WEBVTT 1 00:00:03.810 --> 00:00:14.460 Maggie Monteverde: Okay we're going to go ahead and get started, because we're continuing this is actually our fourth program fourth of 27 programs will have this week. 2 00:00:14.969 --> 00:00:27.510 Maggie Monteverde: On the subject of reading as a radical act, this is our 20th annual fall humanity symposium I think now we just call it the humanity symposium but it's always in the fall. 3 00:00:28.770 --> 00:00:40.560 Maggie Monteverde: And it will be my pleasure and just a moment to turn this over to belmont alumnus former student of mine and several of us in this room. 4 00:00:41.220 --> 00:01:01.800 Maggie Monteverde: But also, most recently, now a faculty Member at belmont and Sean night, so that was that was brief, into the point so anyway, but before we turn it over I need to say something both to those of you who are in the room, who are sitting as far back as you possibly can. 5 00:01:02.940 --> 00:01:04.410 Maggie Monteverde: Anyway, anyway. 6 00:01:06.870 --> 00:01:13.950 Maggie Monteverde: So if you are in the room, when the presentation is finished you'll see there's four boards around here. 7 00:01:14.700 --> 00:01:29.640 Maggie Monteverde: That have a qr code for this session Okay, and you should just need to scan it occasionally, I think, because everybody is kind of logging in at the same moment you might initially get an error message, and if you persist, it will clear itself up. 8 00:01:30.690 --> 00:01:35.760 Maggie Monteverde: For those of you who are joining us online in the virtual environment. 9 00:01:37.170 --> 00:01:48.600 Maggie Monteverde: I want to let you know, let you know actually how you would obtain credit for this session because it's a little bit different and I once again left my directions over there. 10 00:01:49.530 --> 00:02:06.600 Maggie Monteverde: You need to go to Berlin link and select the well core category for this session, and probably shortly, not long after the session a quiz will come up which you need to take you have seven days in which to take the quiz. 11 00:02:07.620 --> 00:02:15.600 Maggie Monteverde: And you need to get four of the five questions right once you submit the quiz you'll receive an email. 12 00:02:16.020 --> 00:02:26.760 Maggie Monteverde: that's an assessment document that will come to you, I suspect, maybe some of you do the qr code may be getting the same thing, but I don't know this system is a little different from what I use last year. 13 00:02:27.690 --> 00:02:35.580 Maggie Monteverde: So i'll be sitting over here, if you have any questions, and now I hope you'll join me in in welcoming. 14 00:02:36.780 --> 00:02:38.850 Maggie Monteverde: Professor Sean night. 15 00:02:44.910 --> 00:02:58.560 Maggie Monteverde: Thank you very much i'm going to let's see so this says i'm going to practice session Do I need to start webinar okay gotta check the zoom first before we get going so should I click start webinar. 16 00:03:02.880 --> 00:03:06.810 Maggie Monteverde: that's all right i'll be reintroduced okay start sorry. 17 00:03:12.240 --> 00:03:17.040 Maggie Monteverde: Alright we're going to start this over again everyone who was in the room, just heard this. 18 00:03:17.460 --> 00:03:34.710 Maggie Monteverde: But I think those of you who are online did not okay so i'm going to repeat it, for those of you who are online and want to receive convocation credit what you will need to do in order to get that is to go to bruin link and select the well core. 19 00:03:35.730 --> 00:03:42.840 Maggie Monteverde: session that this is, I believe they're organized by categories, I think this is a cultural category. 20 00:03:43.410 --> 00:03:53.040 Maggie Monteverde: And you'll select that probably within an hour after this particular session a quiz will appear there you have seven days to take the quiz. 21 00:03:53.400 --> 00:04:05.130 Maggie Monteverde: You have to get four out of five of the questions right and then you'll once you submit that you will get an assessment document back for those of you who came into the room after I already said this. 22 00:04:06.330 --> 00:04:23.730 Maggie Monteverde: You will just simply use a qr code scanner on one of the four boards back here which are set up specifically for this session, and so, once again I introduce my former student Dom on alumnus Professor Sean line. 23 00:04:27.540 --> 00:04:32.130 Maggie Monteverde: Now, do I need to do anything in terms of sharing the screen for this PowerPoint do you know. 24 00:04:33.510 --> 00:04:45.090 Maggie Monteverde: I need to share the screen, so I go over here I go to my video nope share screen found it and PowerPoint slideshow let's hope this works. 25 00:04:46.230 --> 00:04:49.470 Maggie Monteverde: And I can't tell if it's working or not, but. 26 00:04:50.760 --> 00:04:53.160 Maggie Monteverde: we're getting there thanks for bearing with me. 27 00:04:54.870 --> 00:04:55.830 Maggie Monteverde: going to run. 28 00:05:02.760 --> 00:05:04.080 Maggie Monteverde: This is fun y'all. 29 00:05:05.730 --> 00:05:06.780 Maggie Monteverde: Give me one second. 30 00:05:08.250 --> 00:05:12.090 Maggie Monteverde: I share the screen when I click a PowerPoint. 31 00:05:13.170 --> 00:05:14.940 Maggie Monteverde: I think it seems to be changing. 32 00:05:16.380 --> 00:05:19.860 Maggie Monteverde: All right, that's pretty close nope that's the wrong screen. 33 00:05:21.270 --> 00:05:22.440 Maggie Monteverde: Technology. 34 00:05:25.050 --> 00:05:26.250 Maggie Monteverde: share the presentation. 35 00:05:28.740 --> 00:05:35.520 Maggie Monteverde: will do it this way you all can see it fine here and we'll make sure this works okay i'm sorry about that wonderful technological glitch. 36 00:05:35.940 --> 00:05:42.450 Maggie Monteverde: i'm Sean night and I spent many years teaching as an adjunct in English department, so I know many of these fine folks over here. 37 00:05:42.810 --> 00:05:52.140 Maggie Monteverde: And then I switched over I don't know about a decade ago, at this point to the theater department, so now I am teaching over there as an instructor. 38 00:05:52.800 --> 00:06:05.130 Maggie Monteverde: And when Dr system, I believe, mentioned the possibility of me speaking of the symposium and Dr might have already contacted me, I was delighted to to do so, especially this year with such a. 39 00:06:05.910 --> 00:06:13.050 Maggie Monteverde: fascinating topic, and you know reading as a radical act is super important especially this day and age, especially the times that we're living through. 40 00:06:13.560 --> 00:06:22.860 Maggie Monteverde: And so, one of the things that i'm going to talk about today is finding voice often when we read a text right it's just we just read the words on the page and that's that. 41 00:06:23.400 --> 00:06:34.800 Maggie Monteverde: But as a theater artist I know the value of actually finding voice, creating voice so i'm going to jump over to this next screen here, maybe, if I am magic OK. 42 00:06:35.730 --> 00:06:42.210 Maggie Monteverde: So the instruction that I the introduction that I offered that you will find printed in some of the material. 43 00:06:42.630 --> 00:06:58.170 Maggie Monteverde: Is that authors and your English classes, they talked about voice in terms of their characters what their narrator sound like maybe even what their the tone and the word choice of particular author is but in theater of course we're more interested in the physical manifestation of sound. 44 00:06:59.550 --> 00:07:13.440 Maggie Monteverde: And this physical manifestation can frighten right, it can comfort the skies reveal it can do a bazillion things we are always as theatre artists looking for active verbs if we decide to get on stage and be sad that is boring acting. 45 00:07:13.980 --> 00:07:30.450 Maggie Monteverde: But if we decide to get on stage and fight if we decide to get on stage and argue if we do get excited to get on stage and demand that's more engaging that's more exciting and I argue that you're reading, even in your own mind as you do, it should be doing the exact same thing. 46 00:07:31.620 --> 00:07:39.900 Maggie Monteverde: And if you explore the connection between voice on the page and voice on the stage it can yield the stronger theatrical choices for those of us who are in theater. 47 00:07:40.620 --> 00:07:49.050 Maggie Monteverde: But I think it will also aid in the reading process and it can more fully engage even non theatrical readers of every level. 48 00:07:50.460 --> 00:07:55.140 Maggie Monteverde: Now if if you're wondering what in the world is going to be happening today. 49 00:07:55.920 --> 00:08:03.900 Maggie Monteverde: This is our outline we're going to talk a little bit about the value of reading which, I hope, most of you in the room, already gets but we're going to talk about that. 50 00:08:04.560 --> 00:08:12.630 Maggie Monteverde: Then we're going to spend a good deal of time being theatrical and creating character through voice so that is where the audience participation comes in. 51 00:08:13.080 --> 00:08:24.780 Maggie Monteverde: Do not worry, you will not ask to be moved to ask to be moving or getting around anything like that I will ask you to say there and practice speaking some things with some different voices do you need to do this, yes. 52 00:08:25.470 --> 00:08:34.800 Maggie Monteverde: Well, I know if you don't know because you all have masks on but that's not the point, the point is, if you practice, some of these things you can hopefully get the idea of what i'm exploring here. 53 00:08:35.520 --> 00:08:41.220 Maggie Monteverde: we're going to talk about the idea of reading with voices once we've created them and we're going to talk about some wider applications. 54 00:08:41.730 --> 00:08:50.280 Maggie Monteverde: And as we start we're going to go to the most important cultural commentator of the 80s and 90s, the golden girls. 55 00:08:51.150 --> 00:09:02.190 Maggie Monteverde: If you are not familiar with the golden girls sitcom from the 80s and 90s, you should be I tell my students who have a struggle with comedy to turn to the show as a masterclass. 56 00:09:02.910 --> 00:09:13.110 Maggie Monteverde: For women in their 50s 60s really and truly putting on an example of a master class in comedy it is one of the few sitcoms. 57 00:09:13.590 --> 00:09:29.730 Maggie Monteverde: were all for leading characters that sometimes during the run one emmys for best actress in a comedy series but i'm specifically talking about one episode entitled henny penny and henny penny Sofia, who is a substitute teacher. 58 00:09:30.810 --> 00:09:38.820 Maggie Monteverde: has been tasked with directing a play and the goal of this play is to get their elementary school students interested in reading. 59 00:09:39.390 --> 00:09:52.500 Maggie Monteverde: And the school recognizes that a theatrical demonstration of the texts that they're working on may be far more engaging to students so Dorothy goes out to direct hani petty and all of the first graders come. 60 00:09:53.220 --> 00:10:04.560 Maggie Monteverde: Now it's supposed to start first graders by the measles breakout in school, and so, none of actors didn't rehearse so of course Dorothy and her roommates have to jump in and perform their show. 61 00:10:05.610 --> 00:10:09.600 Maggie Monteverde: It seems like a far fetched presentation, but it's not. 62 00:10:10.980 --> 00:10:15.210 Maggie Monteverde: In 1983 a Commission on reading funded by the United States Department of Education. 63 00:10:15.630 --> 00:10:25.500 Maggie Monteverde: determined that the single most important activity for building the knowledge required for eventual success in reading is reading aloud to children. 64 00:10:26.130 --> 00:10:32.760 Maggie Monteverde: This is probably not a surprise to many of you, and yet a lot of people don't think about it. 65 00:10:33.450 --> 00:10:43.620 Maggie Monteverde: Many of us take for granted the fact that we were read aloud to in our elementary school days that our parents may have read aloud to us that a babysitter or an older sibling read aloud to us. 66 00:10:44.040 --> 00:10:53.640 Maggie Monteverde: And in fact what this Commission at this point for decades ago said is it's the single most important activity for building knowledge. 67 00:10:54.660 --> 00:10:56.850 Maggie Monteverde: Especially for lifelong readers. 68 00:10:59.580 --> 00:11:18.900 Maggie Monteverde: They also said, it is a practice that should continue throughout the grades, that means that this skill, is not something that should be abandoned after elementary school, but how many of us take the time to read anything out loud to ourselves or to others. 69 00:11:19.980 --> 00:11:29.820 Maggie Monteverde: it's a skill that I think we can find even at the College level and beyond useful to understanding useful to processing and useful to communicating. 70 00:11:31.140 --> 00:11:35.640 Maggie Monteverde: So why is reading aloud so important well number one it improves listening skills. 71 00:11:36.570 --> 00:11:43.350 Maggie Monteverde: We live in a society that in many ways today has abandoned all listening skills, especially to people we don't agree with right. 72 00:11:43.770 --> 00:11:54.570 Maggie Monteverde: Sometimes it's the lack of listening, or the lack of attempt to listen, but then sometimes it's just the fact that we don't get used to it easily we see so many things visually. 73 00:11:55.020 --> 00:12:05.040 Maggie Monteverde: But sometimes the listening part of that is important and we have to listen with some ideas, some of you may be aware and i'm going to get this all kinds of wrong because i'm. 74 00:12:05.610 --> 00:12:15.450 Maggie Monteverde: My pop culture heyday was the 80s and 90s right with the golden girls so i'm behind, but little nas X recent video which i've said I great deal of people and his song. 75 00:12:16.890 --> 00:12:26.250 Maggie Monteverde: Many people were criticizing it for being so blatant in terms of his homosexuality his beliefs, all that with young young people listening. 76 00:12:26.670 --> 00:12:37.290 Maggie Monteverde: And yet there have been songs for decades that have included lyrics that are beyond questionable that in many ways are beyond what was happening in this song. 77 00:12:38.010 --> 00:12:43.680 Maggie Monteverde: and too often we listen to those songs and we hear the lovely melody we don't really listen to the words. 78 00:12:44.160 --> 00:12:57.900 Maggie Monteverde: I can say, there have been many times in my life as i've grown up in one oh wait a second what's this all about and I had no idea listening to it when I was young, so we keep those listening skills with us and we need to pay attention to words and texts. 79 00:12:59.670 --> 00:13:11.280 Maggie Monteverde: Reading aloud also models reading for enjoyment if the person reading to you is reading Dolly and talking in a very bueller bueller bueller tone we don't find joy in it. 80 00:13:12.000 --> 00:13:21.120 Maggie Monteverde: But I have a feeling that at some point in your life you've seen someone read a story or you've listened to an audiobook that was utterly engaging to you. 81 00:13:21.840 --> 00:13:30.120 Maggie Monteverde: And that's a difference between hearing that voice and maybe just reading it on the page if, when you're reading it on the page there's no life behind. 82 00:13:32.370 --> 00:13:43.110 Maggie Monteverde: Reading aloud builds Community now in many ways this is for our younger people right, but can you imagine a kindergarten classroom full of people listening to a story think about how often they interrupt. 83 00:13:43.650 --> 00:13:48.570 Maggie Monteverde: Think about how often they stopped tasks questions, think about how often they do or off. 84 00:13:50.160 --> 00:13:58.830 Maggie Monteverde: This is building community, seeing that other people have the same reactions that you do to think it is harder to do that alone and silently. 85 00:14:01.320 --> 00:14:08.970 Maggie Monteverde: Reading aloud also models fluency expression and tone we're going to explore some of these as we create some character voices shortly. 86 00:14:09.450 --> 00:14:21.300 Maggie Monteverde: But if you think about that kindergarten teacher who's sitting there and reading in a teeny tiny little voice as a mouse or a big booming voice as an elephant just that slight change. 87 00:14:21.660 --> 00:14:28.650 Maggie Monteverde: In voice and tone is enough to engage somebody is enough to help tell the story, even beyond what the words are doing. 88 00:14:30.750 --> 00:14:38.640 Maggie Monteverde: Hearing things read to allowed also builds vocabulary, not only by hearing it in context, but by also hearing how words are pronounced. 89 00:14:39.240 --> 00:14:43.620 Maggie Monteverde: My dear friend in high school was solidifying of our class and. 90 00:14:44.280 --> 00:14:57.780 Maggie Monteverde: went up to our high school senior English teacher as a senior and asked what my lengthily meant because she'd never heard the word melancholy pronounced out loud she'd only ever read it, and was reading it more lengthily in her head. 91 00:14:58.530 --> 00:15:16.890 Maggie Monteverde: I have a feeling, most of us have had an experience, my second semester and Dr monasteries Middle Ages class only when she wrote the word swag on the stage dude I are on this board did I realize it was not bored you easy which I was pronouncing in my head for you. 92 00:15:18.510 --> 00:15:20.460 Maggie Monteverde: I don't think i've ever admitted that but it's the truth okay. 93 00:15:22.140 --> 00:15:31.050 Maggie Monteverde: Reading aloud improves visualization if i've got a teeny tiny voice, with a teeny tiny character my brain automatically goes to a smaller creature. 94 00:15:31.440 --> 00:15:40.110 Maggie Monteverde: A smaller person, it creates a visual world and builds those elements and finally reading out loud expands the background knowledge. 95 00:15:40.770 --> 00:15:48.150 Maggie Monteverde: Often, when we're hearing things out loud if we've got a passionate reader who's making some smart choices, the information that we get. 96 00:15:48.840 --> 00:15:59.130 Maggie Monteverde: Alongside the main plot sticks with us more fully, if you can imagine a teacher reading to a class or a friend reading to a group and talking. 97 00:15:59.700 --> 00:16:10.200 Maggie Monteverde: about some beautiful romantic seascape and describing it in gentle hushed beautiful tones, even if the story being told, is about a seagull and a picnic. 98 00:16:10.800 --> 00:16:18.210 Maggie Monteverde: which I just made up but i'm going to go write that one a seagull and a picnic we're still hearing the description of the world around those characters. 99 00:16:19.680 --> 00:16:26.940 Maggie Monteverde: So in theater how in the world do we create character so as actors, I tell my students, we are artists as well. 100 00:16:27.630 --> 00:16:36.690 Maggie Monteverde: And it's easy to think of a piano player and go all right, what is the piano players instruments, I hope you recognize that it's the piano. 101 00:16:37.680 --> 00:16:50.310 Maggie Monteverde: The flute player plays the flute if you start talking about the instruments of a sculptor it may be marble it may be bronze you may need a chisel, these are the instruments with which. 102 00:16:50.940 --> 00:17:00.870 Maggie Monteverde: We do our jobs as actors, what are our instruments, well, we have three main instruments we have body voice and imagination. 103 00:17:01.890 --> 00:17:08.970 Maggie Monteverde: People are like what about scripts What about sets What about lights you don't need any of those things to put on a theatrical production. 104 00:17:09.870 --> 00:17:24.450 Maggie Monteverde: Some people, particularly those who are invested in mind and movement don't even use voice, but sometimes the lack of voice or the silence is a character, all in itself, a few years ago, I saw a beautiful production of. 105 00:17:25.980 --> 00:17:43.230 Maggie Monteverde: Big river, the story of huck Finn and it was performed by theatre deaf West it's a group of practitioners out in California, I think California and they want to Tony for their work and what they did was they had actors who could hear alongside actors who could not. 106 00:17:44.280 --> 00:17:54.660 Maggie Monteverde: And the folks who were on stage acting it out, you sign language and just to the side of the stage voice actors were providing the voices. 107 00:17:56.130 --> 00:18:07.470 Maggie Monteverde: It was an interesting sort of trick I was like I understand what it's doing, but why is it here until we get to the moment when Jim and huck Finn, is telling a story. 108 00:18:08.070 --> 00:18:16.320 Maggie Monteverde: about how he got very angry at his daughter, one day, this makes me emotional just talking about it here, he gets very angry and his daughter, one day, and he hits her on the side of the head. 109 00:18:17.130 --> 00:18:24.300 Maggie Monteverde: And shortly after that a door slams and she does not react, and he realizes that she's lost her hearing. 110 00:18:26.010 --> 00:18:31.200 Maggie Monteverde: And I will never forget, as long as I live seeing a touring production of the show. 111 00:18:31.830 --> 00:18:50.130 Maggie Monteverde: And at the height of the big song this big spiritual number called waiting for the light to shine, just as the music hits the climax all sound cut out and everyone on stage continued to sign to the fullest extent of their heart with no sound. 112 00:18:51.420 --> 00:19:04.380 Maggie Monteverde: And it was extraordinary so these things, these are our tools to create with as artists, but of course if i'm talking about reading aloud voice is absolutely essential, as part of that. 113 00:19:06.540 --> 00:19:19.230 Maggie Monteverde: I like to call this the pie chart of communication, there are dozens of studies and they don't agree, but they generally agreed to this roughly that this is how we communicate with one another. 114 00:19:20.430 --> 00:19:32.190 Maggie Monteverde: That 70 to 80% of our communication is done through body language that another 20 to 25 again, depending on the numbers are vocal choices. 115 00:19:33.060 --> 00:19:37.950 Maggie Monteverde: And that the remaining five to 10 or the actual words we use. 116 00:19:38.760 --> 00:19:52.110 Maggie Monteverde: In my acting one class we started our semester, with what we call picture scenes which are scenes that have no actual words in them at all they're allowed to use some non verbals like a scream or sneeze or a call for a short anything like that right. 117 00:19:52.890 --> 00:20:01.920 Maggie Monteverde: But the picture scenes are basically charade scenes they have to pick a portrait or painting actually so like a Mona Lisa or the scream or something like that. 118 00:20:02.460 --> 00:20:11.670 Maggie Monteverde: And they have to imagine that two minutes before that frozen moment in time, and they have to share that story with us and charades acting it out with no words. 119 00:20:12.090 --> 00:20:24.450 Maggie Monteverde: that's always their first assignment to remind them of the significance of body language, but the second assignment which hallelujah they started just today what brilliant timing is called an open scene, or a nonsense scene. 120 00:20:24.930 --> 00:20:31.350 Maggie Monteverde: Where they get words that don't really have a meeting until you give them meaning, so the scene between two people that says something like. 121 00:20:32.670 --> 00:20:42.090 Maggie Monteverde: You want one why reason okay sure thanks we don't really have any specific meaning behind that we don't have any specific intent behind that. 122 00:20:42.750 --> 00:20:48.720 Maggie Monteverde: But where we get that meaning and intent or through the vocal choices that the actors choose. 123 00:20:49.560 --> 00:21:04.470 Maggie Monteverde: These vocal choices could be specific voices where they can be what I like to refer to as often talked about a theater is subtext I can say no to you and mean it a variety of ways, I can be like no that's One example I can be like no. 124 00:21:05.520 --> 00:21:14.190 Maggie Monteverde: that's another two very different characters in two very different situations and done nothing with except changing the vocal choices. 125 00:21:15.570 --> 00:21:28.710 Maggie Monteverde: So, as we explore voice there's a variety of things that we can explore so when people think about different voices often the first thing that comes to mind is an accent or a dialect. 126 00:21:29.160 --> 00:21:42.480 Maggie Monteverde: People study accents and dialects thoroughly, there are people whose sole job it is, is to not only learn accents and dialects but be able to teach them to Hollywood movie stars, so they can get it just right in the film. 127 00:21:43.320 --> 00:21:48.540 Maggie Monteverde: They will bring those same people in to some of the high class theaters that can afford to pay a dialect coach. 128 00:21:49.080 --> 00:21:56.970 Maggie Monteverde: actors often study them at different levels, and you will find some of the things i'm going to talk about below are actually the things you study when you study an accent or a dialect. 129 00:21:57.720 --> 00:22:03.630 Maggie Monteverde: But if i'm saying to you change your voice, with an accent or a dialect and you're thinking, I am not going to read. 130 00:22:04.050 --> 00:22:13.140 Maggie Monteverde: Vlad Vlad a call for from Horton hears a who, with a Russian Russian accent okay all right, no one's asking you to because there are different ways to change your points. 131 00:22:14.070 --> 00:22:20.880 Maggie Monteverde: One is pitch, we can all do that, quite simply, we can talk at a higher level, we can talk at a lower level. 132 00:22:21.330 --> 00:22:28.650 Maggie Monteverde: And some of us have a higher pitch and a lower pitch, we can go a wider range, but all of us have the ability to adjust that slightly. 133 00:22:29.400 --> 00:22:40.320 Maggie Monteverde: Even some of my friends who have some pretty horrific diseases vocally that have truly harmed their their vocal cords they still have the ability to adjust pitch slightly. 134 00:22:42.120 --> 00:22:53.460 Maggie Monteverde: volume of course most of us can get louder or softer when you're sitting reading in a room and you make these changes to your voice it's easy to explore the effect on students. 135 00:22:54.420 --> 00:23:04.260 Maggie Monteverde: If they if you're whispering and they lean in and they lead in and then all of a sudden, you shout they're going to back up just as if you had come at them physically. 136 00:23:04.740 --> 00:23:19.290 Maggie Monteverde: The set the voice a sound of the voice can do that as fully through volume of course there's speed right sometimes our characters can talk quite slowly and sometimes they help us simple, the thing that most of us can do. 137 00:23:20.790 --> 00:23:25.800 Maggie Monteverde: Some people are like but I trip over my words when I talk fast well, of course, you do it takes practice, just like anything else. 138 00:23:27.390 --> 00:23:38.190 Maggie Monteverde: placement, this is a key one when we're talking about dialect so placement is, where does the sound come from I can pull this out back into the back of my throat, as if it's starting here. 139 00:23:38.670 --> 00:23:45.330 Maggie Monteverde: Or, I can kind of imagine it right out here in front of my nose, I can kind of make a little nasal sound as if the sounds up there. 140 00:23:45.960 --> 00:24:01.170 Maggie Monteverde: And, most of us can make those shifts to if you ever see somebody on TV or film sounding sick and hopefully they're not actually sick it's because they've placed the sound of in their nose, which we all get a little more nasal and we get congested right, so they put that sound fair. 141 00:24:03.030 --> 00:24:06.360 Maggie Monteverde: And then of course there's quality, which is the idea of. 142 00:24:07.650 --> 00:24:19.110 Maggie Monteverde: The clarity of your speech, some of us can have a more gravelly voice, we can put a little more brassiness into it and so as the quality of our voice changes so does the sound. 143 00:24:20.010 --> 00:24:29.730 Maggie Monteverde: A lot of students in acting start to freak out if they get a play where they have to perform eight or 10 characters and they don't know where to begin. 144 00:24:30.180 --> 00:24:46.290 Maggie Monteverde: They think just magically these eight to 10 characters are going to appear before them fully embodied and they can just do them, but the reality is, you have to come back to some of these simple choices and make specific choices about your character and then you have to practice them. 145 00:24:47.430 --> 00:24:53.730 Maggie Monteverde: So we're going to do some exploration and just a second with some of these things, not some of the harder ones, all things you can do in your seat don't worry. 146 00:24:55.050 --> 00:25:09.480 Maggie Monteverde: But I want to talk a little bit first about this guy named Rudolph i've always called him the bon but in researching this I learned, it was lobban so Now I know this Austrian Hungarian mover from the late 1800s early 1900s. 147 00:25:10.740 --> 00:25:14.370 Maggie Monteverde: He was a dancer choreographer and he decided to put down. 148 00:25:15.720 --> 00:25:17.520 Maggie Monteverde: A way to quantify. 149 00:25:18.540 --> 00:25:35.670 Maggie Monteverde: Movement and he called this breakdown of movement efforts so remember that that's an important part if you end up having you take the quiz remember efforts right so Levon levin called them efforts and he usually put them sort of in direct opposition to each other. 150 00:25:36.870 --> 00:25:41.640 Maggie Monteverde: we're going to look at three today, although there are several So the first one is wait. 151 00:25:42.270 --> 00:26:00.390 Maggie Monteverde: And in terms of speech, this is how lightly or strongly someone speaks doesn't necessarily have anything to do with pitch, because I can talk though right, and I can talk with a nice light airy tone, or I can talk with a little more air and a little more force between it. 152 00:26:01.440 --> 00:26:14.460 Maggie Monteverde: So what I want you to do right now is you're just going to say Mary had a little lamb fleece was white as snow and you're going to do it in a nice light voice will all do it together here we go Mary had a little. 153 00:26:15.690 --> 00:26:26.610 Maggie Monteverde: lease was white as snow great now we'll do the same thing, but with a strong voice Mary had a little lamb who's fleece was white as snow beautiful. 154 00:26:27.510 --> 00:26:31.800 Maggie Monteverde: The second effort that we're going to look at is speciality. 155 00:26:32.400 --> 00:26:39.360 Maggie Monteverde: Which is the noun form of spatial but in order to make them all fit together how to put them in the same form, so if you think about the spatial world. 156 00:26:39.690 --> 00:26:50.250 Maggie Monteverde: Direct versus indirect again lobban was dealing with movement, so if i'm going to move from here to that door and walk directly there i'm going to push these chairs and kick those people out of my way right. 157 00:26:50.520 --> 00:26:55.710 Maggie Monteverde: If i'm going to go, indirectly, I can weave in and out let's see if we can do the same thing with our voice. 158 00:26:56.430 --> 00:27:05.910 Maggie Monteverde: So, if you think about a direct speech it's going to be very clear with little variety, I would say, maybe even think a little robotically. 159 00:27:06.330 --> 00:27:17.610 Maggie Monteverde: So, as the most monotone direct robotic way you can Mary had a little lambs police was white as snow here we go Mary had a little lamb whose fleece was white as snow. 160 00:27:18.480 --> 00:27:28.650 Maggie Monteverde: Right and now we're going to do the opposite, which is indirect we're going to flow, we might go up in our pitch, we might go down, we might speed up, we might slow down here we go, it could be a great variety. 161 00:27:29.970 --> 00:27:39.120 Maggie Monteverde: Mary had a little mousse LACE was white as snow right now we all sound drunk good now we're going to be drunk and robots shortly. 162 00:27:40.110 --> 00:27:48.780 Maggie Monteverde: So, if you think about that you have those two varieties there and then the last effort we're going to talk about right now is timing. 163 00:27:49.380 --> 00:28:01.140 Maggie Monteverde: So, in some ways if we're walking across a room, this makes a lot of sense timing, we move very quickly toward that door we move very slowly toward that door, whatever the cases we're going to do the same thing with voice now. 164 00:28:01.800 --> 00:28:09.570 Maggie Monteverde: Where we're going to do it sudden we're sustained so sudden I want you to think very sharp very choppy and very quick same phrase here we go. 165 00:28:10.170 --> 00:28:19.590 Maggie Monteverde: Mary had a little lamb who's place for the snow right just quick speedy now we're going to sustain it almost like we're singing we're just holding those words out a little bit here we go. 166 00:28:20.280 --> 00:28:33.750 Maggie Monteverde: Mary had a little lamb whose fleece was white as snow, this seems easy enough right you're like what in the world is this presentation that's a great question now. 167 00:28:34.920 --> 00:28:44.820 Maggie Monteverde: part of what love and says is that we do these things, in terms of movement, but these efforts can be directly applied to the vocal patterns that we use. 168 00:28:45.510 --> 00:28:51.900 Maggie Monteverde: So you get done with this and you think oh awesome I have like six different voices I can use. 169 00:28:52.710 --> 00:29:02.760 Maggie Monteverde: you've got a light or a strong voice a direct or an indirect voice a sudden or a sustained voice, but no, you have way more than that, because those efforts alone, you can combine. 170 00:29:03.690 --> 00:29:11.490 Maggie Monteverde: Think about doing a character that speaks lightly directly and suddenly Mary had a little lamb whose face was white as snow. 171 00:29:12.240 --> 00:29:31.320 Maggie Monteverde: very direct and highlight that, but now we're going to do the same thing light and direct a sustained Mary had a little lamb whose fleece was white as snow so by combining any of these, we can create our different sounds we can create our different characters. 172 00:29:32.400 --> 00:29:43.320 Maggie Monteverde: Some people think Oh, my goodness, I could never create these voices but that's nonsense here you have a simple breakdown of how to do it, and if you take any of these what. 173 00:29:44.220 --> 00:29:53.730 Maggie Monteverde: eight nine examples here eight examples here if you combine these with any of the other things I talked about before like placement like accent. 174 00:29:54.810 --> 00:30:03.120 Maggie Monteverde: let's take just these eight put them nasal Lee or in the throat suddenly you have 16 options for the way that you can create sound. 175 00:30:03.900 --> 00:30:20.040 Maggie Monteverde: And this does not require a trained actor, this does not require someone who has to study voice for years in order to make sense of this, this is something that any of us can do if we've stopped to think about those characters. 176 00:30:21.180 --> 00:30:24.720 Maggie Monteverde: So how do we choose a voice when we're reading out loud. 177 00:30:26.580 --> 00:30:38.910 Maggie Monteverde: We have several things to consider and i'm going to put them in three categories for us, although you'll probably walk away and be like, there are at least seven categories that is probably true So the first thing to think about when choosing a voice is to think about the character. 178 00:30:40.350 --> 00:30:58.470 Maggie Monteverde: And there's a lot that goes into defining a character, both in terms of movement or in terms of voice how old is that character, sometimes our voices are weak as children they get stronger as adults and then they might get weak again as we get older. 179 00:30:59.730 --> 00:31:00.720 Maggie Monteverde: What is the gender. 180 00:31:02.400 --> 00:31:02.940 Maggie Monteverde: It is. 181 00:31:04.140 --> 00:31:15.330 Maggie Monteverde: An increasingly complex world now to figure out gender solely from a voice right there are many people whose gender identities are different than. 182 00:31:15.840 --> 00:31:23.610 Maggie Monteverde: than they were last year because they've made strong decisions about what they want, for their life that does not mean that their voice has changed. 183 00:31:24.930 --> 00:31:32.310 Maggie Monteverde: So we can't necessarily make assumptions and when reading that could be an interesting thing to discuss with a group. 184 00:31:32.790 --> 00:31:41.670 Maggie Monteverde: You can have a naturally higher voice for a female character, or a naturally lower voice for a male character, but it's a little more complicated, and I believe. 185 00:31:42.270 --> 00:31:56.700 Maggie Monteverde: On Thursday, maybe it to one of the speakers is talking about reading aloud and talking about diversity and inclusion, while doing so, so if that's something of interest you please come back and hear that conversation. 186 00:31:57.720 --> 00:32:04.230 Maggie Monteverde: The health of your character, how well is your character can they speak, can they get a good breath. 187 00:32:05.070 --> 00:32:18.150 Maggie Monteverde: A few years ago I had the great good fortune and a very difficult play to play a 600 pound man who had a heart failure and had great difficulty breathing for the. 188 00:32:18.810 --> 00:32:27.930 Maggie Monteverde: hour and 45 minutes of the play, and so my ability to get information out was challenged by my characters inability to get a good breath. 189 00:32:29.100 --> 00:32:38.130 Maggie Monteverde: What about your characters education, a lot of this, you can find in the way they speak on the page if they speak in complete sentences with. 190 00:32:38.670 --> 00:32:51.330 Maggie Monteverde: Big vocabulary, one might assume that they have a high level of education and one might mimic patterns of speech associated with higher education levels likewise if they're using. 191 00:32:52.620 --> 00:33:06.660 Maggie Monteverde: Regional isms right, it might refer to the way they're taught it, I would not necessarily say that they have less education, but if you've only been taught that the word ain't is the proper way to say it then that's the way that you might speak. 192 00:33:07.440 --> 00:33:20.160 Maggie Monteverde: Your ethnicity can often be reflected in a character, both in terms of the words they use and the topics they discuss and the life experiences they bring to it, the size of the character might have an effect on them. 193 00:33:21.300 --> 00:33:31.470 Maggie Monteverde: Especially in terms of visualizing things with students, so we make some of our ideas choosing a voice based on character, we can also choose have a voice based on style. 194 00:33:32.400 --> 00:33:39.870 Maggie Monteverde: As specifically the style of the writing is the piece we're looking at set in a specific period of time or a specific place. 195 00:33:41.520 --> 00:33:42.900 Maggie Monteverde: Who is our audience. 196 00:33:44.760 --> 00:33:52.650 Maggie Monteverde: If we think about our audience, we have to choose our voices wisely, I have a series of one man shows that I do about famous composers. 197 00:33:53.250 --> 00:34:03.360 Maggie Monteverde: In general, the main audience is senior groups, I often go to my grandma's retirement Community or senior citizen groups and churches and I do these shows. 198 00:34:03.960 --> 00:34:18.780 Maggie Monteverde: So, no matter what choice I make for a character, I have to be able to do that voice loudly, because the majority of my audience may have difficulty hearing me if I get too quiet as a performer. 199 00:34:19.680 --> 00:34:29.670 Maggie Monteverde: intended space right, I could probably fill this room easily if you asked me to go outside on the quad and do a one man performance there without Mike that might be a challenge. 200 00:34:30.510 --> 00:34:44.550 Maggie Monteverde: And then genre some of our pieces that are nonfiction might feel like they are more dry and the way that they are pronounced, but not necessarily so, and we'll talk about that in a little bit. 201 00:34:45.060 --> 00:34:54.480 Maggie Monteverde: But genre might have something to do with it, is it a fantasy piece is it is it a historical drama, this might change the way we choose a voice for our character. 202 00:34:56.850 --> 00:35:02.220 Maggie Monteverde: And then, of course, choosing a voice realized very much on the material itself how many characters are in it. 203 00:35:03.390 --> 00:35:18.120 Maggie Monteverde: Jim cummings I believe is his name does the Harry Potter audio books and voices over 100 characters I have never heard them, but everyone who has ever heard them and told me about them tells me they are brilliant I see some Heads nodding that's good. 204 00:35:19.140 --> 00:35:25.380 Maggie Monteverde: So if you're ever interested in hearing some of those Harry Potter audio books and hearing these creation of voices pick them up and listen to it. 205 00:35:25.950 --> 00:35:37.230 Maggie Monteverde: The amount of dialogue, some authors have a lot of dialogue in their texts some don't and how you read and pronounce dialogue may be very different from how you read and pronounce narration. 206 00:35:38.490 --> 00:35:48.960 Maggie Monteverde: punctuation oh I loved I used to teach third year writing and I love bringing out oh of bringing the tail tail heart out to show them the value of punctuation and occasionally. 207 00:35:49.350 --> 00:35:52.800 Maggie Monteverde: breaking the rules of punctuation I had to learn the rules first right that's that's the rule. 208 00:35:53.280 --> 00:36:02.700 Maggie Monteverde: Okay, but if you read the tail tail hard at the moment when things get most climactic and frightening the sentences get shorter and shorter and shorter. 209 00:36:03.360 --> 00:36:12.570 Maggie Monteverde: Because our brains are trained to pause and breathe when we see periods and by shortening the sentences he makes us breathe. 210 00:36:13.020 --> 00:36:21.060 Maggie Monteverde: A little more often than we know it would and that helps make us anxious and I think that's intentional work within its punctuation their. 211 00:36:21.780 --> 00:36:35.010 Maggie Monteverde: Word choice right so as we think about word choice, and we think about the way the characters are speaking and the way they use words to describe things that's another thing that will help us choose that voice for the characters that were created. 212 00:36:36.930 --> 00:36:49.860 Maggie Monteverde: What if you sound, we had to put this year, and my answer is very simple, who cares who cares if you have ever read it, the weirder you sound, the better to them. 213 00:36:50.580 --> 00:37:02.040 Maggie Monteverde: They love it the joy of sounding silly is part of the fun of reading aloud, can you imagine picking up that book that you have to read for a class. 214 00:37:02.550 --> 00:37:11.640 Maggie Monteverde: piece of literature and you're just not into it right and what if you just found a silly voice for one of the characters how much more interesting could that be. 215 00:37:12.090 --> 00:37:20.520 Maggie Monteverde: We think about the the possibility of reading that out loud just for a moment to get a new character in your life to get a new character in your mind. 216 00:37:22.830 --> 00:37:35.190 Maggie Monteverde: So why find voice, you know we've talked a little bit about the value of reading aloud but, but your college students if you're not reading aloud to a kid what's the value of that well that's a great question so here are some things to think about. 217 00:37:35.640 --> 00:37:46.170 Maggie Monteverde: So finding voice in your head as you read, even if you don't do it aloud it mimics those qualities of reading aloud and it can reflect similar benefits. 218 00:37:47.640 --> 00:38:02.460 Maggie Monteverde: Sometimes, when we read these things in our head and we create voices for these characters the distinction that we make for them in our minds makes them more alive for us and creates a living environment with active energy. 219 00:38:03.540 --> 00:38:15.900 Maggie Monteverde: If you've ever read a text and just been completely bored out of your mind I encourage you to try this I encourage you to try it and see if you can create living characters that come forth from the page. 220 00:38:17.250 --> 00:38:27.000 Maggie Monteverde: The other thing about sort of giving a voice to the characters is that it's going to slow down your reading and it's going to intensify your encounters with new information. 221 00:38:27.480 --> 00:38:33.540 Maggie Monteverde: If i'm just flying through the chapter, the amount that i'm actually retaining is probably reduce. 222 00:38:34.080 --> 00:38:38.430 Maggie Monteverde: But if I take the moment to build how these characters sound in my head. 223 00:38:38.820 --> 00:38:47.490 Maggie Monteverde: and give them that voice every time they speak it's going to slow down my reading a little bit which, for most of us you're like I don't have enough hours in the day, what do you mean have to slow down my reading. 224 00:38:48.000 --> 00:38:55.440 Maggie Monteverde: It might be more valuable to slow down your reading and retain more than to rush through it and have to return to it later. 225 00:38:57.840 --> 00:39:06.030 Maggie Monteverde: If we create these voices were utilizing human connections to foreign material if we have never seen this material before. 226 00:39:06.450 --> 00:39:18.660 Maggie Monteverde: And it is nothing that we visited before we want a connection with it, and if we assign voices to the the characters on that page then we're building a human connection. 227 00:39:19.590 --> 00:39:33.840 Maggie Monteverde: And then of course it injects entertainment into studying right, it is possible to read that book you hate and actually find that there is a more interesting way to read it there's a more interesting way to encounter it. 228 00:39:35.940 --> 00:39:49.800 Maggie Monteverde: When we do that we go back again I said very early on one of the things that with our young people is that reading aloud to them gives them a sense of joy of reading. 229 00:39:50.700 --> 00:40:00.570 Maggie Monteverde: If we can inject some of this into our work, even at this level, we may find a joy and reading that is sometimes buried beneath the have to read. 230 00:40:02.250 --> 00:40:18.570 Maggie Monteverde: We should think about it, even if you're not an English major, we should think about it as getting to read finding new characters engaging with new people in places, and the more specific and realistic and an audible they can be in our head the stronger that work is. 231 00:40:19.680 --> 00:40:24.330 Maggie Monteverde: So an adult reading again we're reconnecting to childhood arenas of learning. 232 00:40:26.250 --> 00:40:34.380 Maggie Monteverde: we're finding lost passion, because many of us again, we find that we have to read so much that we lose the joy in it. 233 00:40:36.570 --> 00:40:49.020 Maggie Monteverde: It can energize our learning because of the ways we've talked talked about on the previous slide the idea that these new voices these new faces come to us, and it can expand our comprehension. 234 00:40:52.200 --> 00:41:03.240 Maggie Monteverde: So it seems perhaps weird to talk about reading to kids and then trying to relate this to reading as a radical act but it's not because. 235 00:41:04.020 --> 00:41:14.970 Maggie Monteverde: One of the things that reading at all levels can do can empower our us through knowledge, the more knowledge we have, the more empowered, we can feel on a given topic. 236 00:41:15.990 --> 00:41:24.450 Maggie Monteverde: Imagine that you're sitting there reading and nursing textbook or a chemistry textbook and it is just as tedious as it can possibly be. 237 00:41:25.200 --> 00:41:34.620 Maggie Monteverde: And then suddenly you decide to make the narrator of your textbook sound different, they are suddenly an impassioned chemist speaking to you. 238 00:41:35.340 --> 00:41:46.200 Maggie Monteverde: see what happens if you read that paragraph that you don't understand out loud in a different voice it's going to force you to focus more specifically on the words and, again, the more you know. 239 00:41:47.340 --> 00:41:48.480 Maggie Monteverde: The more empowered you will be. 240 00:41:50.160 --> 00:42:04.980 Maggie Monteverde: encountering new ideas with new voices exploring them with new voices makes them less foreign it makes us engage with them in ways because, even if we don't understand the idea we understand the voice that we've assigned it. 241 00:42:05.790 --> 00:42:20.820 Maggie Monteverde: And that, in some way allows us to be less frightened by this new idea that's full before us when we are controlling how it sounds it gives us the opportunity to to make it less frightening to feel like we have some ownership in it. 242 00:42:22.530 --> 00:42:34.080 Maggie Monteverde: applying new ideas when we are using these voices and we have this new information and we see these new ideas applied in different venues, we can start recognizing them. 243 00:42:34.500 --> 00:42:39.600 Maggie Monteverde: And if we're reading so let's see we're reading the same text and let's say we assign any top of. 244 00:42:40.500 --> 00:42:45.780 Maggie Monteverde: I don't know i'm just totally making this up right now let's say any talk of the liver is gonna sound one way. 245 00:42:46.350 --> 00:43:02.850 Maggie Monteverde: and any talk of the heart is gonna sound another way when we hear those sounds against each other we're able to connect those ideas more fully it's it's the same as many mnemonic devices that you might use when memorize you can connect different voices two different skill sets. 246 00:43:04.680 --> 00:43:15.210 Maggie Monteverde: The important thing about introducing new ideas and actually I should probably combine these is when you can read out loud or even just are reading out loud and creating worlds in your head. 247 00:43:15.780 --> 00:43:23.160 Maggie Monteverde: You can begin to feel more comfortable sharing and part of that is because of the ownership, that you have over the text in front of. 248 00:43:23.640 --> 00:43:41.520 Maggie Monteverde: The voice you assigned to it, the choices, you make about it when you are empowered with those choices, the information that you can be equally empowering to you and to share it with others, is another step of helping you feel like you own the information or in command of it. 249 00:43:42.840 --> 00:43:50.880 Maggie Monteverde: So let's talk just a minute as we're nearing the end of our time together about the pandemic and what it's done. 250 00:43:52.590 --> 00:43:59.700 Maggie Monteverde: and teachers at all levels have become very concerned about the loss of reading engagement. 251 00:44:00.810 --> 00:44:18.540 Maggie Monteverde: Especially in elementary school, they are concerned about what a year away from other people reading may mean and specifically they're concerned about what a year or two away from reading aloud will mean. 252 00:44:21.300 --> 00:44:30.660 Maggie Monteverde: If you ask a first, second, third, fourth grader to read a text on their own, it can be even more alienating than it might sometimes feel to apologize. 253 00:44:32.370 --> 00:44:35.010 Maggie Monteverde: So this has been a concern during the pandemic. 254 00:44:36.270 --> 00:44:45.180 Maggie Monteverde: And this has been fought in a few ways number one teachers have increased the amount of time they read aloud to their classes online. 255 00:44:45.930 --> 00:44:54.780 Maggie Monteverde: So many teachers who are forced to pivot completely to zoom last year, increase the amount of time they spent reading aloud to students via zoom. 256 00:44:55.200 --> 00:45:03.600 Maggie Monteverde: Because they felt like it was the single most important thing they could do with their students during this time, to reduce the amount of a loss of education. 257 00:45:04.650 --> 00:45:09.390 Maggie Monteverde: In fact, another quiz question a lot of. 258 00:45:10.440 --> 00:45:22.560 Maggie Monteverde: Publishers in the time period encouraged reading aloud they engaged celebrities to record readings Dolly parton was doing a bedtime story I think every night, or at least once a week. 259 00:45:24.210 --> 00:45:44.400 Maggie Monteverde: They granted copyright permissions to read and post recordings of stories and this led to an explosion of read aloud videos you can go online, and you can find some parents reading to kids you can find teachers, reading the kids all copy written material or copyrighted material. 260 00:45:46.200 --> 00:46:00.270 Maggie Monteverde: And the publisher said look now is not the time to worry about that now is the time to band together and get that information out there, because they felt like it was the single most significant thing, and I can do. 261 00:46:01.710 --> 00:46:13.230 Maggie Monteverde: So I know you are all very worried about what happened with henny penny and dorothy's school library i'm pleased to tell you that, despite the fact that the show went a little off the rails. 262 00:46:14.700 --> 00:46:25.890 Maggie Monteverde: After the performance, the attendance of the library and the using of the library skyrocketed it's a fictional set I get it, but all the evidence is showing that this is true. 263 00:46:26.640 --> 00:46:39.030 Maggie Monteverde: So I want to encourage you, as you move forward to your other endeavors whether they're literary reading whether their textbook reading to start looking for the voice in them. 264 00:46:39.480 --> 00:46:47.010 Maggie Monteverde: To start having them sound different to start having the people on that page bring a different level of excitement to your work. 265 00:46:47.430 --> 00:47:01.140 Maggie Monteverde: Because many studies are showing that those same things for kids could be applicable to adults, so I want to challenge you to do that with the readings, that you have the greatest difficulty with. 266 00:47:02.490 --> 00:47:03.750 Maggie Monteverde: Do you have any questions. 267 00:47:05.190 --> 00:47:13.860 Maggie Monteverde: it's very hard to talk this long without pausing to ask for questions and I probably should have, but do you have any questions about anything. 268 00:47:15.690 --> 00:47:30.810 Maggie Monteverde: Great well, I hope that you attend some more of these, I hope that you can use some of these skills and even if you don't use it in your work, the next time you sit down with a kid I hope you will take the risk and make some different voices and bring that work to life, thank you. 269 00:47:37.590 --> 00:47:43.410 Maggie Monteverde: And don't forget, you can scan the beautiful Hello or codes and I think. 270 00:47:44.700 --> 00:47:50.490 Maggie Monteverde: Stop the sharing and the recording oh keep the recording going. 271 00:47:51.690 --> 00:48:01.230 Maggie Monteverde: hold on there there's some more information or reminder from Dr monteverdi she's coming i'll do a little dance writing know. 272 00:48:03.600 --> 00:48:09.270 Maggie Monteverde: she's looking for the paperwork, to make sure she knows how to tell you to access the Congo information. 273 00:48:10.440 --> 00:48:12.600 Maggie Monteverde: So, give us just a second. 274 00:48:17.160 --> 00:48:17.910 Maggie Monteverde: Here, she comes. 275 00:48:19.440 --> 00:48:20.040 Maggie Monteverde: Back to Dr. 276 00:48:22.980 --> 00:48:33.030 Maggie Monteverde: Sean okay so For those of you who are online just as a reminder, what you need to do is login to the well core blackboard course and bruin link. 277 00:48:33.390 --> 00:48:47.790 Maggie Monteverde: click click on the wealth core category and select the program and take the quiz Okay, the quiz should be available within an hour or two you have seven days in which to take it does anyone have any questions. 278 00:48:50.520 --> 00:48:52.920 Maggie Monteverde: Okay, if that's it, thank you for attending.