视频教程成于 96 年，虽然视频质量和美观度一般，但是绝对是好教材。本教材语速不慢，而且形成的系统很有趣，从慢到快从单个音标到整体篇章连读，非常棒。
This special edition e-course teaches all the core speech dynamics you need for a foundation to master spoken English.
You will learn to feel tone and vibration, create well-formed vowels, and develop articulated consonants. Further, there is extensive linking and phrasing practice, which is the key to fluency.
In addition, you will have full access to our newest edutainment practice material–adapted from the Academy Award nominated movie, “My Man Godfrey”, which will keep you entertained while you are practicing.
Two original fairy tales are also included here.
These movie scenes are broken down for word lists and phrase links, all with color-coded subtitles.
Plenty to keep you involved and challenged, no matter what level of English you now speak.
Speech Masters is committed to providing the highest level of training, with programs that are motivating and fun to use.
Master Spoken English-Feeling Phonetics
“Master Spoken English – Feeling Phonics”, was published in 1996 and is now in use in 58 different countries.
Colleges and universities worldwide have recognized the need this training serves in enabling speakers of English to reach their full potential.
Besides serving EFL and ESL needs, the series is used widely in learn-to-read programs.
Meeting the needs of advanced communication skills courses, and providing beginning readers with the models to master the language, the program is uniquely structured to be both multi-level and multi-purpose.
Phonics, as a science, has risen as the dominant tool for language learning.
“Master Spoken English – Feeling Phonics” is an encyclopedia of phonics.
Training, as it was designed to, first-graders and full-professors. Enabling readers to excel, and training speakers like professional actors.
Sometimes all at once … there’s God.” So said Tennessee Williams in one
of his plays. Arthur Lessac is not quite God to me, but he’s certainly a piece
I can remember quite clearly the day I grasped his technique for the
first time, or should I say, the day I felt it for the first time. I was standing
amidst a group of some thirty students. I was twenty-four years old, new to
New York, and a member of the Lincoln Center Training Program eight hours a day of Body, Voice and Acting classes to prepare us as members of the first acting troupe for the then-as-yet-unbuilt Vivian Beaumont Theatre.
Arthur was leading us in a vocal exercise using the words: Hello Away-Until. He was trying to make us understand where to place these
亚瑟带领我们做了一个声乐练习，用了几个词：Hello Away Until。他想让我们知道这些东西放在哪里
sounds and how to project them. I wasn’t getting it. My throat was closed
and my eyes were tearing. I would cough, tighten up, and lose my breath.
All around me were young actors with similar difficulties.
Like any other training approach, until a certain “body truth” happens, it can seem somewhat strange. You’re asking your body to reprogram its computer and at first it rebels. Mine certainly did. I had, up
until Arthur Lessac, done okay with my voice, I thought. But I had not as
yet really tested it on the great roles, or in extended long runs, or in cavernous old theatres. Nor had I yet come to respect its power.
But this day, as Arthur walked among us loosening cheeks, directing
mouths forward, correcting breathing and posture, my body decided to
accept his lessons. I felt in my upper palate a tingle as if the words were
born in my mouth. My breath eased, and out came a sound I had never before made. The feeling was immediate and profound. My body said, “Yes.”
Arthur heard it and said, “Yes, Frank, yes.” “God” spoke, and from that moment on I was free. The way you are free when you finally learn to swing a
bat, or play a scale, or when you effortlessly pull up on your skis for the first
time. You may fall down from time to time, but you’ve got it forever.
The subject of this book is vocal life. Although it is a resource for anyone
who wants a beautiful voice and who requires clear, articulate speech, I
address this revised edition primarily to teachers and students of acting
at colleges, universities, and private studios and to professional actors
working in theatre, film, and television. Regardless of what level you have
reached in your teaching or acting careers, you will, I hope, find the process laid out here immediately accessible, applicable, and empowering.
It will describe goals you can relate to and ways to reach them. Through
your own searching, discovering, and doing, you will fully understand the
feeling of complete mastery of voice and speech and its relatedness to the
quality of performance. This book is about finding your own voice, rediscovering your own originality, reexploring your artistic skills and talents,
and reinforcing and expanding your communicating personality. Terms
that may be unfamiliar are defined in the text, footnotes, and glossary.
Hopefully, you will find that Lessac training is not a rigid step-by-step
progression. The new order of this book reflects a circular sequence that
has worked extremely well and with maximum flexibility in studios and in
workshops. Feel free to adapt and experiment along the way. Wander
through the chapters at will, but with curiosity and awareness. You will
find the book’s principles, experiments, and explorations part of an innate, vital whole, and, as such, you may enter the training at any point as
a viable starting place. Because of its natural circuitry, Lessac training
employs a dynamic rhythm and balance to lead you progressively through
the training circle with all the other parts always connected, always in
Whatever else you gain from this book, I hope you will find yourself
exploring the idea that nothing stands alone, isolated, or encapsulated
not your voice, your speech, your body, or any of the modalities through
which you perceive, feel, emote, or physicalize expression. Everything,
whether simple or radical, is a unique part of something else, for nothing
functions well enough until it functions in balanced relationship with
everything else. As you use this book, I hope you will sense that we are
building a “whole” out of smaller “wholes”-a “gestalt” out of smaller
【1.】Master Spoken English – Special Edition Course
【2】Master Spoken English – Feeling Phonics ( DVD Rip)