Voice Interpreting:Trippingly on the Tongue    Daniel Greene, MA Candidate, NIC Master                                    ...
Workshop DescriptionThis is a sign–to–voice interpreting workshop with a twist. Inaddition to learning logistical and proc...
Workshop ObjectivesKnow how to relax your body and vocal apparatusfor vocal health.Demonstrate improved control of the vol...
Workshop ObjectivesVocalize the same phrase five different ways formeaning and affect.Outline strategies that can be used ...
Introductions: meSCPAAA InterpretingBA EnglishActing & SingingMA InterpretingStudies / Teaching                            5
Introductions: youWhat is your name? Your job / work?What do you expect to get out of this workshop?What are your strength...
Breathing & RelaxationGuided meditation, breathing, and movement exerciseto relax vocal apparatus. Sit or stand as you wis...
You are capable of so much more than you giveyourself credit for. There has never been and never willbe a voice quite like...
Spoken English is your *Forte*  Brenda Nicodemos: Performance does not match  preference in novice ASL-English interpreter...
“ASL Interpreter”What is a meat grinder? Tear jerker? Taffy puller?What is an ASL interpreter?When we interpret from Engli...
Worst ASL interpretations “Shit” “Pager” “Curious” “Happened” “I love you.” Any others?                            11
Reasons you voice better than sign   You’re a native/primarily English speaker.   Nicodemos found that even CODAs performe...
What are you afraid of?I’ll miss/forget fingerspelled names/words/dates.I’ll miss content and won’t make sense.I won’t be ...
Vocal warm–upStanding exercises to further relax and gently activateyour vocal instrument.Yawn, sigh, high–low, ah, um, ha...
Random Affect GamePull a phrase out of one basketPull an affect out of another basketSpeak your phrase with your affectOth...
1 phrase 5 ways “musical chairs”  Keep your phrase from the last game.  Put chairs in circle facing out.  Pile affect card...
Tongue Twisters                  17
Tongue Twisters“You need unique New York” 5x fast“Rubber baby buggy bumpers” 5x fast“Eleven benevolent elephants” 5x fast“...
Tongue Twisters“To sit in solemn silence in a dull, dark dockIn a pestilential prison, with a life–long lockAwaiting the s...
Tongue Twisters“What a to–do to die today at a–minute–or–two to two.A thing distinctly hard to say, but harder still to do...
Tongue Twisters“Amidst the mists and fiercest frosts,With barest wrists and stoutest boasts,He thrusts his fists against t...
Tongue Twisters“Though I bide my time and try to tidy my sty, Icry ‘I won’t die with a sigh!’ to the giant guy in thesky w...
Fancy Words for Fun Stuff Consonant clusters (Amidst the mists) Unvoiced / voiced (s/z, p/b, t/d, k/g, f/v) Alliteration, ...
Voice Interpreting to“Blind” Listeners                        24
“Showing” remote or blind people  “Caller is crying” vs. “Oh, no! She can’t be dead!  (sobbing)”  “Caller is laughing” vs....
Emotional “Hooks”Knowing the speaker’s goals and the intended effecton the audience, look for the parts of the message tha...
What do looks sound like?How do interpret         Interpret these facialfacial expressions to    expressions with vocalbli...
Cry it, laugh it, whisper it, shout it   Pick a phrase   Say it “crying”   Say it “laughing”   Say it soft   Say it loud  ...
Matching AffectPitch your voice high or low?Place your voice forward or back?Place your voice up or down?Project your voic...
Remember the Five P’sPacePitchPlacementPrecisionProjection                        30
Using a    Microphone How to make yourself heard andpleasant through sound equipment.                                    31
Microphone Do’s and Don’ts Your plosives            Hold the microphone shouldn’t pop.           horizontal, not like an Y...
ReferencesAlburger, J. TheArt of Voice Acting.Focal Press.Hines, J. GreatSingers on GreatSinging. NY:Doubleday            ...
Contact Me       www.danielgreene.comEmail, Facebook, YouTube, and more                                     34
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"Trippingly on the Tongue": Vocal Technique for Interpreters

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"Trippingly on the Tongue": Vocal Technique for Interpreters

  1. 1. Voice Interpreting:Trippingly on the Tongue Daniel Greene, MA Candidate, NIC Master 1
  2. 2. Workshop DescriptionThis is a sign–to–voice interpreting workshop with a twist. Inaddition to learning logistical and processing strategies for voiceinterpreting, participants will learn the vocal techniques thatsingers and actors use so that they can enliven their sign-to-voice interpreting, convey affect, and improve audibility.Participants will learn how to enunciate, maintain vocalhealth, and inflect for affect, and meaning. Participants whotake this workshop will leave as better interpreters and speakers. 2
  3. 3. Workshop ObjectivesKnow how to relax your body and vocal apparatusfor vocal health.Demonstrate improved control of the volume andpitch of your voice. 3
  4. 4. Workshop ObjectivesVocalize the same phrase five different ways formeaning and affect.Outline strategies that can be used before and duringan ASL–to–English interpreting assignment. 4
  5. 5. Introductions: meSCPAAA InterpretingBA EnglishActing & SingingMA InterpretingStudies / Teaching 5
  6. 6. Introductions: youWhat is your name? Your job / work?What do you expect to get out of this workshop?What are your strengths & weaknesses as anASL-to-English interpreter?How do you plan to use what you learn here toimprove your work? 6
  7. 7. Breathing & RelaxationGuided meditation, breathing, and movement exerciseto relax vocal apparatus. Sit or stand as you wish.Safe space, distance if desired.Close eyes if comfortable, listen to music, listen towords and affirmations. 7
  8. 8. You are capable of so much more than you giveyourself credit for. There has never been and never willbe a voice quite like yours. Your voice is a gift, yours togive freely if you choose. Today is a gift of self careand practice in a safe space so you can give your clientsthe very best you have. Think of what you don’t likeabout your voice, put those thoughts into your cuppedhands, and blow them away. 8
  9. 9. Spoken English is your *Forte* Brenda Nicodemos: Performance does not match preference in novice ASL-English interpreters. Novice interpreters prefer doing English-to-ASL but perform better at ASL-to-English. Daniel Giles: Standard spoken language conference interpreting: from second language into first language. 9
  10. 10. “ASL Interpreter”What is a meat grinder? Tear jerker? Taffy puller?What is an ASL interpreter?When we interpret from English to ASL, are wenot “English interpreters”?Heard of the “Reverse Skills Certificate” for“reverse” interpreting? Why “reverse”? 10
  11. 11. Worst ASL interpretations “Shit” “Pager” “Curious” “Happened” “I love you.” Any others? 11
  12. 12. Reasons you voice better than sign You’re a native/primarily English speaker. Nicodemos found that even CODAs performed better at ASL-to-English than English-to-ASL. Think how much more hearing people speak than sign. You can hear yourself and know when it sounds wrong; it’s harder to monitor your visual production. 12
  13. 13. What are you afraid of?I’ll miss/forget fingerspelled names/words/dates.I’ll miss content and won’t make sense.I won’t be able to find the syntax or words I want.I won’t like the way I sound when I’m talking.The hearing audience is bigger and less forgiving thana deaf audience. There’s more of a risk of failure. 13
  14. 14. Vocal warm–upStanding exercises to further relax and gently activateyour vocal instrument.Yawn, sigh, high–low, ah, um, ha ha ha ha, breath1, 2, 3 / ooh 1, 2, 3, smack lips, flutter lips, roll R,both R and lips, ngah ngah, blah blah, click tongue,buh buh, duh duh, guh guh, pa pa, ta ta, kah kah, bd g, p t k, moan, siren, low roar to high squeal. 14
  15. 15. Random Affect GamePull a phrase out of one basketPull an affect out of another basketSpeak your phrase with your affectOthers guess at the intended affectThis is a funny exercise. Have fun! 15
  16. 16. 1 phrase 5 ways “musical chairs” Keep your phrase from the last game. Put chairs in circle facing out. Pile affect cards on each chair. Walk around the chairs to the music. When music stops, pick up the top card on the chair and say your phrase in that affect. 16
  17. 17. Tongue Twisters 17
  18. 18. Tongue Twisters“You need unique New York” 5x fast“Rubber baby buggy bumpers” 5x fast“Eleven benevolent elephants” 5x fast“Red letter, yellow letter” 5x fast 18
  19. 19. Tongue Twisters“To sit in solemn silence in a dull, dark dockIn a pestilential prison, with a life–long lockAwaiting the sensation of a short, sharp shockFrom a cheap and chippy chopper on a big blackblock!” (Gilbert, 1885). 19
  20. 20. Tongue Twisters“What a to–do to die today at a–minute–or–two to two.A thing distinctly hard to say, but harder still to do. Forthey’ll beat a tattoo at twenty–to–two — a rat–a–tat–tat–a–tat–tat–a–tattoo — and the dragon will comewhen he hears the drum at a minute–or–two to two today,at a minute–or–two to two.” 20
  21. 21. Tongue Twisters“Amidst the mists and fiercest frosts,With barest wrists and stoutest boasts,He thrusts his fists against the post,And still insists he sees the ghosts” (unknown). 21
  22. 22. Tongue Twisters“Though I bide my time and try to tidy my sty, Icry ‘I won’t die with a sigh!’ to the giant guy in thesky who cries ‘fie!’ when we vie for the pie that liesnigh in the high rye.” —moi“My mic might be Mike’s, not mine, if I mind mildmice who mime a smile at my demise.” —yourstruly 22
  23. 23. Fancy Words for Fun Stuff Consonant clusters (Amidst the mists) Unvoiced / voiced (s/z, p/b, t/d, k/g, f/v) Alliteration, assonance, internal rhyme Word boundaries: initial & final consonants Diction: enunciation vs. pronunciation Breath control, phrasing, rhythm 23
  24. 24. Voice Interpreting to“Blind” Listeners 24
  25. 25. “Showing” remote or blind people “Caller is crying” vs. “Oh, no! She can’t be dead! (sobbing)” “Caller is laughing” vs. “Ah-ha-ha-ha! You crack me up! (chuckling)” prolonged laughter/crying Conveying emotional affect vs. “acting” 25
  26. 26. Emotional “Hooks”Knowing the speaker’s goals and the intended effecton the audience, look for the parts of the message thatshould be emphasized to hook into the audience’semotional response. Use your voice to reach theaudience in the way that the deaf consumer is aimingto reach them. 26
  27. 27. What do looks sound like?How do interpret Interpret these facialfacial expressions to expressions with vocalblind or remote? expressions that areI will demonstrate not words.facial expressions and *Vague Languagebody language. (VL) 27
  28. 28. Cry it, laugh it, whisper it, shout it Pick a phrase Say it “crying” Say it “laughing” Say it soft Say it loud Try degrees/combos 28
  29. 29. Matching AffectPitch your voice high or low?Place your voice forward or back?Place your voice up or down?Project your voice loud or soft?Pace your speech fast or slow?Precise enunciation or mumbling? 29
  30. 30. Remember the Five P’sPacePitchPlacementPrecisionProjection 30
  31. 31. Using a Microphone How to make yourself heard andpleasant through sound equipment. 31
  32. 32. Microphone Do’s and Don’ts Your plosives Hold the microphone shouldn’t pop. horizontal, not like an Your fricatives & ice cream cone. breath shouldn’t hiss. Basically, be the right Your sonorants distance from the mic shouldn’t buzz. and have correct gain. 32
  33. 33. ReferencesAlburger, J. TheArt of Voice Acting.Focal Press.Hines, J. GreatSingers on GreatSinging. NY:Doubleday 33
  34. 34. Contact Me www.danielgreene.comEmail, Facebook, YouTube, and more 34

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