898 resultados para vocal mimicry


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Introduction: The literature about the work with the voice of actors in the theater focuses the research on organic issues involved in the vocal process as “misuse” or “vocal abuse”. To a lesser amount, there are studies that highlight issues of interpretation and expressive resources, as well as others that highlight the linguistic resources of interpretation. This work shows a linguistic feature – the pause – and its collaboration for the theatrical interpretation. Objective: to verify the extent to which similarities and differences occur between the points judged as occurrence of pauses in interpretations of a theatrical text. Method: Subjects of this study were four theater actors, who played individually a same theatrical text. Later, a group of ten judges judged the points where pauses occurred. Based on a criterion of 70% agreement between judges, were searched similarities and differences between the points judged as pause of each recording. Results: the four subjects showed different amounts of pause in the stretch in common that they interpreted: S1= ten occurrences; S2= 14 occurrences; S3= 6 occurrences; and S4= 9 occurrences. In this inter-subject variation, five points of pause in common were detected. Conclusion: we have seen, then, that this variability (featuring subjectivity in interpretation) is built inside given possibilities, with lesser or greater flexibility, by the structure of the theatrical text.

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The objective of the present study was to identify previous and current vocal symptoms and to verify the behaviors ahead of the symptoms. Moreover, the gotten relations between the professional profile and data had been searched. 78 teachers had participated of the research, being two men and 76 women. Questionnaire was applied. In this questionnaire was elaborated on the basis of previous research and it contained questions on vocal health. The results to indicate that were evidenced one high (48%) frequency of the teachers had makes intense use of the voice at least has ten years. This study it allowed to conclude that it is necessary to modify the focus of interventions directed toward these professionals therefore has some factors in the work routine that intervene with its general and vocal health. Therefore interventions in the individual field are only insufficient to decide the problem.

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We intend to observe the function of a linguistic resource – the pause – in theatrical interpretation. Connected to the field of speech therapy, we search for theoretical support in the Linguistics field, mainly in prosodic phonology – specifically, we highlight intonational phrase and phonological utterance, prosodic constituents –, proposing a dialogue between these fields, regarding the work with actors. In speech therapy literature, the work with actors focuses, centrally, in organic issues involved in the vocal process, such as “misuse” or “voice abuse”. To a smaller extent, we find, in this literature, researches that emphasize issues regarding interpretation and expressive resources, besides a few emphasizing the importance of linguistic resources in interpretation. Differently, in linguistics literature, the pause is approached, to a larger extent, from the phonetic perspective, related to several language levels. In this research, we analyzed audio recordings of four actors from a same theatrical group, acting the theatrical text Brutas flores, focused on these aims: (1) detect the place where pauses happen in the interpretation of a single text by four actors; (2) survey physical characteristics of length of these pauses; (3) check to what extent the length of a pause is related to the place where it happens, regarding the prosodic limits of intonational phrases (I) and phonological utterance (U). We could observe that, although the interpretation is characterized by the subjectivity of the actor, the interpretation is constructed based in the possibilities offered by the prosodic organization of the text itself, being more or less flexible.We were also able to confirm, by considering the length of VVs units containing pauses, the prosodic hierarchy proposed by Nespor & Vogel, once the length of these units in U's limits was significantly higher than the length in I's limits. Thus, our results reinforce the premise that a linguistic structure overlaps the subjectivity of the actor, i. e., the premise that the strength of linguistic structure organization acts on the possible individual operation/style.

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This is a reflexive analysis of the Voice Seminaries at PUC SP, realized between 1993 and 2009. The analysis points out to the involvement of the organizers, talkers and participants with the theme “occupational voice”.Each year, the suggestion of subjects occured methodically, conducted by events and by the direction of the late year seminary, or stimulated by a new proposition. During these years, it was observed the effort made towards a social modification, in this case, a government recognition of the vocal disorder as a desease related to working conditions of determined professional categories which use voice intensily.

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A disfonia espasmódica é um distúrbio vocal grave, caracterizada por espasmos musculares laríngeos durante a fonação, produzindo voz tensa e estrangulada. Atualmente, acredita-se que tenha origem neurológica, mas há evidências que associam suas causas com alterações psicogênicas. O presente estudo visa descrever dois casos diagnosticados como disfonia espasmódica, com manifestações fonoaudiológicas e psicológicas distintas. O estudo descritivo foi realizado por meio de análise dos prontuários, incluindo avaliação otorrinolaringológica, neurológica, avaliação vocal perceptivo-auditiva, análise acústica e Protocolo de Qualidade de Vida e Voz (QVV). Caso 1: sexo feminino, 65 anos, discreta coaptação de bandas ventriculares, fenda fusiforme e intenso tremor laríngeo. Apresentou quadro de alucinação, diagnosticada, posteriormente, como Esquizofrenia. Faz uso de Risperidona e Pondera. Apresentou loudness rebaixado, pitch agravado, rouquidão, hipernasalidade leve, tempo máximo de fonação reduzido, incoordenação pneumofonoarticulátoria e G², R², Bº, Aº, S³. Caso 2: sexo feminino, 68 anos, alteração das pregas vocais e intenso estrangulamento de bandas ventriculares. Sofreu três acidentes vasculares encefálicos (AVE) e, após o primeiro, iniciou-se a rouquidão. Realiza atendimento psicológico, ainda sem diagnóstico fechado. Apresentou loudness rebaixado, pitch agudizado, diplofonia durante a conversação, tempo máximo de fonação reduzido, incoordenação pneumofonoarticulatória e G³, R², Bº, Aº, S³. Os dados demonstraram distintos graus de severidades nas manifestações otorrinolaringológicas e fonoaudiológicas, além de diferentes envolvimentos psicogênicos. O grau de severidade ficou implícito no impacto da voz na qualidade de vida das pacientes estudadas.

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

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Pós-graduação em Música - IA

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