دستِ نامرئی: ارتباطِ میانِ صدای بازیگر و دینامیکِ درونی

این پژوهش، جُستاری در بابِ چگونگیِ شکل‌گیریِ صدای انسان، در ارتباط با نیروهای موثر بر حرکت‌های جسمانی است که با بهره‌گیری از دستاوردهای علوم مرتبط و نیز آموزه‌های تئاتری و مقایسه تطبیقی با تعدادی کتاب و سایت مراکزِ مطرحِ صدا در دنیا، فراهم آمده و در چند کارگاه‌ِ ویژه، نتایجِ عینیِ دریافت‌ها مشاهده گردیده‌ است؛ صدای بازیگر که ابزارِ حرفه‌ای‌ِ او نیز هست، نیازمند تربیت و مراقبت است، اما نه به ‌تنهایی، چرا که با دیگر عناصرِ حیاتیِ او، ارتباطی تنگاتنگ دارد؛ «حواس، افکار، بدن، صدا» ترکیبی چهارگانه می‌سازند که حذفِ هر بخش از این ترکیب و یا آشفتگی در کارکردِشان، کارِ بازیگر را با مشکل روبرو خواهد ساخت؛ برآیندِ این کاوش، ضرورتِ بازنگری در این ارتباطِ جدایی‌ناپذیر میان بدنگفتار است و نشان‌می‌دهد تمرین‌های نادرست در کلاس‌های عمومیِ «فنِ بیان» یا «صداسازی» چگونه سببِ آسیب‌رساندن به اندامِ ظریفِ آوایی و روانِ هنرجویان می‌شوند؛ فرآیندِ پرورشِ صدا زمان‌بر، پایان‌ناپذیر و نیازمند آگاهی و شناختِ دوطرفه‌ی بازیگرمربی است؛ ضروری است درک شود، هر هنرجو براساسِ ویژگی‌های متفاوتِ شخصی، صدایی منحصر‌ به‌ فرد دارد و باید به جست و جوی تمرین‌هایی مناسب خود بپردازد تا برای دستیابی به تواناییِ خلقِ شخصیت‌های متفاوت، با پرهیز از صداسازیِ مصنوعی ابتدا با شناختِ وضعیت خود، سپس وضعیتِ نقش صدای مناسب را در طول تمرین کشف و بازآفرینی نماید.

Invisible Hand: The Relationship between Actor’s Voice and Inner Dynamic

In workshops and books on acting education, we have repeatedly faced the phrase “inner dynamics.” In Persian translations, the phrase has been perceived and translated as a combination of inner bodily forces which drive physical motions and/or emotions within us. This article is a query into how these forces may affect the actor’s voice. The actor’s voice, which also functions as his professional tool, is closely connected with other vital elements; senses, thoughts and body along with the voice form a quadruple combination. The absence of any of these elements or even their malfunction would result in an actor’s faulty performance. In this study, making use of the findings of other fields (including physics, music, physiology, neurology, sociology, complementary medicine, chemistry, nutrition, sports, and geography,…) on  how voice is formed and how internal and external factors may affect it, we are after a substantial reconsideration on how the inseparable bodyspeech relationship is perceived in order to serve as a stern warning against improper voice trainings which are performed as socalled “oratory” and adversely harm the delicate vocal organs as well as the trainee’s vulnerable spirit. Each individual actor, considering his physical and mental characteristics, possesses a unique voice, hence requires his own specific exercises in order to train his voice to achieve the capability to create diverse personas. The actor is to make an individual endeavor, under the guidance of a knowledgeable trainer, to figure and devise the types of practice, which suit his own conditions. According to the ancients, sound is the spirit level and, in modern languages, represents our thoughts, feelings, and emotions. For example, students at the Christian Lynchlt Center in Scotland, in the first step of their education, are advised to understand the Psychophysiology of their voices, because this understanding allows the ways of communication which have become ordinary and routine for them, to be fundamentally repaired and rebuilt This branch of psychology examines the relationship that may exist between the behaviors, traits and psychological functions of individuals with physiological factors in the body. Since the sound is generated from a point within the body and is not a phenomenon that is readily observable, it is necessary to study what process is in progress in the relevant limb and how sound communication with them is. This is the first step. In many parts of the world, after basic knowledge, with the help of modern scientific achievements, with the help of physical exercises, students learn to concentrate on mental and physical abilities, develop respiratory skills and many other useful practices. The effects of the body and the sound of other factors should not be overlooked; the dynamics of the earth and energy centers in the body, the effects of climate, heat and cold, the place and community, and, in general, the impact of the environment on us and, accordingly, on the sound are obvious.