배우의 소리 훈련에서 피치 확장이 지니는 의미

Abstract

In a play, words are not to be considered music unlike songs, even though they are melodies shap- ed by pitch. For this reason, the process of developing the actor’s pitch range is considered insignif- icant in voice training. Actors also do not recognize themselves what possibilities they can discover when expanding their pitch and applying it to speech. This paper examines the significance of pitch in the voice under the premise that words are also music. This study suggests the importance of pitch expansion in voice training through actors’ recognizing their familiar pitch range that prevents the dynamic use of pitch in speech. The development of the thesis is as follows. In the “Chapter 2-1. Intonation: the Melody of Words Shaped by Pitch” I suggest that words are also music by examining how pitch, the main ingredient of an accent, affects the actor’s speech. In the “Chapter 2-2. The Images and Emotions of the Line Shaped by Pitch”, I examine the reality of images inherent in words through neuroscience, and present the optimal pitch range that can most effectively convey images of words through the example of Ranevskya’s lines in Anton Chekhov’s Cherry Orchard. In the “Chapter 2-3, “The Limitations of the Comfort Zone’s Familiar Pitch on Speech Delivery”, I look at how actors’ individual comfort zone of voice limits their pitch range, and introduce training to extend the actor’s high and low pitch needed for her playing Ranevskaya. In the process of expanding and utilizing pitch of voice, actors can discover the true meaning and emotions of dialogue. Through this study, I hope that the practice of pitch expansion will be considered more important in existing vocal train- ing that mainly focused on relaxing muscle tension and amplifying resonance of voice.