Gulmarim Ospanova

Master Al-Farabi Kazakh National

University, Kazakhstan

Raikhan Imakhanbet

Candidate of Philological Sciences

Al-Farabi Kazakh National

University, Kazakhstan

The orator and his voice

The public speaker (Latin orare -"to ask", orator - suppliant) - a person who delivers an oration, and also the one who is having an eloquence and owning an oratorical art.

The oratorical art is one of the most valuable skills which help a wide range of listeners beautifully and correctly to carry out their position. Very few people have an innate capacity for such public speech. Those people who mastered the secrets of oratorical skills, have all chances to become an interesting personality and attain stunning success practically with any sphere, be that business, politics, art and etc.

A little baby makes a loud wordless cry to attract attention about him without hesitating. Every day he reports about his requirements to the people around him through a shout. Then it is already his first words which come into life: "Aga-agushechki …". A half of these "speeches" - this is his indirect power over public (drawing attention, communication, approval or a protest). So it is possible to say that speakers are born.

While growing up a little baby already exerts an influence on people around him by means of the speech: "Give, mine, I love …» In most cases, children are able to be good speakers among their relatives and familiar people. But, when it is necessary to communicate with unfamiliar people a self-preservation instinct often works out, caution (chained movements), aggression to "someone’s" attendance (excessive tension), and so on is appeared. Avoiding from such public statements before "foreign" people is simple to the child under any circumstances. And the experience of public speech isn't concluded.Here also it turns out that children are born speakers, but this skill is not developed at all children.

The voice is the sound uttered from human mouth in speaking expression or singing. It means that the voice is an orchestra of various instruments. An orchestra is harmonious, strong, sustained, mobile, thin and only one that capable to transfer the slightest movements of internal life. It is also the thing which simply and beautifuly expresses thoughts and feelings of a person.

It is extremely important that how the voice of the speaker sounds in the organization of perception of the orators speech by listeners: whether it sounds freely, softly, confidentially on low tones (low tone of a voice are perceived more favorably, they collect the attention of listeners, adjust them on perception of the contents) or, on the contrary, sounding sharp, intense, overestimated on tone or very silent, "without supporting", not flying to the hall.

And then the listeners should spend the first most valuable minutes of communication to perceive the dissonant, often irritating speech of the speaker while " adapting", " being accustomed".

The first function of a voice also consists in providing the audibility of the word sounding from a scene.

If the public speaker cares of his speech it is easily realized by the listeners, he will definitely develop his voice flexibility, mobility, ability of a voice "to draw the idea".

That is the second function which will revive a voice in order to be the expression of thoughts.

The fact is that we understand the speaker’s speech stored in our memory as the "stock of intonational models".

We remember the melodic drawings of narrative, interrogative, imperative, exclamatory and other sentences, we hear the melodic emphasizing of the logical centers of phrases, an intoning of punctuation marks and etc.

At last, if the public speaker wants his speech to be caused not only with thoughts, but also the empathy by listeners, he will certainly develop the means of speech expressiveness.

Because the third function of a voice is to be the conductor of feelings.

After all on intonations (increase or depression of a voice, increase or reduction of sound intensity, emergence and character of pauses, change of a tempo-rhythm of the speech and tembral coloring of a voice) the listener guesses feeling through intonations and it turns up to touch with that which lives in the soul of the speaker.

The speech sounding on the heightened sonority (being artificial in this sense), should keep all expressiveness of the natural speech.

It means that it is necessary "to achieve the same thin and squeezed modulations of loudness at the heightened level in the dynamic range, which are natural to the usual colloquial speech heard from closer distance".

In what way to develop a voice remaining in a familiar artificial sense, it would keep naturalness, sonorous and at the same time it wouldn'tgo down to the last detail of identification of internal life of the speaker?

A skill of possession with a voice is connected with perfections of a control system work of speech function from the central nervous system.

The so-called system of feedback has huge value. All live only therefore lives that there is a feedback.

Our behavior in the society is controlled with a feedback; our verbal interaction and the birth of intonations of the speech are regulated with it too.

We don't allow "breaking down our nervous", disrespectfully to talk to the people around us.

The regulation of our behavior in life takes place reflexively; it is determined by good mannerliness, standards of behavior in the society, the attitude towards the companion and etc.

The speaker also has to be able to regulate his behavior, manage intonations of the speech in the process of verbal interaction with audience.

With the help of what he carries out this act of management?

The arbitrary regulator of the behavior is the image.

Acting in the image, the public speaker implements arbitrary control "arbitrarily unmanageable system": facial expressions, gestures, the movements, intonations – all elements of speech expressiveness.

But if in the process of work on a voice, the speech try randomly, directly to influence on these or those parts of voice-speech organs of mechanism (the position of a diaphragm, language, larynx, chest, soft palate and etc.) to achieve desirable result of sounding, allow an unforgivableable methodical mistake.

"To think that it is possible to train a voice at first, develop a necessary complex of motive reflexes and thin differentiations of movements in a separation from performing tasks, later engaging in performance is a mistake from the physiological point of view"

The effective method of development of a voice is the offered method of mediate, indirect effect on the agreed work of a voice forming organs with the help of «an image of action".

The original real or imagined action included in training will also involve the nature in work, and the nature unconsciously, reflexively call all harmonious cavity of the voice forming mechanism to an action.

So: any technical specification on a voice to subordinate to an action – such is the basic principle of training of a speech voice.

This principle also allows to keep reflexive activity of voice-speech mechanism, to improve thereby "managing system" of speech function of the person in any complicated conditions of a public statement

The proposed techniques and exercises voice-speech training is designed for that to concentrate the attention on the implementation of a real or imaginary elementary action.

In this case engaged in trainingshould to know what skills are trained in this or that exercise, what should be the result of sound has and control the sound quality by hearing.

Sense organs (auditory, acoustic, visual, motive, articulate, resonator,vibration and others) constantly signal in the central nervous system about the results of activity of speech organs of a sound pronunciation.

And the main thing in the system of feedback at training the voiced and speech skills is the hearing which provides "destruction of a mismatch" between the conceived quality of the speech sound and the reached result.

The hearing controls the accuracy of intoning a sound (height), regulates the loudness, duration of a sound, tembral coloring of a voice, rhythmic drawing of the phrase.

The internal hearing, or aauditory representation of intonation of the phrase, controls it in the term of sounding.

The visual analyzer also gives a positive effect about the formation of skills of sounding.

The visual representation of graphic drawing of the phrase, for example, allows more precisely intone, "draw" by a thought of voice; the visual idea of pitch of tone helps "to take" this height.

In a word, this property of visual perception promotes the birth of the most exact, art and expressive intonations.

It is necessary to make a speech well before the audience:

1. Text. It is desirable to be vital and interesting.

2. To have an ability to tell this text brightly and emotionally.

3. Self-confidence.

You speak as you are already able, but - you tell the main thing. Use any opportunity, any people and you speak. If you are aimed at yourself a clever mask and wisely you are silent, creating a type of the competent person – that you are developing yourself as a listener. And in the term of public speech you go round circles,, successfully deceiving yourself that it is better. In any company of people there comes the moment when it is necessary to break the awkward silence down. And this is someone who starts speaking, in a consequence becomes a good story-teller. And every time, year after year this person, practicing more and more, develops in ability to speak in front of people.

In the conclusion I want to note that the real public speaker should possess a number of qualities which make him as an expert of public speeches. Firstly, it needs to be erudite and well-read when it is necessary to choose the right words to realize the thoughts. Secondly, the speech of the public speaker must be competent and accurate, understandable purpose of listeners’ audience. Thirdly, the professional must subordinate excitement to the will and keep the cool-blooded calm in the process of presentation.

The used literatures:

1.Kornilova.E.N. Ritorika – iskusstvo ubejdat. M.:URAO, 1998.

2.Averkii (Taushev). Rukovodstvo po gomiletike. – M.: PSTG I, 2001.

3.Soper P.L. Osnovi iskusstvo reshi. – M. : Feniks, 2006.