Actor Voice Research Articles

Voice and Pluractionality in Äiwoo

This paper examines the uses of the prefix e- (ve-) in Äiwoo, an Oceanic language of the Temotu subgroup. It argues that the functions of this prefix can be subsumed under the label pluractionality, and that it is a likely reflex of the Proto-Oceanic prefix *paRi-. However, the distribution of the Äiwoo pluractional prefix is unusual in that it most common by far with intransitive position verbs; it can also occur on transitive verbs, but this is infrequent in the available data. This paper argues that this distribution is linked to the fact that Äiwoo has a distinct transitive actor voice which covers many of the typical pluractional functions with transitives. This is particularly clear when one compares Äiwoo (v)e- to its likely cognate (v)ö- in the Santa Cruz languages, which only applies to transitive verbs with detransitivizing functions; many of the functions of SC (v)ö- are covered by the actor voice in Äiwoo. The fact that Äiwoo appears to retain both a reflex of *paRi- and an actor voice/undergoer voice distinction may provide new perspectives on the history of *paRi-, since most Oceanic languages have lost the voice distinction; this may have led to an expansion of the functions of *paRi-, as suggested by the comparison between Äiwoo and the Santa Cruz languages.

Examining voice choice in Tagalog: A corpus of web-based Tagalog

This study is a corpus-based analysis of web-based Tagalog (Austronesian) investigating how different prominence features influence voice in basic, declarative, transitive clauses. A large sample of these structures were extracted from a web-based corpus of Tagalog. The arguments were annotated for animacy, definiteness, and other factors proposed to influence voice choice. Preliminary results suggest that despite the morphosyntactic symmetry in voice alternations in the language, the Undergoer voice appears to be the preferred structure regardless of these factors in Tagalog. Moreover, there may be highly constrained contexts in which the Actor Voice is used when describing two-participant, transitive events. This work has implications for how we understand the notion of prominence more generally and how languages might have specific requirements for the mappings between different prominence hierarchies.

Voice and Pluractionality in Äiwoo

This paper examines the uses of the prefix e- (ve-) in Äiwoo, an Oceanic language of the Temotu subgroup. It argues that the functions of this prefix can be subsumed under the label pluractionality, and that it is a likely reflex of the Proto-Oceanic prefix *paRi-. However, the distribution of the Äiwoo pluractional prefix is unusual in that it most common by far with intransitive position verbs; it can also occur on transitive verbs, but this is infrequent in the available data. This paper argues that this distribution is linked to the fact that Äiwoo has a distinct transitive actor voice which covers many of the typical pluractional functions with transitives. This is particularly clear when one compares Äiwoo (v)e- to its likely cognate (v)ö- in the Santa Cruz languages, which only applies to transitive verbs with detransitivizing functions; many of the functions of SC (v)ö- are covered by the actor voice in Äiwoo. The fact that Äiwoo appears to retain both a reflex of *paRi- and an actor voice/undergoer voice distinction may provide new perspectives on the history of *paRi-, since most Oceanic languages have lost the voice distinction; this may have led to an expansion of the functions of *paRi-, as suggested by the comparison between Äiwoo and the Santa Cruz languages.

Theater of Ancestral Mediation

Theater of Ancestral Mediation

A Whole Carnal Stereophony: The Wooster Group Stages Brecht

A Whole Carnal Stereophony: The Wooster Group Stages Brecht

Means of speech characteristics of the stage image in the context of decoding the signal space contemporary performances

The purpose of the article is to identify the features of speech characteristics in the context of the disclosure of the plot-content aspect of the performance of postmodern aesthetics. Methodology. A typological and systematic method is used to study the creative mechanisms of the actor's creation of the speech characteristic of the image in the context of the peculiarities of the aesthetics of postmodernism; cognitive method, thanks to which theoretical positions in the field of language psychology and speech therapy are extrapolated to the field of theatrical art; method oftheoretical generalization, etc. Scientific novelty. The influence of postmodernist theater tendencies on the process of the actor's voice work on the creation of the image – the development and implementation of speech features of the character; the peculiarities of the process of decoding the sign system of a modern production on the basis of the interpretation of the speech characteristic of the images created by the actors are analyzed. Conclusions. The verbal characteristic of the image contributes to the actor's representation of certain internal characteristics of the character, his emotional state, deep reaction to events and/or actions of other characters, changes in lifestyle and worldview, etc., and in the context of postmodern aesthetics, when stage texts double coding" – a complex phenomenon of postmodernism, artistic and aesthetic means of which in theatrical art is a synthesis of different languages and codes of literature and philosophy in a holistic hypertext of performance, contribute to the understanding and comprehension of semantic aspects of theatrical production. The actor's use of elements of speech characteristic contributes to the expansion of his professional speech competence, the diversity of speech sound of the stage word. The components of speech characteristics can act as expressive means that reveal important aspects of the character; the necessary form of revealing the internal content of the stage image; an important element of the psychophysical structure of the role; an artistic technique that enhances the expressive possibilities of the stage word, and, accordingly, helps to form verbal symbolic means of expressing the artistic meanings of the performance. In our opinion, for the organic process of forming the stage image in general and the speech characteristics of the character in particular, the actor must not only expand his attention, observation, and ability to understand and comprehend the psychological and social causes of human behavior, but also deepen knowledge of psycholinguistics and speech therapy. Because only the organic combination of these factors contributes to the design of optimal stage speech, which corresponds to the concept of each specific performance.

Alignment shift as functional markedness reversal

AbstractIn this paper, we propose treating alignment shift as a process of functional markedness reversal in the domain of semantically transitive constructions. We illustrate how this approach allows us to capture similarities between the alignment shifts in Eskimo-Aleut and Western Austronesian languages, despite morphosyntactic differences in their voice systems. Using three diagnostics of functional markedness (semantic transitivity, topic continuity of P, and discourse frequency), we compare antipassive and ergative constructions in Eskimo-Aleut varieties and actor voice (av) and undergoer voice (uv) constructions in Western Austronesian varieties. We argue that ergative alignment is equivalent to a functionally unmarked P-prominent construction (e.g., ergative,uv), whilst accusative alignment is equivalent to a functionally unmarked A-prominent construction (e.g., antipassive,av). On this basis, we claim that both language groups are undergoing a parallel shift from ergative to accusative, since A-prominent constructions are functionally marked in more conservative varieties, but lose their functionally marked character and begin to function as unmarked transitive constructions in more innovative varieties.

Semantics and pragmatics of voice in Central Malagasy oral narratives

This study explores the semantic and pragmatic functions of voice in the Central dialects of Malagasy through quantitative and qualitative analyses of a set of oral narratives. Analysis of semantic transitivity parameters and discourse topicality reveals a preserved but weakened connection between non-actor voice (NAV) and high transitivity and actor voice (AV) and intransitivity. Both AV and NAV constructions have an active–transitive function; antipassive and passive functions are achieved, respectively, by omitting the patient in AV or the agent in NAV. Patterns of anaphoric argument omission show that the pivot position has grammaticalized as the locus of high topicality arguments, paving the way for transition from a transitivity-dominated to a thematicity-dominated language. Thus, despite the morphological conservatism of the Central Malagasy voice system, it shows significant functional divergence from the most conservative Philippine-type systems.

How to Use EVT Figures for Actor Voice Training I

How to Use EVT Figures for Actor Voice Training I

The Actor's Voice: Vocal Performance Assessment by Different Professionals

The voice production of actors is complex and can be assessed by different professionals. The objective of this study was to measure actor's global vocal performance (GVP) based on overall voice quality (OVQ) and overall severity (OS), by consensus auditory-perceptual evaluation of voice (CAPE-V), and to investigate the possible correlation between these two analyses in actors without self-reported vocal complaints. A total of 39 actors participated in this study, including 20 men and 19 women. Their ages ranged from 18 to 53 years (mean of 33.3 years), with a mean duration of eight years of professional experience. The referred actors were asked to perform predefined CAPE-V tasks and provide one voice sample in which they read a poem at normal loudness; all tasks were recorded. A professional speech-language therapist evaluated the OS based on CAPE-V vocal tasks; scores up to 35.5 mm represented normal parameters, while those from 35.6 to 50.5 mm represented mild deviation, 50.6 to 90.5 mm indicated moderate deviation, and 90.6 to 100 mm indicated severe deviation. A theater director and another speech-language therapist classified the voice samples using the OVQ scale. The OVQ was measured using a 200-mm visual analogue scale. The calculation of terciles allowed the division into three groups regarding the GVP: lowest score group; intermediate score group; and highest score group. The scores of both analyses were compared by sex and groups. Lastly, a correlation analysis was performed between the two analyses for the total sample. There was a significant difference among the three groups and a mild vocal deviation in the lowest score group. In addition, an inversely proportional correlation was observed between GVP and OS. No sex-related differences were observed in the scores for either analyses. The actors without self-reported voice complaints presented differences on GVP scores and their distribution was independent of sex and length of professional experience. Vocal deviation, although mild, on average was greater in actors who had the lowest scores in GVP, with an inversely proportional correlation between these two parameters.

The Derived Intransitive in Formosan and Its Implications for the Nature of Proto-Austronesian Actor Voice

The Derived Intransitive in Formosan and Its Implications for the Nature of Proto-Austronesian Actor Voice

The practice of interpreting an artistic text. Punctuation as a mean of expressiveness and acquisition of phonation skills

The practice of interpreting an artistic text. Punctuation as a mean of expressiveness and acquisition of phonation skills

A Reconstruction of the Proto-Puyuma Aspectual and Modal System

This paper compares the aspectual and modal systems in two dialects of Puyuma—Nanwang and Katripul—and as a basis for the reconstruction of the protosystem. In modern Puyuma dialects, there is an asymmetry between Actor Voice (av) and Undergoer Voice (uv) in terms of the aspectual/modal value that they may be used to denote. In both dialects, av clauses show a realis vs. irrealis distinction. In Nanwang, uv clauses display the same dichotomy (realis vs. irrealis), but in Katripul the distinction is between perfective vs. imperfective. Based on these facts, I argue that Proto-Puyuma was an aspect-prominent language; that is, the major distinction in its aspectual/modal system was between perfective/imperfective.

Robert Weimann, Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's Theatre, Cambridge UP, 2000., viii+298.

Robert Weimann, Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's Theatre, Cambridge UP, 2000., viii+298.

Event Integration and Argument Realization in Nonconcordant Verb Serialization in Tsou

The Formosan language Tsou embraces three serial verb constructions where verbs bearing nonagreeing voice marking are strung together. While the combination of a nonactor voice first verb and an actor voice second verb appears to be an exception to the widespread tendency that components within a serial stricture have the same value for grammatical categories typically associated with verbs, this study argues that the nonconcordant voice marking actually reflects the syntacticosemantic conditions for integrating verbs as well as the event descriptions in their denotations into a joint predication, and adjustment in the pattern of argument realization jointly attests to the presence of these conditions. In Tsou, a nonconcordant verb series that introduces thematically peripheral, nonsubcategorized entities into a monoclausal structure is only well formed if the participating verbs do not clash in event properties crucial to the Vendler-Dowty style of lexical aspectual classes. On the one hand, constraints on the use of voice marking and combinatorial possibilities of verbs show that serialized verbs share common specifications for telicity and duration. On the other, changes in the morphosyntactic expression of arguments illustrate the possibility to shift aspectual characteristics in the verb's denotation so as to bring event descriptions within the entire verb series to a unified integration. As a whole, the Tsou data make evident the presence of event integration within verb serialization, even though the nonconcordant voice marking appears to suggest otherwise.

Avoidance of Dissimilar Labial Onsets: The Case of Subanon

Early work on the statistical structure of the “Proto-Austronesian” (PAn) morph revealed a distinct pattern of avoidance between the onsets of adjacent syllables if these were nonidentical labials (*pVb, *pVm, *bVp, *bVm, *mVp, *mVb). Descriptions of many attested languages that have retained a reflex of PAn *-um- ‘actor voice’ show that this dispreference extends to affixed words, in which case the avoidance triggers a pattern of allomorphy that has been called “pseudo-nasal substitution.” While this pattern is very prominent for word bases that contain an initial labial stop and a reflex of the infix *-um-, it is much less prominent for word bases that contain an initial labial stop and a reflex of the prefix *ma- ‘stative verb’. Variations in the way this family-wide dispreference is realized in particular languages are surveyed briefly, and then it is shown that Subanon of the southern Philippines extends the usual avoidance pattern by adding to pseudo-nasal substitution a metathesis of mo - (

Perceptual Metathesis in Tsou: A Reanalysis of Segment Transposition in Voice Paradigms

In Tsou, a group of verb stems displays a peculiar ordering contrast in which a vowel + consonant sequence in actor voice is transposed in the corresponding nonactor voice , as seen in the contrast of t<m> eʔ si ‘sew, actor voice ’ vs. t ʔe s-a ‘sew, patient voice ’ and t ʔe s-neni ‘sew, referential voice ’. This study argues that Tsou segment transposition can be viewed as an instance of perceptual metathesis, in which the long-durational cues of an underlying postvocalic consonant extend and affect the realization of the adjacent vowel, resulting in a reinterpretation of the acoustic effects as being caused by a prevocalic consonant. Through an exploration of the phonetic characteristics of the sounds involved and the context in which they appear, this study presents a unified treatment of three puzzling aspects of Tsou segment transposition: (i) transposing consonants are limited to laryngeals and palatal glides; (ii) the direction of the change appears ambiguous (VC > CV or CV > VC) due to the undetermined status of the underlying order; and (iii) the VC ~ CV alternation is confined to specific voice categories, which raises questions about whether the nature of the change is purely phonologically defined, or requires reference to specific morphosyntactic categories.

Voice at the Crossroads: Symmetrical Clause Alternations in Äiwoo, Reef Islands, Solomon Islands

This paper argues that the Äiwoo language of the Reef Islands shows what could be characterized as a symmetrical voice system with three voices: an actor voice, an undergoer voice, and a circumstantial voice. Although it differs from better-described symmetrical voice systems in lacking a syntactic pivot, the overall pattern of morphosyntactic alternations, as well as the discourse-pragmatic function, is essentially that of a symmetrical voice system. Moreover, the Äiwoo system combines the syntactic characteristics of a “Philippine-type” symmetrical voice system with the morphological characteristics of an “Indonesian-type” system in a way that appears to be unusual. This analysis, while confirming the status of the Reefs-Santa Cruz language group to which Äiwoo belongs as Austronesian, raises doubts about their current classification as Oceanic, since the symmetrical voice system of Proto-Austronesian is usually assumed to have been lost by the time of Proto-Oceanic. Alternatively, the analysis may be taken to imply that current reconstructions of Proto-Oceanic morphosyntax must be revised. Overall, it adds to the complex picture of voice and transitivity-related systems in Austronesian languages, and to the challenges involved in understanding their historical relationships.

How and when peers' positive mood influences employees' voice.

Employees often assess whether the social context is favorable for them to speak out, yet little research has investigated how the target's mood might influence the actor's voice behavior. From an affect-as-social-information perspective, we explored such potential effects of the target's mood on the actor's promotive voice in 2 empirical studies. In a scenario-based study with 142 MBA students (Study 1), the target's positive mood was positively associated with the actor's intentions to engage in promotive voice toward that target, mediated by the actor's perceived psychological safety. This mediated relationship was stronger when (a) the quality of the relationship between the actor and the target was poor or (b) the actor had a lower social status than the target. We replicated these results in Study 2, a correlational field study with 572 dyads nested within 142 members of 30 teams, where the actor's promotive voice behaviors (rather than intentions) were measured.

O DESENHO SONORO EM "OS CEGOS", DE DENIS MARLEAU

O artigo pretende analisar a construção sonora da peça ‘Os cegos’, de Maurice Maeterlinck, encenada por Denis Marleau. Nesta encenação a sonorização dos atores e as manipulações operadas sobre as vozes não visam produzir efeitos especiais, mas sim harmonizar o desenho sonoro do palco. Há uma articulação entre o sentido, a voz, as formas e o ritmo, e esses elementos surgem para reforçar o texto literário. Como o ator não esta presente fisicamente na cena, somente a projeção de sua imagem, talvez a presença do ator surja através de sua voz. E como o som é a propagação de uma onda mecânica, que se espalha pelo espaço, talvez a voz do ator consiga ultrapassar o veículo mediador e ter presença, uma presença sonora.