مكانيزم"وال سال وا " وتاثير آن بربيان بازيگر

The Impact of Val Sal Va Mechanism on a Performer’s Speech

اگرچه مكانيزم وال سال وا، پيش از اين در نيمه دوم قرن 17مطرح بوده، اما در گفتاردرماني، كاركرد خود را حدوداً از30سال پيش، به ثبوت رسانده است. با اين وجود، در محدوده آموزش بيان جهت هنرهاي نمايشي، ناديده گرفته شده است. مقاله موجود، بيش از آنكه بخواهد به گفتار درماني بپردازد، قصد دارد با طرح ويژگي هاي مكانيزم فوق، نياز به مطالعه هرچه بيشتر آن را متذكر شود، چرا كه علاوه بر تاثيرگذاري مكانيزم وال سال وا بر جريان آسيب شناسي بيان، مطالعه زيباشناسي بيان در محدوده آموزش را نيز در بر مي گيرد. پس از شناخت محدوده اشتراكات آسيب شناسي بيان و زيباشناسي بيان، فرايند و عوامل تاثيرگذار بر شكل نهايي گفتار بررسي مي شود. نشان خواهيم داد، مكانيزم مطروحه بسيار متغير، و در عين حال جدانشدني از فرايند احساسي درجريان توليد گفتار مي باشد. سپس به بررسي تاثيرات هيجاني و رواني براين مكانيزم وخروجي نهايي آن پرداخته، سعي شده با پيشنهاد نمونه هايي از تمرينات، تاحد مقدور، تاثيرات مكانيزم را كنترل كرده، محققين و دست اندركاران حوزه توليد هنرهاي نمايشي را در جهت شناخت و توجه بيشتر به (مكانيزم وال سال وا) جلب نمايد.

Although the function of neuro-vocal system of the human body was previously suggested in the second half of the 17th century by the Italian surgeon Antonio Val Sal Va, its use in speech therapy during the past 30 years and its role have not been considered properly for teaching speech method in the schools of dramatic arts. The present study aims to shed some light on the need for paying more attention to this mechanism. This research intends to pave the way for the application of a scientific achievement in teaching artistic tasks. In order to get started in this study, we should take something important into consideration. If we accept this reality that we do not speak merely to project our voices; but we speak to amuse, inform, and also to influence another person’s behavior, we must therefore be aware that each single speech characteristics (including the quality of affectiveness and effectiveness) contain a wide range of components. Consequently these components should be included in our discussions on teaching speech to theatre students. As a matter of fact, Val Sal Va mechanism is activated by physical activities in the scene as well as the emerging emotions and passions. After discussing the specific characteristics of the above-mentioned mechanism and its effectiveness on the final dramatic speech, we will be informed that passion is basically the shared component of speech pathology and elocution, which has unfortunately been neglected in speech exercises. The direct impact of this mechanism on speech aesthetics, both in realistic performing methods and its branches (such as naturalism and impressionism), and antirealisitic and abstract forms is considerable. The process at first seems to expected to carry from the rehearsal period to the final performance on stage. However, this does not happen automatically and both the expected range of our voice and the intended level and quality of emotions and passions would be uncontrollable. Thus, the audience members who are at the end of our communication line would not be able to receive an aesthetically cohesive message. The audience would be able to understand whether Val Sal Va mechanism is formed or not by the external signals we get from the actors’ actions.When an actor is trying to depict a character and his/her emotions under the influence Val Sal Va, the true sense of the characters are not correctly exhibited and thus the portrayals would not believable for the audience members. In order to reach the ultimate goal of presenting a believable performance, an actor must have a defined technique within reach to minimize the drawbacks of Val Sal Va mechanism and make the dramatic situation plausible for the audiences. In this regard, some specific exercises for controlling the emotions and sensations are suggested in the present article. They are to make the actors prepare in the rehearsal periods in such a way to duplicate the final stage situation and help the actors in their realistic performances. In other words, the exercises are to be carried out in a virtual reality as much as possible in order minimize the intrusion of the Val Sal Va mechanism. In addition, the suggested exercises should also be helpful to address speech disorders with mental or physical roots.