and other specialists whose activities are directly related to communication.

To quickly learn to fully control your voice and improve your diction, perform simple stage speech exercises daily. It won't take you much time, but it will bring the desired effect. For beautiful speech, breathing is no less important than clear diction. That is why in stage speech lessons you will not only pronounce tongue twisters and read texts expressively, but also perform breathing exercises.

Options for breathing exercises

High-quality stage speech technique largely depends on the speaker’s correct breathing. A person who gives a speech to an audience cannot afford to inhale air through his mouth. This will cause your breathing to become irregular and you will not be able to correctly maintain intonation and place accents. To prepare for public speaking, do the following exercises regularly.

• Breathe through your nose (inhale and exhale) with your mouth open for 3-5 minutes.
• Place both hands on your solar plexus. Take a deep and very slow breath (the process should take 3-4 seconds). At the same time, your hands will feel how your stomach rises, filling with air, and falls as you exhale. Such fluctuation should be clearly visible. If you don't feel anything, lean your body forward slightly as you inhale. Gradually increase the inhalation time.
• Exercise to train chest breathing. Inhale deeply, as if you are smelling a fragrant flower, then exhale very smoothly and draw in your stomach. Short inhalations and long exhalations will help you improve chest breathing. When you can do this exercise with ease, begin to say long phrases as you exhale.

These exercises are not difficult, but very effective. Do them daily, and soon you will be able to deliver a long speech without hesitation or shortness of breath.

Improving articulation

In order for the pronunciation of individual sounds to be intelligible and clear, you need to constantly train the organs responsible for articulation.

The lesson should begin with simple pronunciation of vowels, consonants and simple connectives. Try to make your voice sound loud and bright, not like in normal everyday life.

Various tongue twisters also help train the speech apparatus. Such poems, on the contrary, should be pronounced very quietly, in a whisper. Gradually increase the reading pace and volume. Let's look at a few simple tongue twister options to improve stage speech.

• “The bob got some beans.”
• “The clatter of hooves sends dust flying across the field.”
• “Prokop came - dill was boiling, Prokop left - dill was boiling.”

If you have been taking stage speech lessons for quite some time, you can gradually make the task more difficult for yourself by learning longer and more complex tongue twisters. If you can remember and recite it by heart, you can be sure that you will become an excellent speaker.

Sound and diction are an integral part of stage speech

The sound of your voice will help you express a certain range of emotions. You must learn to regulate timbre, range of sounds, intonation. To train your voice, do the following exercises:

• Read any work in prose or poetry, constantly changing the volume of speech. Say the first line very quietly, the second line loudly, etc.
• Say one phrase with different intonations, try to express different emotions using ordinary words - fear, happiness, surprise, passion, etc.
• Develop your imagination. Think about what voice animals would use if they could talk. Tell the poem from the perspective of a fox, a hare, a dog, a cat.

Clear diction is very important for stage speech. It will allow you to achieve success in your career, because people on a subconscious level listen more and positively perceive a person’s clear and intelligible speech. You can develop your speaking skills with the following exercises.

• Stand straight, place your hands on your chest, elbows apart. Take a deep breath and, releasing the air from your lungs, gradually lean forward. The exhalation should be accompanied by the pronunciation of prolonged vowel sounds (o, a, u) in a very low voice.
• Regularly pronounce complex combinations of sounds - STFRA, VZVA, LBAL. At first this exercise may seem quite difficult to you, but gradually you will begin to succeed.
• Try reading a medium-length text with your mouth closed.

A stage speech lesson, like any other, should produce results. After completing a block of exercises, you must consolidate the result by reading a complex text as expressively as possible. If you study with a teacher, he may ask you to take a special test at the end of the lesson. By completing tasks correctly, you gain a certain number of points.

Exercise “Tongue without bones”

Do you want to remember your childhood and have a little fun? Then start doing an exercise to develop the articulatory apparatus, which from the outside looks like ordinary antics. To prepare for a stage speech lesson, you need to do a little warm-up first.

Articulation gymnastics has a lot of advantages, namely:

• Your tongue begins to work very clearly;
• The feeling that you are talking with your mouth full disappears.
• The pronunciation of sounds becomes clearer and more correct.

To perform the “Boneless Tongue” exercise, you will need a regular mirror. Stand in front of him and start warming up.

• Open your mouth a little. Use the tip of your tongue to make circular movements in different directions. Perform 10 rotations clockwise and counterclockwise.
• Open your mouth wide, stick out your tongue completely and gently lift its sides up. You should end up with a kind of tube. Now try moving your folded tongue and blowing into it.
• Use your tongue to clean the surface of your upper and lower teeth. Try repeating the exercise with both your mouth closed and open.

Lightly biting the tongue helps to slightly relax this muscle. Do these manipulations before speaking in public, and then your speech will be clear and intelligible.

Simple exercise "Traffic"

Even the simplest exercise for developing the speech apparatus will be effective if performed regularly. “Traffic” is very popular among both adults and children. This fun activity allows you to:

• Strengthen the muscles of the cheeks, lips and upper palate.
• Tighten facial skin, smooth out fine wrinkles and nasolabial folds.
• Improve diction and speech.

Experts say that the “Cork” exercise is useful not only for future speakers and actors, but also for everyone who wants to preserve the beauty and youth of their facial skin for many years.

So, let's get started. First prepare a small wooden or plastic cork from a champagne bottle and learn a tongue twister.
Squeeze the plug into your front teeth. Without releasing the product, start reading the tongue twister. Repeat the poem several times in a row. You will be able to determine on your own which sounds you make better and which sounds worse. Constantly improve your pronunciation, train your articulation apparatus, speed up your speech rate.

A man telling tongue twisters with a champagne cork in his mouth looks very comical. This fun activity can be turned into a fun and rewarding family competition. Have each family member read the tongue twister in an unusual way, and then you all decide together who did it best. After you remove the plug from your mouth, you will be surprised how much your speech has improved, because the words will “flow like a river.”

Methods of teaching stage speech

Professional specialists who train future speakers, actors, announcers, etc., use various teaching methods. There are several most successful options for improving diction and speech; let’s look at them in more detail.

• Continuous formation of stage speech. The teacher offers the student several sets of exercises, between which there is a logical relationship. There are no long breaks between lessons.
• Stepped complication. The student begins learning by mastering the simplest material, and the load gradually increases.
• Game existence. Learning using this method is the most enjoyable, as during the lessons the student uses his imagination. Fun, playful activities tend to produce great results.
• Partnership relationships. During the lesson, the teacher and the student are “on equal terms.” The teacher can only advise, but not insist on repeating this or that exercise.

Stage speech lessons will be useful for everyone. Do you want to achieve your goal? Get ready to constantly learn, train and improve yourself. Show persistence, and very soon your oratorical abilities will surprise everyone around you.

TOOLKIT

BY STAGE SPEECH

FOR TEACHERS WORKING WITH CHILDREN

YOUNG AND MIDDLE AGE

GAMES FOR THE DEVELOPMENT OF AUDITORY ATTENTION.

1. “Listening to silence”

Participants “listen to silence” and the sounds of the surrounding world for 1-2 minutes. Then they list in order the sounds they heard. You can arrange a competition and determine who will be more attentive. To do this, participants list the sounds one by one. C'mon, don't make things up!

2. “What’s outside the window?”

Participants listen to the sounds of the street. Then they fantasize and determine by the sounds what is happening on the street.

3. “Guess the name”

The driver stands with his back to the participants in the game. Each player takes turns saying the driver's name. The driver must guess the player by voice and say his name.

The game has another option: the participants in the game take turns singing one line from the song(or by verse) . The driver must guess each player by voice.

4. "What's going on behind the wall?"

The group is divided into two teams. Each team is given the task to voice a specific story. For example: “music lesson”, “child is naughty”, “sleepy hour”, “broken tape recorder”, etc.

Teams take turns voicing one or another story. The opposing team must guess “what is happening behind the wall” based on sounds and voices.

5. “Guess the poem”

The driver leaves the room. The participants in the game agree and choose a poem, break it down by lines or words. The driver enters the room. All participants in the game simultaneously begin to recite lines from the poem. The driver must guess and name the poem and its author.

The game also has this variant: the driver enters, each participant in the game names his word from the intended poem. The driver must put the words in a line, pronounce it and name the poem.

MUSCLE RELEASE EXERCISES.

1. "Unexpected news"

Raise your eyebrows, tense your forehead muscles, open your eyes wide(3-4 seconds) , then relax your muscles and lower your eyelids.

2. “From darkness to light”

Close your eyes tightly, as if you were leaving a dark room in sunny weather.(3-4 seconds) . Relax your eyelids.

3. “I don’t want porridge”

Clench your jaws and lips tightly, like a capricious child who does not want to eat porridge.(3-4 seconds) . Relax your facial muscles. Repeat the exercise.

4. "Weightlifter"

Stand up straight, raise your arms in front of you. Clench your fingers into fists and tense your arm muscles. After 3-4 seconds, relax your muscles. Hands fall freely down.

5. "Tree"

Imagine that you are a small tree that has been planted in the ground. Stand straight, raising your arms up - twigs. Feel how tightly the earth fits the roots and trunk of the tree(legs and torso tense). Only twigs (head and both hands)They reach out to the sun and turn freely after it.

6. "Strong support."

Tighten your tongue and press its end firmly against the roof of your mouth. After 3-4 seconds, relax your tongue and jaw.

7. Game "Mimes"

Mimicists are artists who skillfully master facial expressions. The game conditions are very simple. Players take turns showing their “facial masks”. Participants in the game guess what feeling “Mimist” conveys.

8. Game "Mimans"

A mimance is a group of artists performing pantomime - a performance without words. Several groups participate in the game. Each group takes turns performing its own mimic skit - pantomime. The rest guess what they saw performed by the “mimamsa”.

9. "Puppet"

A marionette is a wooden doll on strings. Imagine that you are such a doll. Silk threads are tied to your head, arms, and legs, which force you to perform one or another movement with your arms, legs, or head. Your muscles are tense(threads are stretched), then completely relax.

10. "Sunflower"

Imagine that you suddenly turned into a sunflower. The spine is like the strong stem of a sunflower; it prevents it from bending or bending. Stand straight, but don't tense up. The arms - the leaves and the head of the sunflower - can move freely and turn either right or left “following the sun”.

MUSCLE RELEASE EXERCISES

WITH SOUND.

1. "Tired"

Starting position: feet shoulder-width apart, arms down. As you inhale, stand on your toes, raising your arms up to the sides. As you exhale, bend sharply forward with the word “ wow ! Without straightening, bend over three more times, exhaling the rest of the air: “ Wow! Wow! Wow! »

2. "Sick"

Let's release the neck muscles. Take a breath. As you exhale, the head relaxes and “rolls” with the sounds “ s", "f", "n", "m".

3. "Weakness"

After inhaling, perform free rotations of the body while exhaling while pronouncing the sounds “ s", "w", "f", "f", "n", "m".

GAMES AND BREATHING EXERCISES.

Note. These exercises must be done very carefully and little by little. Especially with younger children!

1. Find your breath

Lying on your back, place your hand on your stomach and breathe calmly. Make sure that when you inhale, your hand rises, and when you exhale, it lowers. Find and feel your breath. Please note that the inhalation should be longer than the exhalation. Inhale: " one - two." Exhale " one two three four" Pause. Don't swallow air like a fish - breathe through your nose.

2. “I’m lying in the sun”

Do the exercise while lying down. Imagine that you are sunbathing in the sun. You feel calm and free. Close your eyes and put your face up to the imaginary sun. Take several breaths in and out in the following order:

A). Inhale, exhale, pause.

Inhale air through your nose and exhale, barely noticeably, through your slightly open mouth. Make sure that when you inhale, your shoulders do not rise up, and the muscles of your neck and face do not tense.

B). Inhale, pause, exhale, pause.

After inhaling, do not rush to exhale immediately, hold your breath for a few moments, and then calmly exhale through your slightly open mouth.

3. “Mask of rest”

“Put on” the “rest mask” on yourself. Take a breath, hold it for a moment and exhale with a sound: Pffff...

Do not waste your entire supply of air on exhalation, do not force it out of yourself. As soon as you feel that you need to make an effort to continue exhaling, stop it.

Take your time to take a new breath, wait until you want to breathe. Repeat the exercise several times, but don't get carried away. Excess oxygen in the lungs sometimes makes you feel dizzy.

4. "Dandelion"

Inhale through your nose. Hold your breath for a second and exhale forcefully: f-f-f . Make sure your upper teeth are visible during this sound. Blow forcefully on an imaginary dandelion so that the light fluffy umbrellas fly away in different directions.

5. "Candle"

Have you ever watched a candle flame spread but not go out with a light breeze?

Inhale, hold your breath, then slowly and smoothly blow on an imaginary candle. Make sure that your exhalation is smooth and even, because the candle flame can go out at any moment.

6. “Fuzzies”

Imagine that you have weightless fluff on both palms. Gently blow the lint out of your palm. Each time, inhale quickly and silently through your nose and slightly open mouth. Exhale slowly and smoothly.

7. "Birthday Boy"

Imagine that you have to blow out imaginary candles on a birthday cake. How many candles does it have?

Inhale and exhale forcefully so as to blow out all the candles at the same time.

8. "Candelabra"

Do you know what a candelabra is? This is a large candle holder for several candles. Imagine that in front of you is a candelabra with five candles burning on it. Blow them out one by one, exhaling air in portions.

Move to the next candelabra and blow out seven candles on it in the same way, etc. Repeat the exercise several times.

9. "Flower Shop"

Imagine that you are in a flower shop. Take an imaginary flower in your hands and inhale its aroma. Inhale slowly and deeply. Inhale, hold your breath - pause(at this moment guess which flower this smell belongs to), exhale. Be careful not to tense your facial muscles.

BREATHING EXERCISES WITH SOUND.

1. “Annoying mosquito”

Extend your arms in front of your chest with your palms facing each other. Exhale quickly through your nose, spreading your arms out to the sides. Exhale slowly with the sound: z-z-z , bring your hands together at the same time. Bring your hands together slowly so as not to scare away the mosquito. As you finish exhaling, clap your hands and swat the mosquito.

2. "Pump"

This fun exercise can be done by two people. One of the participants in the game is “ball”, the other is “pump”. The pump pumps the ball: ssss ...Then the ball is smoothly deflated: shhh ... And now you can switch roles.

3. "Poem"

Learn the poem and turn it into a breathing exercise. Try to pronounce each phrase in one exhalation. For example:

Black, black, black cat

Jumped into the black chimney.

There is blackness in the chimney

Find the cat there!

Children will be very happy to work on the poems of Agnia Barto, Grigory Oster, etc.

4. "Feathers"

To play, each participant will need one light feather. The players first place their feathers on their palm, then, at the leader’s signal, they throw it up. Each participant blows on their own feather, trying to keep it in flight for as long as possible. The winner is the one whose feather falls last.

5. “Ball with a squeaker”

Imagine that you are an inflatable balloon with a squeaker. The balloon is inflated and we take breath. And then they release it - the balloon deflates. The squeaker beeps. Compete to see which balloon's squeaker will sound the longest.

(work on range)

1. “The little ladder is wonderful”

When pronouncing the text of the exercise, raise your voice on each line. Say the last words at the highest pitch of your voice, “chant.” Then start going down. And lower your voice with each line.

It’s a miracle – I’m walking along the stairs.

I'm gaining altitude

Step to the mountains

Step up the steep slope

And the climb gets steeper and steeper.

I want to sing

I'm flying straight towards the sun!

I'm flying, flying, flying!

I want to ride!

And everything is down, down, down,

You can just hear the wind whistling!

And down through the snowdrift -

Stop!

2. Game “Winners”

Praise the girls on the volleyball team for winning the competition. Raise your voice every time on girls' names. The line “Simply a miracle - the masters!” sounds at the highest pitch, then the voice goes down.

Oh yes Alya!

Oh yes Ulya!

Oh yes Olya!

Hey Julia!

Hey Elya!

Ay yes Iya!

Just a miracle - masters!

Bravo, girls! Hooray!

3. "Apple"

Apple Alle.

Apple Alle.

Apple Alle.

Hello apple.

4. "Scuba Diver"

Do you know who a scuba diver is? This is an athlete who goes underwater with scuba gear - a special breathing apparatus. Pronounce the text of the exercise, gradually lowering your voice on each line.

To master the chest register,

I'm becoming a scuba diver.

I'm sinking lower, lower,

And the bottom of the sea is closer, closer.

Now I'm already at the very bottom,

Say the last line in the lowest tone. Say the next lines of the poem, gradually raising the tone of your voice.

But I rise again

5. "Ships"

Ships are sailing along the river. They greet each other with a horn. All ships are different and sound differently. “Honk” in different voices: now stronger, now weaker, now louder, now quieter, etc.

Woohoo! Oooh! Wee-wee-wee! Ooh-oh-oh-oh! Wa-wa-wa-wa!

6. "Sorcerers"

Let's start witchcraft with words"Zondi - zandi" and magical smooth hand movements. At the same time, we converge in a tight circle and squat down. Then, we begin to slowly rise, pronouncing each line of the “spell,” gradually raising the tone of our voice.

Aba - ava - aha - ada - azha!

Aza - aka -ala - ama - ana!

- apa - ara - asa - ata - afa!

Aha - atsa - acha - asha - asha!

We pronounce the last syllables at the highest pitch of our voice. Then we gradually lower the volume in words"zondi - zandi" as if “smearing” them with your palm.

7. "Crying"

One of the most difficult exercises. Primarily used for older children due to the difficulty of the text and elevation. On the last line of each stanza there is a “descent” from the top point of the range to the bottom point of the range, as if “smearing the sound” with the palm.

(Girls start)

I forgot everything:

Dear father,

Close and relatives,

Dear girlfriends!

Fun games

Treasured speeches!

I know and I remember only a dear friend!

(Boys answer)

I hear, girl,

Tearful complaint

I see grief

The truth is heard

(On this line they lower to the original height)

Of course, my dear, it’s not enough - just a little!

ARTICULATIVE WARM-UP.

(First option)

1. "Cleaning" - use the tip of your tongue to run along the gums 5 times clockwise, 5 times counterclockwise.

1. "Sword" - with a sharp, strong tongue pricking the inside of the cheek.

1. "Snake" - roll up your tongue, show it slowly, and quickly hide it.

1. “To the nose, to the chin” -Use the tip of your tongue to reach your nose, then to your chin.

1. “Spatula, cup, sour cream”

1. "Watch" - the mouth is round, like a dial. The tip of the tongue shows the time: 3,6,9,12 hours.

1. "Ice cream" - use the tip of your tongue to lick imaginary droplets from a melting popsicle on a stick with a very long tongue.

1. "Apple" - bite off a huge piece of an imaginary apple and actively chew it.

1. "Pull your lips over your teeth"

1. "Show upper teeth"

1. "Show bottom teeth"

1. “Show the upper and lower teeth in turn.”

1. "Piglet" - stretch out your lips in a long tube, as if you were saying the sound “u”. Rotate the tube either clockwise or counterclockwise.

1. "Horse"

1. "Squirrel"

1. "Sweetie"

1. "The horse snorts"- this exercise is performed several times during the articulatory warm-up, so that the speech apparatus can rest.

1. "Turkey"

ARTICULATIVE WARM-UP.

(Second option)

Lip exercises.

1. "Smile"

Stretch your lips into a smile. Return to original position. Repeat 4 – 5 times. Imagine that you are sitting in front of a camera lens: “Ch-i-iz.” And you smile.

2. "Volleyball net"

Imagine that your lips are the edges of a volleyball net that needs to be stretched over the posts. The columns are the corners of the lips. Stretch them out to the sides as wide as possible. “Straighten” your “volleyball net” - lips - so that you can see all its cells - teeth - and partially the gums of the front teeth. Return your lips to their original position - “remove the mesh from the posts.” Be careful not to strain your neck muscles. The degree of muscle tension can be felt if you lightly touch them with your fingers.

2. "Who is stronger"

Lips tightly compressed. They decided to measure their strength: who would be stronger. The upper lip presses on the lower, and the lower lip tries to push back the upper, etc.

3. "Tap dance"

Repeat the previous exercise. The “altercation” between the lips gradually turns into a light lip dance, into lip tap dancing. Come up with this dance yourself. The lips tap-dance easily, without tension. Do not forget that the jaws must be tightly clenched.

4. "Proboscis"

Pull your lips forward. This is your imaginary “proboscis”. Imagine that you have picked up an imaginary pea with your proboscis.

5. "Sharpener"

Your lips turn into a sharpener. Pull them forward into a tube and try to sharpen the pencil. Pull your lips forward as much as possible, because an imaginary pencil is difficult to process. The jaws are clenched tightly. Make sure your upper lip is as active as your lower lip.

Exercises for the tongue.

1. "Shovel"

The tongue lies between the lips. Its edges touch the corners of the mouth. The tip of the tongue lies on the lower lip. We expose our teeth, the tip of the tongue remains between the teeth. The tongue becomes thin and wide, and then takes on a spatulate shape.

The tongue moves evenly from the corners of the lips to the right and left, like a pendulum. Repeat the movement ten times. Be careful not to move your jaw.

3. "Brush"

Using soft strokes from above and below, paint the inside of your teeth with your tongue, like a brush. Outline the lips, alveoli, “shade” the upper and lower palate.

Exercise for the jaw.

1. "Cow"

Have you ever observed the movements a cow makes while chewing hay? Perform circular movements with your lower jaw from right to left, and then vice versa.

2. "Box"

The gap between the upper and lower teeth is no more than 1 - 2 millimeters. The lower jaw slowly moves forward. Having reached a possible forward position, it returns to its original position. Repeat the exercise, pushing your jaw vigorously with your tongue. Move your lower jaw forward, then back. Repeat 4 – 5 times.

DICTION WARM-UP.

p-b" Rich Beaver – Cheerful Beaver

Peter the Great - the first Peter

"t-d" Children of the tar worker - children of the tar worker

Thaler plate stands

"k-g-h" King of the crooked - crooked king

Messenger from the galleys - messenger from the galleys

I praise halva - I praise halva

"f-v" Barbarian Varvara – Varvara the barbarian

Feofan Feofanych – Feofanich Feofan

"s-z" The hare is chilly - the hare is chilly

The whistle blows - the whistle blows

"shh" The murmuring was murmuring - the rustling was rustling

"r-ry" Nerl on Nerl - on Nerl Nerl

"n" Nonna's nanny Nenila washed Nonna for the night

"m" Romashi's mother – Romashi's mother

"h" Four little little devils - four little little little devils

"sch" I clean the puppy with a brush - I tickle its sides.

"ts" Tsatsa heron - Tsatsa heron

WORK ON CONSONANTS.

1. "Drops"

It’s spring, droplets are dripping from the roofs. Imagine that your upper lip is an icicle and your lower lip is a drop. Breath. A stream of exhaled air breaks through tightly closed lips, a drop - the lower lip - falls freely down. Produces a light, elastic sound"P". Make sure that no sound is mixed in during the pronunciation process."X".

2. “Balalaika, play!”

Imagine your lower lip is stringsbalalaika, and the top one is a pick. A mediator is a special device that is used to strike the strings. The upper lip hits the lower lip, and the balalaika plays. The sounds “b” and “p” are the musical sounds of our balalaika. Play your favorite songs with these sounds on your lips. For example: “I’m lying in the sun...” or “We lived with grandma...”

3. “Help yourself! - Don't want!"

This exercise can be done by two people. The hostess begs the guest to try this or that dish. At the same time he says:

Peep-pee-pee-pee-pee-b!

The guest is already full, he refuses the food every time and answers the hostess:

Beep-beep-beep-beep!

Hostess: Guest:

The guest's persistent refusal of food gradually begins to drive the hostess crazy. She begins to insist that the guest try her treats, and then demands. But the guest refuses and protests. The feast ends in a quarrel.

Imagine that you are standing on the bank of a river and throwing pebbles into the water. Move your right hand to the side and throw the pebble as far as possible. Say five syllables while moving your hand back, and on the sixth, throw. Pause - while the pebble flies. The last sound in the soundtrack is a pebble falling into the water.

Peep-pee-pee-pee-pee-b! -beep-beep-beep-beep!

Pe-pe-pe-pe-pe-b! -ba-ba-ba-ba-ba-p!

Pa-pa-pa-pa-pa-b! -ba-ba-ba-ba-ba-p!

Po-po-po-po-po-b! -bo-bo-bo-bo-bo-p!

Pu-pu-pu-pu-pu-pu-b! -boo-boo-boo-boo-boo!

Bump-bump-bump-bump! -would-would-would-would-p!

You can play this game using either this scale or by substituting any other paired consonants(voiced and unvoiced).

5. "Train"

Transmit by sound"T" the clatter of the train's wheels as it begins to move, picks up speed as it moves at full speed, or slows down. Watch your breathing. Make sure the sound"T" sounded clean and clear, so that it was not mixed with an overtone reminiscent of a whistle, and sometimes even a sound"With".

6. "Clock"

Imagine that you find yourself in a watch workshop. There are many different watches here. Show with sound"T", how different clocks tick.

Tick-tick, tick-tick, tick-tick, tick-tick, tick-tick, tick-tick, tick-tick.

Tick-teck, tick-teck, tick-teck, tick-teck, tick-teck, tick-teck, tick-teck.

Tick-tock, tick-tock, tick-tock, tick-tock, tick-tock, tick-tock, tick-tock.

Tick-knock, tick-knock, tick-knock, tick-knock, tick-knock, tick-knock, tick-knock.

Tick-poke, tick-poke, tick-poke, tick-poke, tick-poke, tick-poke, tick-poke.

7. "Horses"

Imagine that you are at a hippodrome where riders compete with each other. Have a speed and distance competition. The rhythm of horse racing is reproduced using sounds"k" or "g". “Horse racing can be done either standing or sitting. The winner will be the one who “jumps” longer and at the same time maintains the clarity and sonority of the pronunciation of consonants.

8. "Shooting at targets"

Organize a shooting competition. Shoot explosive sounds from a pistol at imaginary targets"k" and "g". Shoot a bow at a target with sound"X".

9. "Kettle"

The kettle boiled. Steam escapes from under the lid in either long or short streams. The slit into which the “steam” breaks through is located between the upper teeth and lower lip. The kettle began to make noise, snorted, and with its snorting, as if calling the hostess: “I’m boiling, come quickly! It's time to make tea!"

FFF! FFF! FFF...FFFF! FFF!

The last light “FFF” sounds peaceful, the kettle boiled and turned off.

10. “Mom cat teaches baby”

You can play this game with two, three or a whole group. Mother cat teaches a little kitten, she shows how to scare a dog. You need to arch your back, release your claws and snort like this: “FFFFFF!” The kitten repeats all the actions after its mother and snorts: “F!”

Wrong, you need to snort like this: “FFFFFF!”

11. "Badminton"

Imagine that you are playing badminton. In your hands you have an imaginary racket and shuttlecock. Give your partner a sound pass"With". The shuttlecock rushes vertically.

12. "Wasp"

The wasp got into the house and cannot fly out. She hits the glass, looking for a hole through which she could break free. She buzzes desperately and persistently: “V-V-V-V-V!” Do not pronounce the sound loudly, do not put pressure on your lips, try to keep your upper lip raised, your upper teeth visible, so that the consonant is loud, free and clear. But then the wasp finds the window and breaks free. Its buzzing becomes joyful, light and sonorous:“V-V-V-V-V-V!”

13. "Song"

Sing any song with sound"With". Please note: if you have sounds in your throat that resemble dull clicks, this indicates the presence of a throat clamp. A similar throat tightening can occur when performing other exercises. Try to eliminate the sound. To do this, deepen your breathing and pronounce the sound on the support, not with your throat.

14. "Swimmer"

We “float” in any style, moving around the room or sitting on a chair. As you exhale, pronounce the sound “s”. If we swim like a dog, we will exhale in small portions, synchronously with the movements of our arms. If we “swim” on our back, our hands move slowly, the sound is rich and smooth.

15. "Polisher"

Do you know who a floor polisher is? A floor polisher was someone who polished floors. After all, the floors were wooden, they were rubbed with wax or special mastic to make them shine. Attach an imaginary brush to your foot and scrub the parquet floor until it shines. In rhythm with the movement of your feet, say:ShSh – LJ, ShSh – LJ, ShSh – LJ.

16. “Visiting a fly - clattering sounds”

A mosquito, a bee, a beetle and a bumblebee flew to visit the clattering fly for his birthday. The fly greets them joyfully:“Z-z-z-z-z-z-z!” And her friends respond to her greetings like this.

Mosquito: “Z-z-z-z-z-z!”

Bee : “J-j-j-j-j!”

Beetle: “W-w-w-w-w-w-w!”

Bumblebee: “Bzh-bzh-bzh-bzh-bzh-bzh!”

The fly treats the guests to sweet jam, and the guests thank her for the treat. Repeat the game several times. Convey through sounds the dialogue between the Fly and her guests.

17. "Soccer Ball"

Imagine: one of you is a pump, the other is a soccer ball. The pump inflates the ball:“Sh! Sh! Sh! Sh! Sh! Sh! Sh!The ball becomes large and elastic, but there is a hole in it, and the ball instantly deflates. The air comes out of it in a thin stream:"Shhhhhhhh..."

18. "Gardener"

Imagine that you are a gardener and using garden shears to trim a bush:“C! C! C! C! C!

19. "Fencers"

Do you know what fencing is? This is a sword fight. Take imaginary rapiers in your hands. Engage in a duel with the enemy. We imitate the ringing of crossing rapiers with sound"C". Let's start! The match will be won by the one whose sound is more active and energetic.

20. "Mower"

Pick up an imaginary scythe and make hay in the meadow with sound"SCH". The movements are sweeping, wide and the breathing is wide and deep:“Sch!..Sch!..Sch!”

21. "Bootblack"

Take imaginary shoe brushes and polish your shoes until they shine. The movement of the brush is accompanied by sound"Sh".

22. "Motorcycle"

Get behind the wheel of an imaginary motorcycle and go on a journey:“R-R-R-R-R-R-R-R-R-R!”Try to keep the sound as long as possible without drawing in air.

CONSONANTS IN COMBINATIONS.

Exercise No. 1.

IL – RI – LI – RLI IL – RIO – LE – RLY

IL – RE – LE – RLEIL – RYU – LYU – RLYU

IL – RYA – LA – RLIL IL – RI – LI – RLI

Exercise No. 2. Say it several times vigorously, but silently the following sound combination - PT. Repeat several times with breaks of 3 to 5 seconds.

Exercise No. 3. Repeat the sound combination PT many times in a row. After each repetition, quickly catch your breath and continue the exercise. Repeat the exercise with combinations PC and TK.

Exercise No. 4. Say the following sound combinations several times:PT, TK, PC, KP, TP, CT.

When the paired harmonies are sufficiently polished, begin training the triple combination:PTK, TPK, KPT, PKT, TKP, KTP.

Do the work without voice participation,and only after achieving a clear pronunciation of all consonants, add vowels to the training.

Say the following combinationswith voice participation:

PTI – PTE – PTA – PTO – PTU – PTU

TPI – TPE – TPA – TPO – TPU – TPU

TKI – TKE – TKA – TKO – TKU – TKY

KPI – KPI – KPA – KPO – KPU – KPI

PKI – PKE – PKA – PKO – PKU – PKY

KTI – KTE – KTA – KTO – KTU – KTY

Exercise No. 5. Say the following sound combinations.

KPTI – KPTE – KPTA – KPTO – KPTU – KPTY

PKTI – PKTE – PKTA – PKTO – PKTU – PKTY

TPKI – TPKE – TPKA – TPKO – TPKU – TPKY

Exercise No. 6. Carry out a similar training and pronounce the following sound combinations. Achieve their sonority and sonority.

BD, DB, DG, GD, GBD, BDG, DBG

Group voiceless consonants with voiced ones, for example:

PB – BP, CG – GK, TD – DT, TPK – DBG.

Exercise No. 7. Say the following sound combinations.

FS, SF, SSh, ShS, FSh, ShF, SShF, FSS, ShFS

SSH – SSH – USA – SSH – SSH – SSH;

ShSI – ShSE – ShSA – ShSO – ShSU – ShSY;

FSI – FSE – FSA – FSO – FSU – FSY;

ShFI – ShFE – ShFA – ShFO – ShFU – ShFY;

SSHFI - SSHFE - SSHFA - SSHFO - SSHFU - SSHFA;

VZI – VZE – VZA – VZO – VZU – VZY;

ZZHI – ZZHE – ZZHA – ZZHO – ZZHU – ZZHI;

VZZH - VZZH - VZZHA - VZZH - VZZHU - VZZHI

You can train sounds in the same way“C”, “H”, “W”, “R”, “L” etc.

WORK ON VOWELS.

Exercise No. 1.

Say a group of basic vowel sounds together several times, listen carefully to their sound. Say the sounds individually, pausing after each sound. Listen to the quality of their sound. What color can they be?

I – E – A – O – U – Y

YI – YE – YA – YO – YU – YI

Exercise No. 2.

Watch for the correct sound of each vowel in combinations:

II IE IA IO IU IY

EI EE EA EO EU EE

AI AE AA AO AU AY

OI OE OA OO OU OU

UI UE UA OU OU OUY

YI YE YA YO YU YI

Repeat each sound combination three times:

AIO – AIO – AIO; EIU – EIU – EIU; UAI - UAI - UAI;

OYY - OYY - OYY; AOI - AOI - AOI; OEA – OEA – OEA;

UAE – UAE – UAE; YIO – YIO – YIO; EUY – EUY – EUY;

Exercise No. 3. Pronounce iotated vowels in the following combinations:

HER HER HER HER

YAY YAY YAY YAY

YOYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY

Yue Yuya Yue Yuyu

HER – HER – HER; YAYO – YAYO – YAYO; YOYU – YOYU – YOYU; YE – YE – YE.

YE – YE – YE; HER – HER – HER; YuYa – YuYa – YuYa; YAYO – YAYO – YAYO;

YOYA – YOYA – YOYA; HER – HER – HER; Yuyo – Yuyo – Yuyo; YAY – YAY – YAY.

Exercise No. 4. Pronounce the following combinations of vowels together in one breath with emphasis on the first sound, then on the second, third, etc.:

AND EAOUY; I E AOUY; IE A OUY; IEA O UY; IEAO U Y; IEAOUY.

Take your breath at the punctuation mark.

Exercise No. 5. Say the following combination of sounds with the emphasis on the first vowel.

ABOUT IOOOOOOOO

ABOUT EOOOOOOOOOO

ABOUT AOOOOOOOOOO

Oh yoooooooooooo

Repeat the exercise by placing the vowels of the scale between two"U".

UUUIUUIUUIU

UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUW

U AWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW

UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU

FUN EXERCISES

1. “Adjuster”

Have you ever seen how a musical instrument tuner works? The tuner listens carefully to the instrument, detecting the slightest changes in sound. Pronounce smoothly and silently the vowel sounds:

I – E – A – O – U – Y

Become the tuner of your articulatory apparatus. Watch his work carefully.

2. "Mask"

“Mask” is usually called that part of the face that is covered with masquerade glasses at carnivals. It is in this part of the face that there are many nerve endings that have contact with the vocal cords. We must learn to direct all vowel sounds into this very mask. Say the following sounds smoothly and slowly:

MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM

NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN

Pay close attention to your own muscle sensations. Repeat the exercise several times. After this, pronounce the vowels:

I – E – A – O – U – Y

3. "Into space"

Say in a drawn-out whisper:

MMIM – MMEM – MMAM – MMOM – MMUM – MMAM, then

I – E – A – O – U – S.

In order for the vowel to fall into the “mask,” imagine that the sound, once under the tongue, does not linger there, but rushes vertically to infinity. The warm breath coming out vertically seems to warm our head.Find that feeling.The longer the vowel sounds, the less air remains, the higher it should rise. Let's learn to find this “cosmic position” for each vowel sound. Mentally force each sound to rush above your head, above the ceiling, above the roof, above the sky...

4. "Masseur"

Direct the sound into the “mask”, “into space” - pronounce a drawn-out sound with your voice"M". Massage the soft palate, hard palate, and nasal cavity alternately with this sound. In the “mask” and even in the parietal area of ​​the skull, find a feeling of pleasant vibration, trembling, some kind of tickling. Add the vowel “I” to the sound “M”. At the same time, the lips part for a moment.

Repeat this line three times. Now do the same with the rest of the vowel sounds.

I – E – A – O – U – S.

5. Exercise – game “Help”

Imagine two friends doing homework together. One solved the problem, the other did not. He asks a friend to copy it. Only instead of words he makes sounds.

MMMI - MMMI - MMMI - MMMI - MMM.

And the one who solved the problem tells him: “Decide for yourself, there is no need to be lazy.”

MMMI - MMMI - MMMI - MMMI - MMM.

Like this, come up with a dialogue next. Pronounce all vowels together"M" in order. Try to pronounce the sound phrase, opening your mouth slightly on vowels. With such a unity, the consonant"M" will help vowel sounds reach the “mask”.

6. “Radio communication session”

The radio operator transmits the line:

MMMI - MMMI - MMMI - MMMI - MMM.

The second radio operator replies that he hears him well and is ready to receive the message.

MMMI - MMMI - MMMI - MMMI - MMM.

The first radio operator begins to transmit the message line by line. The second radio operator repeats each line, confirming that he has received the message.

MMME – MMME – MMME – MMME – MMM.

MMMA - MMMA - MMMA - MMMA - MMM.

MMMO - MMMO - MMMO - MMMO - MMM.

MMMU - MMMU - MMMU - MMMU - MMM.

7. "Meet Your Friends"

Imagine that you are listing the girls and boys who are in your class. You use stressed vowels to name their names.

Connect the sounds “M”, “L”, “N” with vowels “I”, “E”, “A”, “O”, “U”, “Y”.

MMMI - MMME - MMMA - MMMO - MMMU - MMMY.

Place the emphasis on each vowel in turn.