Philippine Normal University College of Education Department of Elementary Education Taft Taft Avenue, Avenue, Manila
Written eport in CEC!E" #iterature for Child and Adolescents
$PEEC% C%&'
Submitted to: Prof. Prof. Gerry Areta
Submitted by: Ramos, Camille Grace C. II-6 BEEd
$peech Choir ! ! ! !
It is also called choral speaking, has a hallowed tradition. The first plays put on by the Greeks featured choruses of speakers. Today, speech choir is a popular teaching as well as a performing art. It operates like a musical choir minus the music, instead of singing, speech choirs perform spoken-word pieces like poems.
" T(PE$ &) $PEEC% C%&' *+ Conventional $peech Choir !it is also called traditional -it does not require to use costumes, props, nor choreography. -the choir just simply speaks or reads a literary piece "+ Dynamic $peech Choir -it is also called theatrical -it is the reverse of the conventional speech choir
Elements of a $peech Choir
1.embers The speech choir is typically the same sie of a singing choir having anywhere from !" to !## members or more. $owever, most schools and competitions features choir of "% to &# members. The group is typically are divided into groups based on the members' natural voices or speaking voices .
!.Pieces
(elections are typically poems or poetic passages, such as from Greek dramas or (hakespeare's plays. The conductor gives some thought to the passage, breaking into parts. )acial e*pressions and intonation are also carefully planned so all the members can practice in unison. (olo parts for specific members can add dramatic effect.
".C#oreo$ra%#y +horeography of movement is not necessary component for speech choir. any successful competition choirs recite their pieces while standing in place with their hands at their sides, attention directed solely at the conductor. $owever, in Greek tradition, speech choirs marched from side to side in alternating patterns called strophe/ and antistrophe/. Thus, movement is a part of the rich history of speech choir and some conductors choose to choreograph elaborate movement to accompany their pieces +
&.Costumi'$ 0s with any other performance art, thought should be put into how the speech choir will dress. +ostumes can be as simple as matching outfits or robes, such as a vocal choir would wear, or elaborate theatrical garb. 1lain uniforms allow the audience to concentrate on facial e*pressions and allow the choir to recite several very different pieces in one performance. Themed costume for a single piece can highlight its meaning or help to differentiate between voice groups.
(. )oice *uality The ability to combine successfully the light, medium, and dark voices in the choir . it is the ability to
communicate through voice, reactions to thoughts or emotions.
6. +umber of )oices The ability to add or subtract whole sections, banks, smaller groups, or solo speakers to increase or diminish the power or richness of the sound to better e*press the meaning+
.Pitc# 1itch refers to the variations of the voice on the musical scale and is generally referred to as the inflection. +hildren generally have little problem with pitch because they use it naturally and freely +
.Poer 0bility to use volume, force, or loudness as emphasis in appropriate places to better e*press feeling and meaning. 0 power build should be related to the elements of a sentence and growing emotion .
/.P#rasi'$ a'd r#yt#m 0bility to use phrasing and rhythm as reinforcements for each other. 2ach much blend to better e*press the meaning of the verse.
10.
em%o Tempo refers to the rate of speed at which a reading progresses. The ability to balance the rhythm of a piece and the tempo of performance. Tempo should relate to the central beat/ of the poem. If it is too fast or too slow+
11.
Sta$i'$
The ability to successfully organie and position the choir on stage or risers for the performance effect. The ability to stage entrances and e*its which enhance the mood of the poem and the performance. The ability to costume/ speakers in a way which also enhances the performance as a whole.
What are the things to e rememered in doing speech choir(peech choir requires technical skills that must be honed and remembered in both rehearsal and performance. These are the following3
*+.reathing The most important part of any performing art, from playing an instrument to acting in a play is 4520T$I6G. 7hile we breath involuntarily all the time, many green performers forget to breath while on stage. ark your speech choir piece like a sheet of music, noting where it makes sense to take a breath, so you don't interrupt the word flow but have enough breath to make it through the line. 4reathing in performance links you with your whole group, calms your nerves, and gives your performance life.
"+Articulation and Diction The audience wants to hear what you have to say. If you don't articulate, all they will hear is a bunch of mush. 4y practicing your articulation and diction, your words will be clear and vibrant. (trive to make every word lucid and colourful.
8iction is a learned skill9 articulate strongly in rehearsal and in your everyday life. 1eople will notice how well you command language.
/+Connection to the group 0 speech choir is a living organism made up on individuals, never forget that. :ou are not performing a monologue, you are a part of a group performance. ;nstage, the choir is your family. +onnecting with them will eliminate any stage fright. If anything une*pected happens, the group must respond and correct together.
0+The Te1t The te*t is your guide9 it's what the audience came to see and hear you perform. 1erforming the te*ts requires you to know the te*t inside and out. ;nce you know what you are saying, add color and meaning to the words.
