Browsing by Subject "Voice"

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    ItemOpen Access
    Aktörlere yönelik ses- konuşma- vücut eğitimi ve geliştirilmiş uygulama yöntemleri
    (2005) Adıgüzel, Berna
    The aim of this thesis is to suggest a system for the voice and speech training in drama schools. Different studying methods are presented in accordance with this aim. Undoubtedly, the methods are varied. Considering that there are some basic techniques that must be experienced by each student, many exercise sets are suggested insofar as it is possible. In this thesis, not only the methods which are known and carried out are arranged, but also new exercises are investigated and adapted to our language. Books on yoga and healthy life have also been useful for the body, breath and relaxation exercises. Exercises from the experts of voice and speech, Cicely Berry and Kristin Linklater, have been important sources. Techniques of Jerzy Grotowski, Frederick Matthias Alexander and Eric Morris have also been useful. Studying methods are prepared considering the suggestions and curriculums (syllabus) of these educators:Prof. David Smukler, Chairman of Voice and speech Department, York University; Brad Gibson and Hazal Selçuk, lecturers in York University; Prof. Tracey Moore, educator of voice and speech, Colombia University. Practicing methods for the actors are told step by step; more comprehensive methods are given later. It is known that an actors or a student who does not concern voice and speech training important would be monotonous, boring and unsuccesful. If an actor does not find out the real capacity of his own material, his talent begins to disappear. The reason might be physical obstacles, or not trying to overcome these obstacles, or being unaware of the methods that will help him to overcome them. Once the problem is determined –unless medical treatment is needed- practicing will be enough to handle the situation. Thus, this thesis claims that, in order to improve his voice capacity and have a vivid acting style, a drama student has to experience all available techniques, and considering his personal needs, he has to arrange his own practicing system. Productivity of an actor depends on his success on this level. The result would be free, wide, relaxed and vivid voice, which will help the actor improve his performance on the stage. There is no need to tell the importance of it for an actor.
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    ItemOpen Access
    Early outcomes after transoral CO2 laser resection of laryngeal and hypopharyngeal squamous cell carcinoma: One centre's experience
    (Cambridge University Press, 2010) Leong, S. C.; Kathan, C.; Mortimore, S.
    Objectives: To review early oncological outcomes following transoral CO2 laser resection of laryngeal and hypopharyngeal squamous cell carcinoma. Design: Retrospective review of hospital electronic database. Setting: Large district general hospital in England, UK.Main outcome measures: Patients' three-year disease-specific survival and disease-free survival were evaluated, including post-operative complications, voice quality and swallowing status. Results: Seventy-seven patients (16 women and 61 men) were identified. Transoral laser excision of squamous cell carcinoma of the larynx was undergone by 65 patients, and the same procedure in the hypopharynx by 12. Patients with laryngeal cancer had statistically better disease-specific survival than those with hypopharyngeal cancer (p=0.021), although the cumulative disease-free survival probability was 0.71 for both larynx and hypopharynx groups. Patients who underwent laryngectomy following failed laser treatment or as a salvage procedure had poorer outcomes.Conclusions: The overall results of this study were comparable with those of other, larger studies. At three-year follow up, cumulative disease-specific survival probabilities were 0.92 and 0.71 for laryngeal and hypopharyngeal squamous cell carcinoma, respectively. Copyright © JLO (1984) Limited 2009.
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    ItemRestricted
    TRT'de bir ömür: Elçin Temel
    (Bilkent University, 2019) Damar, Yıldırım Mete; Görduysus, Ece; Özdaş, Hilal; Gülmez, Şükrü Burak
    Elçin Temel, 1980'lerden 2000'lerin başına kadar Türk Radyo ve Televizyonculuğunun birçok bölümünde görev almış; sunucu, spiker, prodüktör ve seslendirme sanatçısıdır. İstanbul'da dünyaya gelen Temel, ailevi sebeplerden dolayı hayatının büyük bir kısmına Ankara'da devam etmektedir. TRT'de göreve başlaması hayatının dönüm noktası olmuştur. TRT'de işe başlamasından sonra aldığı eğitimler ve kendisini geliştirmek için harcadığı çabalar sonucunda Türk Radyo ve Televizyonu için çok değerli bir sanatçı olmuştur. Çalıştığı dönemlerde üstlendiği ve sunduğu bazı programlar sayesinde dönem televizyonculuğunda aranan sanatçılardan biri olmuştur. Emekli olduktan sonra da sektöre olan katkısı devam ederek bilgi ve deneyimlerini paylaşmaktan kaçınmamıştır.
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    ItemOpen Access
    The Voice as a narrative element in documentary films
    (University of California Press * Journals Division, 2021-03-01) Önen, Ufuk
    Modern documentary filmmakers use fiction-influenced narrative styles that blur the boundaries between fact and fiction, stretching the limits and rules of the genre set by what is referred to as classic or expository documentary. Another major change in the documentary form and narrative style is the inclusion of the filmmaker in the film. As a result of filmmakers starring in their own films, interacting with the subjects, and narrating the story themselves, documentaries have become more personality driven. In these modern methods, the voices of the narrators and/or the filmmakers carry a significant importance as narrative elements. Taking five music-related documentary films into account—Lot 63, Grave C (Sam Green); Crossing the Bridge: The Sound of Istanbul (Fatih Akin); Metal: A Headbanger’s Journey (Sam Dunn, Scot McFadyen, and Jessica Joywise); The Decline of Western Civilization Part II: Metal Years (Penelope Spheeris); and Searching for Sugar Man (Malik Bendjelloul)—this paper analyzes how the voices of the narrators and/or the filmmakers are used as narrative elements, and what effects these voices have on the narrative styles and the modes of these documentaries. KEYWORDS documentary, voice, narrative style, sound