2. Not unclear
http://www.vspu.ru/~axiology/vik/status12.htm
3. Article http://www.philol.msu.ru/rus/gorn/arso/zlat2.htm
L.V. Zlatoustova, E.I. Galyashina
Recognition of individual and group acoustic-perceptual characteristics of a speaker from sounding speech
Prerequisites for recognizing the speech characteristics of a speaker.
In applied speech research with the aim of assessing the individual and group personality properties of the speaker that are relevant for speech recognition, the main problem to date is still the development of reliable methods for identifying and diagnosing the speaker.
For forensic applications of the study of sounding speech, the problems of establishing the identity of a speaking person from sound recordings of sounding speech are relevant. IN Lately It became obvious that the “recognizability” of a voice in the everyday sense is not enough for reliable and reliable identification of a person. There is a fairly high probability of falsification, forgery of a sound recording, when instead of the voice of one person, it may record the sounding speech of a completely different person with similar voice qualities.
An indispensable condition for recognizing a speaker from spoken speech is the presence of comparative images or reference recordings of voice and speech. Moreover, the success of recognition largely depends on the degree of comparability of the compared speech objects.
However, often the person whose voice is recorded on the tape is unknown and needs to be found. Therefore, to limit and narrow the circle of persons being tested, group identification is carried out on the basis of a diagnostic psycholinguistic study of recorded oral text. The first task facing experts is to determine the categorical properties of the speaker’s personality (education, sphere of professional interests, regional dialect, etc.), so that in the future, when the circle of suspected persons is determined, it would be possible to obtain their comparative samples of voice and speech for further identification or verification of the speaker.
Here it is necessary to make a small digression. The fact is that the specificity of applied speech research in relation to the tasks of criminology, unlike others, is largely determined by the methodology of criminology and forensic examination, which largely determines the degree of complexity of speech research.
Forensic identification (Latin - identifico, I identify) is the process (and at the same time the method and goal of cognition) of establishing the identity of an object or person based on a set of general and particular characteristics. The modern theory of identification, as is known, is based on the principle of the individuality of objects, their relative immutability, and the possibility of identifying their characterizing general and particular features. The combination of these features makes it possible to identify an object.
In contrast to identification, forensic diagnostics is a private method of cognition that allows one to gain an idea of the mechanism of a criminal action based on its reflection in objects of the material world. Diagnostics establishes a factual circumstance on the basis of the material objects themselves, their traces, other displays accompanying the commission of a crime, by examining the properties of the object, displays of the object, correlations of facts, etc., that is, it establishes all types of connections between objects. The theoretical basis of diagnostics is the fundamental possibility of knowing events and phenomena of objects by their reflections.
In connection with the above reasons, in relation to applied research of sounding speech related to speech recognition and voice diagnostics, the priority becomes the establishment of a correlation between the parameters of the speech signal and the classification characteristics of the speaker (his belonging to various age, social, professional and dialect groups) as reflected in his speech signal to linguistic features.
The difficulties of diagnostic and identification research of a speaker’s speech characteristics lie in the fact that the expert has to work with a large variety of speech realizations determined by extralinguistic factors. To date, there are no automatic speech recognition systems based on the Russian language that are at all acceptable in terms of reliability and reliability. In real forensic practice, it is not yet possible to achieve 100% correct text-independent speaker identification using the most modern mathematical apparatus.
Two approaches are used to solve the problem of speaker recognition from a speech signal - text-independent and text-dependent. Text-independent identification is based on algorithmic analysis of the speech signal and mathematical methods for its parametric description.
Without going into details, we can state that the effectiveness of such automatic systems is extremely low, since there are no universal parameters describing speech that are resistant to noise and distortion, to imitation and conscious disguise by the speaker. In addition, the variability of the speech signal within the language system is quite high and depends on many interrelated factors that are not always amenable to formal description.
That is, the difficulties in creating automatic speech systems are largely related to the complexity and specificity of the object under study itself - sounding speech. But recognition tasks can be of absolutely different complexity, from the minimum - separation of voices by differential features, verification of speakers on a finite set in the presence of known standards, to the maximum - identification on an open set in an unlimited space of determining factors.
In order to obtain in practice a reliable decision about the identity or difference of speakers based on the phonograms of their speech, a different approach can be used to narrow the range of factors under consideration and reduce the complexity of the task. This is possible in cases where it is known that the circle of identifiable persons is limited. For example, it is necessary to attribute replicas in a polylogue according to the speaker’s affiliation in conditions of masking speech signals with various interference and noise. In such a task, the decision to differentiate remarks according to the participants in the conversation is achieved by identifying one or two classification features that demonstrate the speaker’s belonging to different societies or dialect groups.
Suppose we know that the set of speakers whose speech is recorded on a phonogram is finite. The speech of one participant in the conversation is normative, the speech of another shows residual dialectal phenomena of Southern Great Russian origin, and the speech of the third (with full compliance with the lexical and grammatical norms) is characterized by a specific timbre vernacular coloring. The presence of such classification features makes it possible to differentiate speakers and attribute replicas with the same characteristics according to their affiliation.
An urgent problem in applied research of spoken speech is the possibility of differentiating features that demonstrate that an oral text belongs to a specific functional style, from those that indicate that the speaker belongs to certain social or regional groups of native speakers of the Russian language, as well as purely individual speech preferences, speech habits, and skills and speaker skills. Here, the sounding speech simultaneously acts as an object of the actual acoustic, linguistic, socio- and psycho-diagnostic and identification research. Isolation of features characterizing the functional style of speech, a group of people or a specific individual is the subject of a separate applied direction in the study of spoken speech.
At the same time, linguistic, social, territorial-dialectal, psycho-physiological and individual characteristics of the speaker are inherent in every linguistic personality and are manifested to one degree or another in every speech act, which makes it possible to identify and classify them.
In order to solve the problem of recognizing a speaker by speech, parameters are isolated from the sounding speech stream that are a reflection of the individual properties of the speaker.
It should be noted that two or more recordings of spoken speech are usually submitted for research. One recording is the so-called controversial phonogram of the voice and speech of an unknown (identified) person. Such a recording appears as material evidence. To confirm that the recorded speech belongs to a specific suspect, comparative samples are taken from him. These patterns act as an identifying object. Samples of the sounding speech of a suspected person for comparative research must have the property of undoubted origin from a specific object, and also be characterized by comparable linguistic and extralinguistic features that allow comparison with identifiable objects.
When selecting comparative samples, it is often repeated typical mistakes, making it difficult or impossible to identify the speaker. Investigators usually suggest reading a journalistic (newspaper, magazine) or artistic written text while the speaker’s spontaneous or quasi-spontaneous speech is recorded on the controversial phonogram.
To successfully solve the identification problem, the compared speech implementations must be close. When identifying a speaker, a pairwise comparison of two or more people is made according to the sounding speech, that is, indirectly through their acoustic and auditory representation in the form of two parameter vectors isolated from the compared fragments of the sounding text. Whereas during diagnosis, a comparison and classification of a selected vector of speech parameters is carried out with some abstract knowledge about a group or class of people united by a given characteristic, for example, a territorial dialect. In both cases, in the process of studying spoken speech, complexes of signs are identified, which are classified and ranked according to the type of their origin, indicating membership in a group or class of people. The individual-specific identity of a speaker on an open set can be established in the case when the set of selected features is unique, that is, the desired group turns out to be equal to the individual. Group identification limits the circle of people who have common speech characteristics.
Thus, recognition of an individual or group of persons, united by one or another characteristic, by a set of speech parameters is determined by a number of objective linguistic and extralinguistic factors.
When solving real expert problems in practice, one has to deal with those controversial phonograms that are submitted for research, regardless of the situations and circumstances in which they were recorded. To ensure maximum comparability and ensure reliable individual-specific or group identification, it is necessary that the comparative samples of sounding speech, as already mentioned, be comparable to the controversial phonogram in the form of presentation of the speech material. We emphasize that it is extremely undesirable to present a sound recording in the form of reading for comparison with spontaneous speech implementation.
The system of prosodic units is common to all types of functional styles of sounding speech (including syllables, rhythmic structures of phonetic words, syntagms and their rhythmic models, phrases, phonoparagraphs), but their distribution, frequency and probability of occurrence are specific to different functional styles of sounding speech (Zlatoustova L .V., 1993).
The fact is that the combinatorics of lexical and grammatical units of different functional styles largely determines the choice of units of the prosodic level. For example, a speaker reads a text in a completely different manner than he spontaneously speaks, using different syntactic, lexical and prosodic models when retelling or voicing a written text.
The mechanism of the process of generating sounding speech and the speech strategy of the speaker changes (sometimes very significantly) depending on the functional style of speech, the specific characteristics of which mainly depend on the situation, target setting and communicative intention, even within the framework of the implementation of one text. At the same time, within the same situation, with a change in the communicative task and motivation, one can encounter heterogeneity of speech strategies and ways of expressing them in different functional styles.
In actual practice, most often, sound recordings of spontaneous oral texts are presented as so-called controversial speech material, and sound recordings of interrogations with an investigator in the form of short or detailed answers to pre-formulated written questions or in the form of reading a written text are used as comparative samples.
Therefore, in order to obtain reliable results of a comparative study of speech implementations, it is necessary to determine the linguistic means, extralinguistic conditions and communicative attitude of the speaker, which form different types of functional styles.
Qualification of functional styles sound text.
First of all, let us consider the factors constituting the functional styles of Russian sounding speech. It should be noted that this problem still does not have an unambiguous interpretation among linguists. The problem of qualifying the spontaneity/preparedness of the speaker's responses when answering the investigator's questions during the interrogation requires additional consideration. Functional style a response brought to the point of automatism on a close and familiar topic can be defined as a quasi-spontaneous style, taking into account possible deliberation. Given a certain situation, target setting and motivation, in the event of an unexpected question, the speech of the interrogated can be qualified as spontaneous. It is clear that the specific design of spontaneous speech on phonetic, semantic-syntactic and lexical-semantic polar characteristics distinguishes spontaneous speech from reading a written text. These differences are essential for solving applied speaker recognition problems.
Obviously, in order to distinguish the specific characteristics of the design of various functional styles from the individual stylistic manner of implementation of sounding speech by a specific individual, it is necessary to distinguish between the types of functional styles according to qualification criteria.
To assess and identify qualifying characteristics of spontaneous speech texts on various topics, an analysis of sound recordings submitted to the authors for examination in criminal and civil cases was carried out. At the same time, the sound recordings contained monologue and dialogic texts on the topic of stories about various events and circumstances, including those related to the commission of various crimes, conversations on business topics, discussions of various everyday problems, reports and speeches at meetings, reports on work done or the state of affairs V various organizations and formations, instructions, instructions and orders, as well as detailed motivated complaints, requests and statements, reading interrogation reports, frank confessions, testimony during interrogations at a court hearing, during investigative actions during the preliminary investigation (testimonies at the scene of an incident, at a confrontation etc.).
According to the nature of the emotions expressed, the sound recordings contained texts with a neutral, emotionally excited and emotionally suppressed coloring.
Analysis of the entire array of spoken texts (about 80 hours of sounding phonograms of oral text) showed that educated Russian speakers with high linguistic competence, while maintaining their own individual speech preferences, skills and abilities, exhibit common features characteristic of a certain style of speech. At the same time, dialectal and vernacular spheres of speech communication were marked due to the specifics of the speech implementation itself.
Thus, it turned out to be possible to identify functional qualification features and compare them with the typology of forms of sounding texts based on the analysis and methods of their formation and implementation (Zlatoustova L.V., 1993). As a result, it was possible to qualify the texts into the following categories:
1. Reading a written and thoughtful text (monologue, dialogue and polylogue)
1.1. Reading “your” written text.
1.2. Reading "other people's" written text.
2. Retelling a written or read written text.
2.1. Retelling “your” written text.
2.2. Retelling of “alien” written text.
2.3. Reproduction of prompted speech.
3. A prepared text, but not formed into a complete written text, written in the form of an outline, thesis or plan (for example, a lecture, report, speech, report).
4. Quasi-spontaneous, prepared (thought out), but not written text (for example, answers during interrogation by an investigator or in court, answers in an exam, speech at a rally, at a meeting).
5. Spontaneous (unprepared text).
As you can see, the main features that distinguish these types of texts are the presence/absence of a written analogue, the sign of “one’s own”/“alien” for reading and retelling, the sign of “preparedness”/“unpreparedness” of the spoken text. These sounding texts also differ in their prosodic ways of expressing modal and emotional meanings.
It should be noted that the basis for the differentiation of functional styles and their rubrication is the communicative attitude of the speaker, including linguistic and extralinguistic factors.
That is, four forms of realization of a sound text can be distinguished: 1) voicing a written text, in the form of reading or reproduction from memory, 2) oral presentation of a prepared text, 3) generation of a quasi-spontaneous sound text, and 4) production of a spontaneous oral text.
The generation of an oral text in the form of a presentation of a prepared text, the generation of a quasi-spontaneous text, and especially the production of spontaneous sounding speech is fundamentally different from reading or reproducing a written text from memory in the specifics of prosodic and grammatical design.
Wherein comparative analysis sounding texts of various functional styles showed that for the task of recognizing individual and group personality traits, spontaneously generated oral texts are the most representative and representative, since they most fully and systematically manifest the speech skills and habits of the speaker, as well as signs that remain outside the conscious control during speech production, the so-called residual dialect or foreign language manifestations.
Moreover, spontaneous text contains to the maximum extent signs of the psycho-physiological properties of human speech characteristics. Especially indicators of short-term and long-term memory, need-motivational conditions for the implementation of speech. Spontaneity as a differential feature is manifested in the prosodic and melodic design of the sounding text. Features of spontaneity of speech increase under conditions of limited time for preparation or thinking (simultaneous thinking and generation) within the framework of short-term memory, the volume of which is determined by the individual psychophysiological properties of the person.
This factor determines the universal specificity of the prosodic and melodic design of phrases and phonoparagraphs in the form of stringing syntagmas of the same type of melodic formation, syntagmas ending with an even or slight rise in movement (models of incompleteness or non-finite completion). Another universal characteristic of spontaneous and quasi-spontaneous speech is the presence of speech glitches and hesitation pauses (uncertainty, choice of lexeme or syntactic model). It should be noted that the quantity and quality of hesitation pauses depends on a number of conditions (speech skills in public speaking, the size of the audience, the complexity of the topic being discussed, the degree of familiarity of the speaker with the subject of speech, etc.). So, for example, if a person has average speech skills, there is a significantly greater number of speech failures, a smaller number of complicated syntactic structures, and a reduction in the types of subordinate constructions (attributive and additional). At the same time, the share of non-union proposals with an increase in the number of subordinate clauses, with subordinating conjunctions or allied words, but the number of hesitation pauses filled with lexical or sound elements increases. With a high degree of development of public speaking skills, pauses have an average statistical time, typical for the fragments under consideration.
It should be noted here that within the same functional style there can be different phonetic styles. Phonetic style according to L.V. Shcherba (1974) may be complete or incomplete (spoken). In real spoken speech, a complete style of pronunciation reflecting the “ideal phonetic composition of a word” practically does not occur, we would add, with rare exceptions. Thus, the full style of pronunciation can be found in chanting, when modal constructions are used that express the speaker’s attitude, and the goal is to fix the listener’s attention on some fact or action. Such statements can be found when there is a motivation to influence the listener, for example, in the speech of educators, teachers, educators. For example, there is an exaggerated, syllable-by-syllable pronunciation of modal constructions with stretching of vowels in unstressed syllables:
"Repeat - this device is called a-riff-meter."
Another example is declamation - a public speech by a politician in front of television cameras, when each syntagma is equal to one or two phonetic words with a pronounced phrasal emphasis, forcing the listener to comprehend each word spoken.
For example,
"Not like that - sit down - change seats"
This manner of speech is characteristic, for example, of liturgical preaching with the intention of influencing the listeners. In this case, a similar structure of syntagmas in one or two phonetic words is noted. Here it must be said that such a speaker’s manner of speech, brought to the point of automatism, also manifests itself in unexpected situations, for example, even during interrogation by an investigator, which is one of the criteria for the degree of expression of individual speech characteristics.
However, in all varieties of functional style, the sounding speech has heterogeneity in terms of the ratio of complete and incomplete pronunciation style.
Thus, spontaneous speech has a greater proportion of incomplete pronunciation style than reading. In spontaneous speech, the speaker has to the greatest extent Favorite speech patterns emerge. Whereas when reading, the implementation of units at the segmental and supersegmental levels is greatly influenced by graphics, reading technique, the speaker’s familiarity with the text, quality of vision, illumination and other extralinguistic factors.
In different communicative situations, the form of implementation of the spoken text is influenced by a significant number of extralinguistic moments, such as the relationship between the speaker and the listener, the presence of a time limit factor, the external environment, etc. Possessing an inventory of lexemes and syntactic structures, a speaker in a spontaneous form of speech is able to generate an unlimited number of speech utterances that are recognized by the listener.
Thus, within the sound recording of the same sounding text, based on the communicative intention and the extralinguistic situation of interrogation, the speaker can produce different forms of speech. He may be asked to read a written text, he may answer a variety of both expected and unexpected questions, give pre-meditated testimony agreed upon with the lawyer, etc. and so on.
It should be noted that units of the lexical and grammatical levels are fixed as units of language and are used logically and consistently, if a person speaks the language in which verbal communication is carried out. It is also necessary to keep in mind the possible intentional distortion of an individual manner of speech, when the speaker, due to certain conditions and circumstances, wants to create the impression of a different stylistic manner or a different style of speech, different from his inherent manner. Moreover, lexical and grammatical elements are primarily subject to change.
For example, the use of gerunds is not characteristic of spontaneous speech. However, sometimes, operating with a small stock of syntactic models, the speaker uses a significant number of gerunds to create the perception of fluency of speech, or to disguise his inherent manner of speech. Such situations are not uncommon when selecting comparative samples, when the speaker consciously controls his statements, avoids using his “favorite” words and expressions, uses neutral frequency vocabulary, stringing together standard syntactic structures and grammatical forms.
For the spontaneous form of spoken speech, it is typical to “string” the most frequently encountered prosodic and melodic models. In reality, there are quite a lot of prosodic models, but their implementation can be limited by the dialogic form of speech, where prosodic parameters are determined by questions and answers. This is due to the fact that the syntactic structure of a spontaneous sounding text has its own specifics, expressed in a reduction in the types of syntactic models of utterances and a reduction in the number of complicated constructions.
In melodic design, spontaneous texts are also linked into a single whole through the sequential stringing of similar rhythmic-melodic schemes of syntagmas. The most common are models of non-finite completion and models of weak incompleteness with an even movement of tone or a slight rise in melody on the syntagma completer.
In specific tasks of recognizing individual and group characteristics of a speaker, spontaneous and quasi-spontaneous oral texts are realized in a variety of prosodemes, phrasal accents and individual characteristics of the implementation of units of all language levels within the broad literary norm. At the same time, the very specificity of the spontaneous and quasi-spontaneous form of speech dictates a special form of realization of the final goal in the form of disclosing the topic of the message in blocks of short-term memory units, which is accordingly marked by signals of incompleteness of the speech generation process.
Thus, when determining the strategy and tactics of the entire speech research, it is necessary to take into account linguistic and extralinguistic factors.
One more remark should be made here. In the vernacular and dialectal spheres of speech communication, sociodialectal and regional manifestations at the lexical and grammatical levels, as a rule, are more pronounced and can be determined due to the markedness of the speech itself. Sometimes, when classifying the categorical properties of a speaker, a detailed phonetic analysis of the sounding text, replete with the expressed use of stylistically marked lexemes and syntactic structures (jargonisms, professionalisms and dialectisms), directly indicating the professional or social affiliation of the speaker, is not required. Provided, of course, that possible mimicry or deliberate disguise is excluded, which should always be kept in mind in forensic applications.
“The speech is both vital and natural in Hamlet, and not vital and not natural in Chatsky.”
A. I. Yuzhin.
Actor's voice - final stage before the viewer's perception of the text. Barthes called the voice "the intimate signature of the actor." The pitch, timbre, and color of the voice allow you to immediately identify the character. And at the same time, they directly, through direct and sensory influence, influence the viewer’s perception of it.
When Artaud describes his “theater of cruelty,” he is really only describing the process of text in the theater: “The sounding is constant: sounds, noises, screams are sought first of all for their vibrational quality, and only then for what they represent... Words taken in the sense of a truly magical spell - for the sake of their form, their sensual emanations, and not only for the sake of their meaning."
It allows you to individualize the character, since each person's speech is individual. Thus, the actor’s vocal characteristics, the characteristics of his speech, merge with the characteristics of the character’s speech. The actor's voice is transmitted to the character and merges with him.
The character’s speech reflects the psychological, intellectual, emotional, and social parameters of the individual. Speech also carries an important informative function. Therefore, when analyzing a character’s personality, one should not lose sight of his speech characteristics.
Scheme of the character's speech characteristics.
Manner of speaking.
Favorite figures of speech.
Lexicon.
Accent (articulatory features).
11. External characteristics of the role.
"The purpose of our art is not only the creation of life human spirit"role, but also its external transmission in artistic form."
K. S. Stanislavsky.
A specific component of the actor's art is pantomime, i.e. the art of movements of the human body (pantomime), as well as hands (gestures) and faces (facial expressions). All this together is often called gestures in in a broad sense words (in a narrow sense, gesture - movement of human hands). In a number of cases, a person’s physical movements act as conventional signs, similar to words (gestural “yes” and “no”, a finger at the lips - a sign of silence, the language of the deaf and dumb). These are a kind of gestural concepts. Many of them go back to rituals (bow, handshake).
In its directly expressive function, gesture is very deeply rooted in human life. Gesticulation is primary in relation to speech activity; it has deep biological roots and reveals the most organically rooted human states. “From a person’s conversations, one can conclude what he wants to appear to be, but one must try to guess what he really is from his facial expressions that accompany his words, or from his gestures, that is, from his involuntary movements,” noted Schiller.
Gesture as a message is much poorer than speech, but it surpasses it in some expressive capabilities, especially where it concerns the emotional sphere.
The characteristic way of holding oneself, using one's body and taking positions in relation to the "other" is called guest(from Latin gestus - gesture).
A gest should be separated from a purely individual gesture (scratching, sneezing, etc.). " We call the sphere defined by the positions that various characters occupy in relation to each other the sphere of gesture. Posture, speech and facial expressions are determined by one or another socially significant gesture. Characters can scold each other, praise, teach, etc."- wrote Bertolt Brecht, who coined this term.
Guest consists of simple movement one person in relation to another, from the manner of behaving in a social or corporate sense. Any stage action presupposes a certain position, a certain way of action of the protagonists among themselves and within society - this is a social gest.
The main gest of the play is the main type of relationship that regulates social behavior (servility, equality, violence, cunning, etc.). Gest is between action and character. As an action, it shows a character involved in society; as a character, it constitutes a set of character traits characteristic of a given character.
It is felt both in the physical actions of the actor and in the verbal expression. Text and music can be considered sign language when they present a rhythm that matches the meaning of what they are saying. For example: the uneven, syncopated gest of Brecht's son, reflecting the image of a contradictory and inharmonious world.
There are both gestural and facial dialogues (there are quite a few of them, for example, in the novels of Leo Tolstoy) and gestural and facial monologues. At the same time, the latter constitute the predominant sphere of visible behavior. Gesture, unlike speech, is primarily monological. Monologues revealed to the eye (as opposed to speech) are impulsive and instantaneous. Marcel Marceau was right when he said that where verbal theater requires two hours, pantomime is limited to two minutes.
Unlike the European theater, synthetic forms have always prevailed in the theatrical cultures of the East, in which movement dominated, along with music, and the verbal series, as a rule, was dependent and occupied a secondary place.
In European theater, the word has traditionally dominated. However... “The very essence of true art is based on silent scenes. From them one can best judge how well the actor managed to get used to the chosen character... The best measure of an actor’s ability is his ability to listen,” said the great English actor G. Irving.
“Verbal pronunciation, the so-called richness of intonation, the art of declamation belong to the theater of the 19th century... A modern Ostrovsky would no longer be able to listen to a performance from behind the scenes and determine only by the sounds of a human voice whether it is true, whether it is going well... Modern theater- theater of action. The word is only one of the expressive means of the theater." These words of G. Tovstonogov trace the main change that occurred during the 20th century in the word-gesture tandem.
Today, the main thing in an actor’s work is the creation of an original intonation and gesture pattern for the role. Therefore, the attitudes are one-sided, on the one hand, to the external unrecognizability of the actor, in which the central “problems” become a costume, wig, makeup, etc., and, on the other, to personal self-expression, the so-called “confession.”
"There are, apparently, two directly opposite ways in the profession of an actor. The first is to show the beauty of Juliet with the help of your hands, your legs, your eyes, your heart. The second is to show the beauty of your hands, your legs, your eyes, with the help of Juliet. your heart is selling yourself, this is prostitution in art... Gradually, this self-showing will completely corrode the actor’s talent, even if he had it.” (S. Obraztsov).
Mikhail Chekhov said that when working on a role, two processes are important: the actor, firstly, adapts “the image of the role to himself,” and secondly, “himself to the image of the role.” Both processes find their expression primarily not in words, but in physical action.
“The more brilliant the actor, the less he... pays attention to the work he plays, and high point theatrical tension often turns out to be a silent scene, which the author did not foresee even in the stage directions." (A. Blok).
Therefore, along with speech characteristics, it is necessary to determine the gestural and external specifics of the role, that part of it that significantly influences the behavior, actions, and character of the character. It is essential that Lear is an old man, Othello is a black man, Lenin, like Napoleon, has the habit of putting his hands behind the cuffs of his jacket, and Panikovsky is limping.
One of the methods that allows you to most accurately express external characteristics role is biomechanics.
Biomechanics is a branch of biophysics that studies the properties of an organism. Sun. Meyerhold used this term to describe a system of physical training for an actor, the main goal of which is the immediate fulfillment by the actor of tasks received from the outside (from the director) to realize the external image of the role.
"Since the task of an actor's performance is the implementation of a specific task, he is required to save expressive means, which guarantees the accuracy of movements that contribute to the speedy implementation of the task." (Vs. Meyerhold).
Biomechanical exercises prepare the actor to encode gestures in certain positions-poses that maximally concentrate the illusion of movement, the expressiveness of body movements, the gestus of which is achieved in accordance with the passage of three stages of the game cycle (intention, implementation, reaction-evaluation).
Biomechanics is based on the fact that a gesture can have both a reflexive and a conscious basis.
In a person’s tendency towards sparing gestures or towards their abundance, in the selection of gestures he uses, to some extent his upbringing, habits, temperament, state of mind V this moment and ultimately his character.
Gesture is inseparable from thought, as intention is from implementation, idea from illustration. "The starting point of these plastic forms will be their stimulation and discovery of the original human reactions. The end result is a living form with its own logic." (E. Grotovsky).
A gesture is a hieroglyphic image that can be deciphered. “Any movement is a hieroglyph with its own, special meaning. The theater should use only those movements that can be instantly deciphered: everything else is unnecessary,” noted Vsevolod Meyerhold.
Deciphering a hieroglyph gesture is not particularly difficult, given the features of the typology of the gesture. Gestures are:
1. Innate gestures.
2. Aesthetic gestures, worked out to create a work of art.
3. Conventional gestures expressing a message that is understandable to both the transmitter and the recipient.
In addition, gestures are divided into imitative and original.
Imitating gesture- this is a gesture of an actor embodying a character in a realistic (naturalistic) manner by recreating his behavior, his innate and conditioned gestures.
Original gesture occurs when the actor refuses to imitate. Then it represents a hieroglyph that requires decoding. "The actor must no longer use his body to illustrate the movement of the soul; he must perform this movement with the help of his body." (E. Grotovsky).
The gesture also has its own plastic code, which can be deciphered according to several parameters:
· - gesture tension\relaxation;
· - physical and temporal concentration of several gestures;
· -perception of the final goal and orientation of the plastic sequence;
· -aesthetic process of stylization, enlargement, purification, defamiliarization of gesture;
· - establishing a connection between a gesture and a word (accompaniment, addition, substitution).
41 42 43 44 45 46 47 48 49 ..Speech characteristics characters
We only have a few words left to say about the speech characteristics of the characters, but this question does not usually present much difficulty for a practicing teacher. The only thing that should be warned against is the confusion of concepts when analyzing the speech of the characters. Often, the speech characteristics of a character mean the content of his statements, that is, what the character says, what thoughts and judgments he expresses. In fact, the speech characteristics of the character are something completely different. As Gorky wrote, “It’s not always important what they say, but what they say is always important.” The speech characteristics of a character are created precisely by this “how” - the manner of speech, its stylistic coloring, the nature of the vocabulary, the construction of intonation-syntactic structures, etc.
General properties artistic speech
What are the most General characteristics inherent in artistic speech in a particular work? There are six such characteristics - three pairs. Firstly, the speech form of the work can be prose or poetic - this is understandable and does not require comment. Secondly, it can be distinguished by monologism or heteroglossia. Monologism presupposes a single speech style for all the characters in the work, which, as a rule, coincides with the speech style of the narrator. Heterogeneity is the development of different qualities of speech manners, in which the speech world becomes an object artistic image . Monologism as a stylistic principle is associated with an authoritarian point of view on the world, heteroglossia – with attention to understanding of reality, since the different quality of speech manners reflects the different quality of thinking about the world. In heteroglossia, it is advisable to distinguish two varieties: one is associated with the reproduction of speech manners of different characters as mutually isolated (“Who Lives Well in Rus'” by Nekrasov, essays by N. Uspensky, stories by Chekhov, etc.) and the case when speech manners different heroes and the narrator interact in a certain way, “penetrate” each other (novels by Tolstoy, Turgenev and especially Dostoevsky). The last type of heteroglossia in the works of M.M. Bakhtin was called polyphony.
Thirdly, and finally, the speech form of a work can be characterized by nominativity or rhetoric. Nominativity implies an emphasis primarily on accuracy artistic word when using neutral vocabulary, simple syntactic structures, absence of tropes, etc. Rhetoricism, on the contrary, uses a large number of means of lexical expressiveness (high and low vocabulary, archaisms and neologisms, etc.), tropes and syntactic figures: repetitions, antitheses, rhetorical questions and appeals, etc. In nominativity, the focus is first of all on the object of the image; in rhetoric, the word depicting the object is emphasized. In particular, the stylistics of such works as “ Captain's daughter Pushkin, Fathers and Sons by Turgenev, Lady with a Dog by Chekhov. Rhetoricism is observed, for example, in Lermontov’s lyrics, Leskov’s stories, Dostoevsky’s novels, etc.
The considered properties are called speech dominants of the work.
CONTROL QUESTIONS:
1. What lexical means does the writer use for greater expressiveness of artistic speech?
2. Name the trails you know (with examples from fiction). Use one or two examples to show their artistic function.
3. What is syntactic organization and why does it need to be analyzed?
4. What is tempo rhythm work of art? Using one or two examples, show the importance of tempo rhythm for creating a certain emotional picture of a work or its fragment.
5. What is the difference between prose and verse? Name the poetic meters you know in Russian versification.
6. What artistic functions does the character have a speech characteristic?
7. What is storytelling? What is unique about the narrator’s image?
What types of storytelling are there? Why is it necessary to analyze the nature of the narrative and the narrator’s speech style in a work of art?
8. What is the difference between monologism and heteroglossia? What types of heteroglossia do you know and how do they differ from each other?
9. What is the difference between nominativity and rhetoric?
Speech characteristics of the characters. The speech of F. M. Dostoevsky's heroes is more important than the portrait. The very manner of speaking, communicating with each other and pronouncing internal monologues is important. L. N. Tolstoy believed that in F. M. Dostoevsky, all the heroes speak the same language, without conveying their individual emotional experiences. Modern researcher Yu. F. Karyakin argues with this statement. The intensity of passions that is expressed in these disputes leaves no room for cool-headed deliberation. All the characters express the most important, the most intimate, express themselves to the limit, scream in a frenzy or whisper their last confessions in mortal delirium. Yu.F.Karyakin. Raskolnikov's self-deception. Fiction , 1976. 26 pp. What can serve best recommendation sincerity than a state of hysteria when your inner world
? In crisis situations, during a scandal, in the most intense episodes following one after another, Dostoevsky's heroes throw out everything that is boiling in their souls. Not words of convulsions stuck together in a lump V. Mayakovsky.
In the speech of the heroes, always excited, something accidentally slips through that they would most like to hide, to hide from others. This technique used by F. M. Dostoevsky is evidence of his deepest knowledge of human nature. Bonded by associative connections, these hints and reservations bring out everything secret, at first glance inaccessible.
What is interesting to Porfiry Petrovich, a subtle psychologist and criminologist, is that these associative connections are used consciously in a conversation with Raskolnikov. He puts pressure on Raskolnikov’s consciousness, repeating the words government apartment, that is, prison, decide, screw up, making Raskolnikov more and more worried and finally bringing him to the final goal of confession. The words “butt”, “blood”, “crown of the head”, “death” run as a leitmotif throughout the entire novel, through all of Raskolnikov’s conversations with Zametov, Razumikhin and Porfiry Petrovich, creating a special psychological subtext. Psychological subtext is nothing more than a dispersed repetition, all links of which enter into complex relationships with each other, from which their new, deeper meaning is born, says one of the researchers of F. M. Dostoevsky, T. Silman.
Porfiry Petrovich probably thinks so too, he plays with words, forcing Raskolnikov to confess. At this moment, Raskolnikov receives severe moral trauma, his experiences haunt him, and he spills everything out.
Porfiry Petrovich's goal has been achieved. The general psychological mood helps to identify the similarities of the characters. This is what the famous Dostoevsky researcher Toporov says about the problem of duality: we single out Raskolnikov and Svidrigailov, strictly speaking, as a tribute to the habit, in particular, of hypostasis. So, with the help of a whole system of doubles, Dostoevsky’s main character is revealed. The images of Sonya, Dunya, Katerina Ivanovna also intersect according to a number of motives, for example, selflessness is characteristic of all three. At the same time, Katerina Ivanovna highest degree she is also endowed with self-will, and Dunechka is proud, and willful, and sacrificial.
She is almost a direct copy of her brother, Rodion Raskolnikov. This is what mother says about them: I looked at you both, and not so much with your face as with your soul, you are both melancholic, both gloomy and hot-tempered, both arrogant and both generous. One of the methods of characterizing a character also takes place here, one of the ways of penetrating into the inner world of the hero is his characterization by other characters.
But F. M. Dostoevsky’s heroes explain each other not only with the help of speech. Similar characters Dostoevsky gives consonant surnames. Speaking surnames- this is a technique that came from classicism, thanks to which the character of the hero is very accurately given. The names of F. M. Dostoevsky match the portraits. Whole line G. Gachev's chthonic characters are endowed with surnames where the word horn is clearly visible: Stavrogin, Svidrigailov, Rogozhin. These are some demonic attributes of an earthly person.
In the novels of F. M. Dostoevsky, the surnames of the characters, even in their sound composition, already represent characteristics. Marmeladov is internally soft, transparent, his name indicates the water composition - m, n, l predominate - sonorous, sonorous, feminine, wet sounds G. Gachev. This is also an attempt to penetrate into the inner world of the character, but connections between the character and the reader are established on a subconscious level.
F. M. Dostoevsky has no equal in the number and, most importantly, in the virtuosity of using techniques for penetrating into the inner world of his heroes.
End of work -
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Psychologism of Dostoevsky's novel "Crime and Punishment"
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IN last years everything appears more research, in which the linguistic personality in artistic discourse is studied through the artistic image of the character, his individual speech structure, and the discourse is called character-based. One of the first studies carried out under the influence of this approach to the character of a work of art can be considered the work of E.N. Baybulatova [Baibulatova 1998].
Despite the fact that each approach has its own justification and its supporters, it should be noted that the author and the character of a work of fiction cannot be studied in isolation from each other.
The linguistic personalities of the characters in a work of art are studied for a deeper understanding of the artistic component and to study the linguistic personality of the author as well. It is in the system of characters that the author develops his view of the world, the essence of human characters and the patterns of their relationships with each other.
The study of the author's linguistic personality through the prism of the character segment is becoming increasingly widespread. The direct speech of a character is studied as a way of expressing the image of the author [Skibina 1999], the stratification and opposition of the “I” of the author and the “I” of the character is interpreted as a genre-forming marker [Loktionova 1998], the linguistic personality of the writer is studied as a source of speech characteristics of the characters [Menkova 2005], etc. .P.
The emergence of the concept of “speech personality” is due to the fact that the available research material is human speech activity in a situation of real communication. A speech personality is a linguistic personality at the moment of real communication [Krasnykh 2002:22; Maslova 2004:119; Prokhorov 2004:106]. When studying speech personality, it is taken into account a large number of linguistic and extralinguistic parameters: the communicative situation, its goals, the topic of communication, its axiological significance for the participants in communication, the social and age status of the participants, their psychological state. Thus, the concept of speech personality includes social image which a person assumes when communicating with others, depending on the situation.
Traditionally, the linguistic personality of a character is studied on the basis of the totality of the hero’s statements throughout the entire text space. However, some researchers take into account only the character’s direct speech [Treshchalina 1998], while others consider it necessary to take into account improperly direct speech as well [Salmina 2005].
Psychological analysis in a work of art involves various means of representation: direct authorial reflections, introspection of the hero, statements of others about him, as well as actions, gestures, facial expressions, i.e. indirect characteristics. A special place belongs to the hero’s speech and his internal monologues: “The character’s word can become an extremely compressed reflection of his character, experiences, motivations, a kind of focus for the artistic interpretation of the image. But it took a long development, the work of many great artists, so that these possibilities of the word could be realized” [Ginsburg 2009:97].
The character of the character, his internal motives, external circumstances, the situation of the current moment are most often manifested in the dialogic word; it gives an idea of the hero’s properties, analyzes, complements, and often reveals his nature.
Such qualities as narcissism, pride, passion, hypocrisy, coldness of soul, inability and unwillingness to understand another person are often combined in life and in literary text. In novel prose, every word, remark, monologue, dialogue fulfills a complex artistic task: they characterize the hero, his time, environment, his thoughts and experiences, contain information about events relating to the character, develop the plot of the work, introducing additional dynamics into it, and sometimes an unexpected turn. But often the word goes beyond the character of the hero and the plot of the work, and then it carries philosophical generalizations about the life and place of man on earth.
When depicting the hero’s experiences in a dramatic situation (deep excitement, a special mental or physical state - illness, injury, near death), irrational elements can be used in his speech. A similar technique for the most subtle display inner life heroes were often used by L.N. Tolstoy (“War and Peace”, “Anna Karenina”, “Sunday”, as well as his novels and short stories).
The hero's inner speech opens up wide possibilities for analyzing his psychological state: a person “reveals” himself, dreams, admits his weaknesses and mistakes, etc. According to L. Vygotsky, internal speech “is not speech minus sound,” it is a special structure that is characterized by its content and purposefulness [Vygotsky 2009:178].
Studying the linguistic personality of a character is impossible without taking into account the entire paradigm of his speech characteristics, since they are based on the discursive characteristics of the communicant and are the main means of expressing the pragmatic potential of artistic expression. literary work. The presence of speech characteristics of characters is key in creating artistic images both by the author himself and by the reader who subsequently interprets the discourse. The linguistic means chosen and used by the author for the verbal behavior of a character in a work of fiction are the most important for describing the linguistic personality of a literary hero.
The individual component of personality, which is determined by the uniqueness of each linguistic personality, also plays a significant role in the organization and production of utterances. The speech portrait of a character includes the main concepts of the picture of the world reflected in speech, marking the time and space of the hero’s existence, social aspects, his individual manner of expressing his thoughts through certain communicative strategies and their lexical design, etc. Language features the character’s speech and the emotional and expressive coloring contained in the speech parts represent the character’s attitude to the world, his state of mind, give an idea of his attitudes and values, and the goals of the society in which he lives.