I believe that poems are a score for performance by the reader, and that you become the speaking voice. You don't read or overhear the voice in the poem - you are the voice in the poem.
If that voice that you created that is most alive in the poem isn't carried throughout the whole poem, then I destroy where it's not there, and I reconstruct it so that that voice is the dominant voice in the poem.
I write first drafts with only the good angel on my shoulder, the voice that approves of everything I write. This voice does'nt ask questions like, Is this good? Is this a poem? Are you a poet? I keep this voice at a distance, letting only the good angel whisper to me: Trust yourself. You can't worry a poem into existence.
In a manner of speaking, the poem is its own knower, neither poet nor reader knowing anything that the poem says apart from the words of the poem.
If a poem is written well, it was written with the poet's voice and for a voice. Reading a poem silently instead of saying a poem is like the difference between staring at sheet music and actually humming or playing the music on an instrument.
When you recognize that there is a voice in your head that pretends to be you and never stops speaking, you are awakening out of your unconscious identification with the stream of thinking. When you notice that voice, you realize that who you are is not the voice - the thinker - but the one who is aware of it.
I worked on my voice for Sweet Dreams, but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.
I worked on my voice for 'Sweet Dreams' but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.
I want everybody including myself to be working just as hard towards the same goal, and if that's not happening I think it's only right to voice that opinion instead of going into your shell and not speaking about it.
When you're acting on camera, you don't really think of your voice. You think of the whole instrument - your body, your look, and whatever you have to do. But when you're doing the voiceover, you're thinking only of your voice. You really can't compare the two different mediums.
You know, your speaking voice comes back, but your singing voice you use in a different way.
For poetry is, I believe, always an act of the spirit. The poem teaches us something while we make it. The poem makes you as you make the poem, and your making of the poem requires all your capacities of thought, feeling, analysis, and synthesis.
The subject of the poem usually dictates the rhythm or the rhyme and its form. Sometimes, when you finish the poem and you think the poem is finished, the poem says, "You're not finished with me yet," and you have to go back and revise, and you may have another poem altogether. It has its own life to live.
At Julliard we had some voice classes. It was really just so you could carry a tune. It always just helps with your speaking voice also, when you connect your diaphragm and your breath.
He’s speaking in the tone of voice that everyone uses when they’re about to break you apart. Gentle—kind, even—like they can make the news sound better just by speaking in a lullaby voice.
All great questions must be raised by great voices, and the greatest voice is the voice of the people - speaking out - in prose, or painting or poetry or music; speaking out - in homes and halls, streets and farms, courts and cafes - let that voice speak and the stillness you hear will be the gratitude of mankind.