Traditional Culture Encyclopedia - Photography and portraiture - How much is the training of broadcasting host art test?
How much is the training of broadcasting host art test?
If you really want to learn, I hope to practice from now on. There are many things to practice, such as flat tongue, sticking tongue, front nasal sound, back nasal sound and so on. If you want to learn broadcasting host, you can come to this Q group, starting with 829, ending with 704 and ending with 45 1, and you can learn communication here.
The broadcast host is the communicator between the broadcast and the audience, and his broadcasting language expression ability directly affects the broadcast effect and the audience's feeling. Broadcasting is the basic skill of a broadcast host, and broadcasting is a creative art of audio language. Improving one's broadcasting ability and infecting the audience is the lifelong career of the broadcast host.
Five stages of basic training of broadcasting host;
The first stage: practice before making a sound.
The research data show that under normal circumstances, people breathe 16- 19 times per minute, and each breath lasts about 3 or 4 seconds. However, when singing, one breath is sometimes extended for more than ten seconds, and the inhalation time is short and the exhalation time is long. Therefore, we must master the essentials of keeping the breath in the lungs and exhaling slowly, so we must first do:
(1) "Deep Breathing and Slow Breathing Control Extension Exercise".
Its essentials are: first learn to "store gas"; First, press the air to discharge the waste gas, and then use the gap between the nose and the tip of the tongue to smell the flowers; In the same way, naturally breathe gently until you are full, then sink your breath into your abdomen, slowly relax your chest ribs, and exhale slowly like a long stream of water. Breathe evenly, and the longer you control it, the better. Repeat 4-6 times.
(2) "Take a deep breath and call the number slowly".
We call the first step "sucking and pushing". The breath of "sucking and pushing" is inward, and the breath of "pushing" is outward and downward. We do breathing extension exercises when we push. We recommend three training methods:
A. Counting exercise: "Suck" is the same as before. While "pushing", count "123456789 10" softly and quickly, and count it repeatedly in one breath until you are out of breath, and see how many times you can count it repeatedly.
B, "counting dates" exercise: "sucking" is the same as before. "Push" at the same time, softly "out of the east gate and cross the bridge. There is a jujube under the bridge. Take a bamboo pole to beat dates. It is green and red and less (inhaling enough air). One date, two dates, three dates, four dates, five dates ...; Let's see how many dates you can count. Repeat 4-6 times.
C. "Counting the gourd" exercise: "Suction" is the same as before. At the same time of "pushing", whisper: "Golden gourd, silver gourd, one breath is no more than 24 gourds (full breath), one gourd, two gourds, three gourds ..." This kind of breathing is exhausted and repeated for 4-6 times.
Count the numbers, dates and gourds to control the breath, so the more you practice, the more you control it. Never run out of breath. There will be pain in the abdomen at first, and after a period of practice, you will consciously make great progress.
(3) "Deep breathing, slow breathing, long tone practice".
After breath practice, the voice began to join gradually. This exercise is still based on practicing qi, supplemented by vocalization. At the same time, choose a mid-bass area, where boys pronounce "ah" gently (loud voice is consistent with practicing qi) and girls pronounce "yi" (low voice pronounces "yi"). Hold it in one breath, and the sound outlet is cylindrical and wavy, which can be long or long and can be practiced repeatedly.
(4) "breathing exercises".
This is an exercise with half a voice and half a breath. Put your hands in your waist or protect your abdomen, hold your breath from Dantian to frontal pharynx and make a sound at the same time. The sound is mainly low and medium, elastic, and the abdomen and diaphragm pop up at the same time under tensile force. We introduce three exercises:
A, hold your breath, quickly "clap, clap" (repeatedly) in your mouth, and make a "bang, bang" staccato when the sound is almost used up. Repeat 4-6 times.
B, stretch your feet in one breath, first slowly, then quickly pronounce "hahaha (repetition) (acceleration) hahaha, hahaha ..." Practice has explosive staccato, and "hahaha ..." Laughter, "aha" and "ahem" are often used in singing.
C, stretch your feet in one breath, slow down first and then say "hey-rough, hey-rough" (repeat and gradually accelerate) "hey-rough, hey-rough …" until your strength is exhausted, and practice repeatedly.
After this stage of practice, qi is the foundation of sound, qi is the handsome of sound, and it has been basically filled, "the place to accommodate qi"; I am basically excited and active, and my voice has been brewing and protecting. On this basis, I can begin to prepare my voice practice.
The second stage: the practice of qi, sound and words.
Opera actors, especially Beijing opera actors, including opera lovers, are prone to make mistakes in singing. They wish they couldn't shout a loud and bright voice soon, and rushing to shout high notes, fierceness and even wildness often backfired. When we study vocal music practice, it is beneficial to practice the breath first, and we need to make clear a gradual law and persevere. In this third stage, we suggest that we should not rush to climb scales and shout high notes, but practice from the combination of qi, sound and words. The relationship between them should be arranged in this order: qi is sound, sound is cavity, cavity is word, word is word, and word is emotion. As can be seen from this order, the position of the word is in the middle, the sound and cavity are in front, and the word and emotion are in the back. If it crashes, the whole game will be lost. The truthfulness of pronunciation determines the roundness of sound, and it is this principle that "words speak for themselves". The relationship between words, sounds and qi in shouting practice should be that "qi" is fully supported, "sound" is accurately recognized, and "words" are truly bitten.
The specific methods are as follows: enlarge and slow down the prefix, abdomen and suffix with Chinese pinyin, practice pronunciation with Chinese characters, and then speed up, while practicing the flexibility of mouth, lips, teeth, tongue and throat.
The third stage: poetry singing practice.
The purpose of putting poetry in the fourth stage is to practice and tap the sound quality of "generous bass, mellow alto and tough treble", rather than blindly raising and climbing, but to consolidate alto and bass, make their timbre beautiful and pure, keep a good voice and exercise the toughness and elasticity of treble. At this time, chanting and singing are unaccompanied, and singing is more difficult and demanding. In the third stage, you have the spirit, sound and words at the bottom, and you climb up step by step. Your voice is not tired, and your practice is effective and you have a great grasp.
(1), poetry generally chooses fixed-field poetry from all walks of life, because the role has just been played, so as to make the first impression on the audience and make them stop talking and be quiet. Therefore, the poems should be high-pitched, unhurried, self-analysis of the role's own interests and aspirations, strong sense of rhythm, and must be practiced well, suitable for shouting, practicing and practicing. For example, Mi Fei's pastoral poem "Drumming and Cursing Cao" said: "If you talk eloquently, the tip of your tongue is lower than that of the princes. How can a man be a giant and look for a seal with a smile? " Another example is Yue Fei's pastoral poem, "Bright and bright armour shoots people at the bullfighting palace, ethereal flags cover the sun, the tiger is towering against the generals of the Ming government, and the male corrects his pony like a dragon." In the morning when everything wakes up and everything is renewed, you can practice your voice to the fullest.
(2) Singing method: It is more difficult to sing white and recite white, and it is more difficult to sing white and recite white in harmony than to recite poetry. Its emotions are more suitable for expression, and its melody is more suitable for stretching, just for shouting. Half-singing is like an introduction. For example, in the first half of "Cosmic Front", Zhao sang "The cuckoo cries branches, and blood and tears are dark and sad." Another example is Yang's "Cao * (Semi-chanting)", "One hand (chanting) alone in the sky, Miao Rong built early. (semi-chanting) helps Han Zuo to exist in name only, (chanting) Wei will move twice. " Sing directly, such as "Qin Qiong sells horses", "Heroes are trapped in heaven, I don't know when to return home", or "Old, old and childless" in "Qingfeng Pavilion", "Listen to my mother's whining, I must have lost the love of husband and wife for my beautiful child".
(3) Poetry-reciting in Beijing and White (Putonghua): practice memorizing words for modern drama performances, such as reciting "Chairman Mao's Poems" by using the melody of poetry-reciting, and "The sky is high and the clouds are light, and you are not a hero if you don't reach the Great Wall". For example, reading some classic quotations of modern drama, such as "Rice seedlings meet the rain after a long drought, never forget" and "Chiba is bitter", are all good materials for shouting and practicing. Traditional large-scale chanting and some penetrating exercises can also exercise breath and sound at this stage.
The fourth stage: arc aviation acoustics practice.
This is a very unique vocal technique in Beijing opera. It's like jumping in dance, jumping up, squatting down and bouncing up, and also like shot put in sports, turning it up, taking it back and throwing it out. Breath and sound are pushed out to form a parabola, pulled back and thrown out. Ru Wusheng: Ah/cough/; Old student: Ma/Lai/; Draw a face: wine/oh, come/; Ugly: ah/ha/; Tsing Yi: Bitter/Wow/; Allow/ask/
If the double-arc tone is not practiced well, it is very easy to produce "bifurcation", "turn" or "flower". The general points are: good luck-supporting words (decomposing pronunciation like "Chinese Pinyin")-throwing it out-putting it away-throwing it out again, controlling the breath and volume, and choosing the best timbre to complement each other. In particular, the "capacity-nature" chanted by Cheng School seems to be broken and delicate, and it stays at home. Yin Gui Guiyun needs hard practice and mastery.
The fifth stage: climbing scales and practicing difficult notes.
Ga tune, Van Gogh and Gao Qiang are indispensable in singing, which we call difficult tune. Practice this sound in the practice of shouting. Be careful not to practice more. The key is to find a way to find a position. If you shout hard, all the previous exercises will be useless and your voice will be hurt. When practicing this sound, it is forbidden to squeeze, jam, pinch, press, force or hit hard. The old gentleman said, "If you want to sing a word high, you don't have to shout it back (make me cry hard), but if you narrow the word, it will be sharp and deep, and your voice will be high ... When you meet a word high, you will breathe out ... Then the listener will be clear and bright, and the singer will have no trouble." There are tips and methods here, which should be explored and explored according to your actual situation.
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