The difference between "reading aloud" and "reciting aloud" \r\n \ r \ 1. Different meanings \ r \ nReading aloud is essentially a kind of "reciting aloud", and its main purpose is to clearly and accurately transform written words into corresponding audio language to convey to the audience. It does not pursue emotional artistic expression, but pays attention to meaningful metaphor. "Recitation" is a higher level reading and an artistic expression of language expression. It needs to deal with the article artistically, and transform the recited material into an artistic performance through such expressive skills as speed, weight and pause. Therefore, it has the elements of performance. It calls for the audience's emotional singing, and pursues the artistic appeal that makes the audience listen, listen and listen with emotion. \r\n \ r \ Second, the scope of use is different \ r \ nReading is widely used, and all written books can be read aloud. Whether it is poetry, words, songs, fu, or prose, novels, drama, cross talk; Whether it is narrative, argumentative, explanatory, editorial, news, doggerel, tongue twister, letter from home, job advertisement, looking for you, mathematical physics exercises, etc. , are readable; But the use of recitation is relatively narrow. Generally speaking, poetry and prose are the mainstay, and a few fairy tales, novels and plays can also be recited. Isn't it called "poetry reading" and "prose reading"? It has relatively strict requirements for the artistic features of the manuscript, such as "Looking for You" and "Mathematical Physics Exercises", which can be read aloud, but if it is used to recite, it is difficult for the listener to accept and make people laugh and cry. \r\n \ r \ Third, the location and identity are different \ r \ nThe location of readers is localized, while the location of readers is artistic. When reading aloud, the nature of the reader's position has not changed, classroom or classroom, land or land. But also in these places, the space where the reciter is located has actually changed, and a "performance area" has been formed tangibly and invisibly. The nature of this "performance area" has changed with the content of recitation, and the audience often intentionally or unintentionally avoids entering the "performance area" so as not to interfere with the performance of the reciter. Therefore, recitation is generally performed on the stage and in public. The identity of the reader should be the reader himself, and the reader is neither the representative or incarnation of the author of the article nor the actor. As a performing art, recitation is an "actor", and the reciter plays another "I" to express his feelings. \r\n \ r \ Fourth, the requirements for sound reproduction are different \ r \ nThe requirements for sound reproduction in reading are close to nature, nature and life, but they are different from those in daily life. More accurate, vivid, typical and aesthetic than natural spoken language. It requires "no fire, no _, just fine". Too exaggerated, it is easy to give people a feeling of posturing and hypocrisy; Too dull, like "pulling home" and boring. As Qi Yue said, "Reading in a language close to natural dialogue in life does not require reading in an unnatural voice different from dialogue, that is, don't speak out of tune". Xu Shirong said, "There is a limit to the expressive power of language. Naturally, we can read tones and moods appropriately, such as light, short, cadence and so on, but we don't do too much artistic exaggeration. It is a simple and honest reading, not a ups and downs performance. " The requirement of sound reproduction in recitation should be stylized, personalized and even dramatic. It requires the reciter to condense his experience of the work into a unique artistic appeal by changing Zhang Chi's volume, range and rhythm, just as Ye Shengtao said, "Give him a stimulus when he is passionate, and give him a euphemism when he is euphemistic", which deeply shocks the hearts of the audience. \r\n \ r \ nV。 Different degrees of standardization \ r \ Reading aloud requires the listener to understand the content completely and accurately, so the pronunciation requirements for the reader are not so strict. Generally speaking, the reader should choose Putonghua, but under certain circumstances and certain premises, it is allowed to read in dialects or interspersed with dialects, provided that the audience can hear clearly and accurately. Recitation focuses on infecting the audience with the artistic charm of language, which is generally required to be expressed in standard Mandarin. Only in this way can the content of the work be reproduced artistically and perfectly. In most cases, reciting in dialect is unacceptable to the audience. \r\n \ r \ nVI。 \ r \ Reading aloud in different situations is generally an expression of \ reading aloud \ and can be done by hand. It has no clear requirements for the reader's body, gestures, eyes and expressions. In a situation, you can stand, walk or sit and read aloud. The task of reading aloud is to convey, not to perform. Recitation is an artistic performance, which requires that the body, gestures, expressions and eyes should be in harmony in the process of recitation, so as to strengthen the artistic appeal of artistic language. Therefore, recitation must not rely on the manuscript to express itself, because holding the manuscript is not conducive to the coordination of body, posture and recitation content, and reading the manuscript too much will also limit the expression and eyes of the reciter to communicate with the audience. \r\n \ r \ nVII。 Different education \ r \ The education of reading is mainly reflected in the function of reading and the effect of using reading. As a form of education, reading aloud is mainly used to convey the main contents of a work to the audience and directly educate the audience through the ideological knowledge contained in the work. Reciting is an art of conquest. With the help of readers' unique sound quality, vivid and fluent language rhythm and rich and skillful language skills, it gives wings to those literary works and makes them fly to the hearts of the audience, which is shocking and produces a fascinating force. This powerful conquest is the highest state of recitation, and it is also the full embodiment of the value of recitation art itself.