This paper focuses on the theater actors' exploration and utilization of character voice on stage, with a specific example from the play "Rhinoceros in Love." The broker's role in the play is as a moderator, redefining the dynamics between the stage and the audience. Communication and exchange with the audience are accomplished through the voices of the theater actors. This research emphasizes the importance of theater actors possessing improved vocal conditions and a well-defined voice "image." The integration and unity of an actor's internal and external voice quality form the basis for shaping the voice "image." A compelling vocal performance adds depth and color to the overall theater actor image. This paper analyzes sound in four parts. Firstly, it examines the background and significance of the research topic, highlighting the distinctions between contemporary, pioneering drama performances. Secondly, it explores the "hardware" of voice, encompassing the unchangeable conditions such as the theater performers' understanding of the broker's voice pronunciation and their embodiment of character roles to captivate the audience genuinely. Thirdly, the paper delves into the "software" of voice, addressing variable conditions that demand scientific training for theater actors. This includes the development of sound processing skills and stage design, ensuring seamless and natural integration between actors, the audience, and the stage. Finally, it discusses the future trajectory of theater actors, emphasizing the importance of extensive rehearsal and correct scientific voice usage, particularly in long-term and high-frequency performances. This comprehensive analysis contributes to the overall focus of this paper.

Tingyu Wang. Exploration and Utilization of "The Broker's" Voice in "Rhinoceros in Love". Academic Journal of Humanities & Social Sciences (2023) Vol. 6, Issue 19: 99-104. https://doi.org/10.25236/AJHSS.2023.061916.

[1] Liu Ning. Drama language training tutorial [M]. Culture and Art Publishing House, 2011.6.

[2] Wang K-M. The language of performing arts dialog training [M]. Yunnan Science and Technology Press, 2012.7.

[3] Liang Bolong, Li Yue. Fundamentals of Drama Performance [M]. China Drama Press, 2008.10.

[4] Lin Hongtong. Acting training method: from Steinie to Suzuki Tadashi [M]. Beijing Joint Publishing Company 2017.1.

[5] Zhang Song. Chinese broadcasting [M]. Communication University of China Press, 2003.1.