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He had incredible stage presence. I always taught him that a great actor has to be, not do, that 'doing' should come out of 'being'.

1.1.2. Listen to the pragmaphonetic variant of Target 1 where some of the most important aspects of English speech are specially brought out and pragmalinguistically modelled:

') the energetic articulation of stressed syllables (especially the closed ones); 2) the intensification of consonants as part of English syllabification; ->) the exaggerated stress-timed rhythmical pattern;

4) the greater clarity of pitch-movement within the Descending Scale contour and before pauses (against the general background of slowed down tempo);

⁵) the greater resonance of enunciation.

— 1.2. Syllables, Stress, Rhythm, Prosody—

1.2.1. Divide the words of the text into fully-meaningful and syn-categorematic ones.

— Mark off the fully meaningful words by underscoring them in the printed text.

— Which of the words of either group is going to be stressed and why?

1.2.2. Listen to the text and comment on the pronunciation of the stressed syllables in the following word:

incredible

presence

matter

clever

commentator

anything

everybody

— What are the basic principles that have to be followed here?

1.2.3. Transcribe these words, dividing them into syllables (use the English Pronouncing Dictionary for that purpose).

1.2.4. How is the text divided into parts by means of pauses?

— Which of the pauses are shorter and which are longer and why?

1.2.5. Which of the words in the text are stressed and which are accented?

— Study the words below and divide them into two groups — the stressed words and the accented words:

saw, incredible, presence, have, clever, can't, stage, hold, audience, test, Old, production, King, John, played, director, commentator, idea, often, action, put, watch, part, get, did, two, then, performances, wasn't, anything, just, eyes, not, always, taught.

1.2.6. Study the cases of 'have' ('had') that occur in the text, as well as those of 'him' and 'that' in terms of stress.

— Give other examples to support the basic differences between those cases.

1 2.7. Study the rhythm within every part of the text singled out by pauses.

a) Analyze the simple rhythm-units into three groups — monobeats (M), trochees (T) and dactyls (D). Use the following analysis as a model:

'As soon as I saw himon the stage, I knew he had that incredible stage-presence, which you either have, or don't have.'

As soon as I saw him on the stage

D D+lM

I knew he had that incredible stage-presence

T D D M T

which you either have

D+lM

or don't have.

M M M__________________________

b) Explain the rule of English rhythm that is observed in the case of 'had that incredible'. Why is 'that' phonetically degraded? Find other cases of that kind in the text.

1.2.8. Study each of the prosodic contours in the text. Use the following analysis as a model:

The first sentence of the text consists of 5 contours. The first one is:

'As soon as I saw him on the stage'

a) There are no accents here.

b) The contour is a typical case of the non-interrupted Descending Scale which relies on the two level tones on the stressed syllables 'soon¹ and 'saw' and a low-rising tone on 'stage'.

1.2.9. What prosodic means are used in different cases of accent in the text?

1.2.10. Comment on the use of

— Low-Falling tones in the text;

— Low-Rising tones in the text;

— Mid-Falling tones in the text;

— High-Falling tones in the text.

1.2.11. Comment on the modifications of tempo, loudness and pitch in the following parts of the text:

"since the Bastard is a commentator on the action very often",

"he wasn't doing anything. He was just there. But everybody's eyes

were on him, not on the action".

"...a great actor has to be, not do, that 'doing' should come out of

'being'".

— What is the function of these modifications in each of these cases?

— 1.3. The English Articulation Basis — Sounds —

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