This intonational style is also called by some as "artistic, acquired or stage". As we see from these labels, the scholars suggest that this is a highly emotional and expressive intonational style, that is why it needs special training
This intonational style is also called by some as "artistic, acquired or stage". As we see from these labels, the scholars suggest that this is a highly emotional and expressive intonational style, that is why it needs special training. Attitudinal, volitional and intellectual functions of intonation are of primary importance here and serve to appeal to the mind, will and feelings of the listener. Most commonly it is performed through all sorts of image-bearing devices which require rehearsing and professional skills. This intonational style can be heard on the stage, on the screen, in a TV studio or in a classroom during verse speaking and prose readings and recitations. Thus we see that it is always a written form of the language read aloud or recited.
However, it should be claimed here, that it is a very hard la bour to give a detailed description of the stage speech in this book as it is the stylization of all speech styles, especially conversational. Conversations on the stage tend to be meant quite familiar, but, addressed to the spectators, they produce an exaggerated, most striking elements especially in the fields of such prosodic parameters as loudness, rate and range and could be immediately spotted by listeners as "stage speech" characteristics.
The prosodic organization of such texts will vary greatly, depending on the type of the theatrical performan