Tone refers to the quality or colour of the voice. It encompasses the emotional resonance and subtle differences that can significantly influence the perception of a character and their emotional state.
This post examines a series of different vocal tones Drama or Theatre Arts students can use in the classroom. Each type of tone is supported by a play or musical example. Script extracts are provided as a practical means for students to explore these different tones in classroom activities.
Emotional Depth
Warm Tone: Often associated with kindness, affection, or sincerity. For example, a character comforting a friend might use a warm tone to convey empathy and understanding. In To Kill a Mockingbird, Atticus Finch often employs a warm tone when speaking to his children, reflecting his gentle and caring nature.
ATTICUS:
(warmly) Scout, you never really understand a person until you consider things from his point of view... until you climb into his skin and walk around in it.
SCOUT:
(curiously) But if I keep my head down and my mouth shut, can’t I just understand him from here?
ATTICUS:
(smiling) It's more than that, Scout. It's about seeing the world through their eyes, feeling what they feel. Only then can we truly understand each other.
SCOUT:
(thoughtfully) I guess it’s hard sometimes, Atticus.
ATTICUS:
(reassuringly) It is, but that’s what makes it so important. It’s what makes us human. We have to try to understand and respect each other.Harsh Tone: Linked with anger, frustration, or hostility. A character in a heated argument might use a harsh tone to express their anger and intensity. In A View from the Bridge, Eddie Carbone’s harsh tone in his confrontations reflects his inner turmoil and aggression.
EDDIE:
(harshly) You want something else, Eddie, and you can never have her! So now what’s the answer? What’re you gonna do?
CATHERINE:
(distressed) Eddie, please, stop this! It’s tearing us apart!
EDDIE:
(yelling) You think you know everything, don’t you? You think you can just do whatever you want!
CATHERINE:
(pleading) Eddie, I’m not a child anymore! I have to live my own life!
EDDIE:
(bitterly) Your own life? And what about everything I’ve done for you? Does that mean nothing?
CATHERINE:
(softly) It means everything, Eddie. But I can’t stay locked up in this house forever. I need to be free.Character Traits
Gentle Tone: Characters meant to appear gentle or compassionate may use a soft, soothing tone. For instance, in The Sound of Music, Maria often speaks in a gentle tone, reflecting her nurturing and kind-hearted nature. This gentle tone is especially evident in her interactions with the children and her singing.
MARIA:
(gently) Children, I'm going to tell you a little secret. It's a secret that will help you sing. Just open your mouth, and let the sound come out.
LIESL:
(curiously) But what if it doesn’t sound good?
MARIA:
(reassuringly) It will, Liesl. Just trust yourself. Let your heart guide you.
FRIEDRICH:
(hesitantly) But what if we forget the words?
MARIA:
(encouragingly) Then just hum the melody. The music is inside you. You just have to let it out.
MARTA:
(excitedly) Can we try now, Maria?
MARIA:
(smiling) Of course, Marta. Let’s all sing together. One, two, three...Rough Tone: More rugged or coarse characters might use a rougher tone. In Les Misérables, the character of Javert often has a stern, rough tone that underscores his rigid and unforgiving nature. This tone enhances his persona as a relentless and uncompromising figure of authority.
JAVERT:
(sternly) You know nothing of Javert! I was born inside a jail. I was born with scum like you. I am from the gutter too!
VALJEAN:
(calmly) We are all more than our pasts, Javert. People can change.
JAVERT:
(harshly) A man like you can never change! You’ll always be a thief, and I’ll always be the law!
VALJEAN:
(earnestly) I’ve changed, Javert. I’ve found redemption.
JAVERT:
(bitterly) Redemption? For a man like you? There’s no such thing!
VALJEAN:
(gently) You see only darkness, Javert, but there is light. You just have to let it in.Atmosphere and Mood
Eerie Tone: A breathy, whispering tone can create an eerie or mysterious atmosphere. In Macbeth, the witches often use an eerie tone to heighten the sense of foreboding and supernatural menace. Their chant-like dialogue, delivered in hushed, raspy tones, sets a chilling atmosphere.
FIRST WITCH:
(eerily) When shall we three meet again?
In thunder, lightning, or in rain?
SECOND WITCH:
(whispering) When the hurly-burly’s done,
When the battle’s lost and won.
THIRD WITCH:
(ominously) That will be ere the set of sun.
FIRST WITCH:
(mysteriously) Where the place?
SECOND WITCH:
(softly) Upon the heath.
THIRD WITCH:
(creepily) There to meet with Macbeth.
ALL:
(chanting) Fair is foul, and foul is fair,
Hover through the fog and filthy air.
Cheerful Tone: A bright, lively tone can establish a cheerful and optimistic mood. A character in a light-hearted comedy might consistently use a cheerful tone to enhance the play’s overall sense of joy and humour. For example, in Twelfth Night, the character of Feste uses a cheerful, playful tone in his songs and jests, contributing to the play’s comedic and light-hearted atmosphere.
FESTE:
(cheerfully) O mistress mine, where are you roaming?
O stay and hear! Your true love's coming,
That can sing both high and low.
VIOLA:
(laughing) Feste, you never cease to bring light to the darkest days!
FESTE:
(playfully) And why should I, dear lady? Life’s too short for sorrow! Let’s have a song to lift our spirits.
VIOLA:
(smiling) Indeed, Feste. Sing us something merry.
FESTE:
(singing cheerfully) Come away, come away, death,
And in sad cypress let me be laid.
Fly away, fly away, breath;
I am slain by a fair cruel maid.Psychological States
Confident Tone: A firm, steady tone can convey confidence and self-assurance. In Othello, Iago often uses a confident tone to manipulate others and assert his control over the situation. His assured delivery of lines like “I am not what I am” underscores his duplicitous nature and cunning.
IAGO:
(confidently) I follow him to serve my turn upon him.
We cannot all be masters, nor all masters
Cannot be truly follow'd. You shall mark
Many a duteous and knee-crooking knave,
That, doting on his own obsequious bondage,
Wears out his time, much like his master's ass,
For nought but provender, and when he's old, cashier'd.
Whip me such honest knaves. Others there are
Who, trimm'd in forms and visages of duty,
Keep yet their hearts attending on themselves,
And, throwing but shows of service on their lords,
Do well thrive by them; and when they have lined their coats
Do themselves homage. These fellows have some soul;
And such a one do I profess myself.
For, sir,
It is as sure as you are Roderigo,
Were I the Moor, I would not be Iago:
In following him, I follow but myself;
Heaven is my judge, not I for love and duty,
But seeming so, for my peculiar end:
For when my outward action doth demonstrate
The native act and figure of my heart
In compliment extern, 'tis not long after
But I will wear my heart upon my sleeve
For daws to peck at: I am not what I am.Nervous Tone: A shaky or hesitant tone can indicate nervousness or insecurity. In The Glass Menagerie, Laura’s tone often reflects her anxiety and social discomfort. Her soft, trembling voice in scenes with Jim O’Connor highlights her extreme shyness and vulnerability.
LAURA:
(nervously) I—I never heard any clumping. It was always so quiet. Everything seemed so far away.
JIM:
(gently) Laura, you’ve got to stop hiding away. You’re more than you think you are.
LAURA:
(hesitantly) I—I’m afraid, Jim. I don’t know how to be any different. I’ve always been this way.
JIM:
(encouragingly) You don’t have to change who you are, Laura. Just let people see you for who you really are. You’re wonderful.
LAURA:
(softly) Do you really think so?
JIM:
(smiling) I know so. You’ve just got to believe it yourself.Cultural and Social Contexts
Formal Tone: A polished, formal tone can reflect a character’s social standing or cultural background. In Pygmalion, Professor Higgins’s formal tone contrasts with Eliza Doolittle’s initially less refined speech, highlighting their differing social classes. This formal tone is especially noticeable in Higgins’s articulate and precise manner of speaking.
HIGGINS:
(formally) The rain in Spain stays mainly in the plain. By George, she's got it!
ELIZA:
(tentatively) The rine in Spine sties minely in the pline.
HIGGINS:
(correcting) The rain in Spain stays mainly in the plain.
ELIZA:
(more confidently) The rain in Spain stays mainly in the plain!
HIGGINS:
(delighted) By George, she’s got it! Now, once again, where does it rain?
ELIZA:
(elegantly) The rain in Spain stays mainly in the plain.
HIGGINS:
(confidently) Exactly! Now you’re speaking like a true lady. And remember, it’s not just about pronunciation. It’s about poise, grace, and confidence.
ELIZA:
(smiling) I’ll remember that, Professor Higgins. Thank you.
HIGGINS:
(smiling) You’re doing splendidly, Eliza. Keep up the good work.Informal Tone: A relaxed, casual tone can suggest a more laid-back or approachable character. Characters in contemporary dramas often use informal tones to create a sense of realism and relatability. For example, in Rent, the characters frequently use informal tones and colloquial language, reflecting their bohemian lifestyle and close-knit community.
MARK:
(informally) Hey, Maureen, you okay? Wanna come over and hang out?
MAUREEN:
(casually) Sure, Mark. Just need to wrap up a few things here first.
MARK:
(playfully) Well, don’t take too long. You know how much we miss your dazzling presence.
MAUREEN:
(laughing) Oh, you flatter me! I’ll be there soon.
MARK:
(lightly) We’ll have a drink and maybe come up with some new crazy ideas for the show.
MAUREEN:
(enthusiastically) Sounds perfect. I could use a bit of inspiration.
MARK:
(smiling) See you soon, then.
MAUREEN:
(cheerfully) You bet!Example from Shakespeare’s Hamlet
Hamlet’s Melancholy: In his soliloquy “To be, or not to be,” Hamlet’s tone is often melancholic and reflective, capturing his existential angst and deep sorrow. His contemplative tone underscores his inner conflict and despair.
HAMLET:
(melancholically) To be, or not to be: that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And by opposing end them. To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to, 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep: perchance to dream: ay, there's the rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause: there's the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover'd country from whose bourn
No traveller returns, puzzles the will
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry,
And lose the name of action. Soft you now!
The fair Ophelia! Nymph, in thy orisons
Be all my sins remember'd.Claudius’s Deception: In contrast, Claudius might use a smooth, ingratiating tone when addressing the court to mask his guilt and manipulate those around him. His oily, persuasive speech hides his true intentions and guilt over murdering his brother.
CLAUDIUS:
(smoothly) Though yet of Hamlet our dear brother's death
The memory be green, and that it us befitted
To bear our hearts in grief, and our whole kingdom
To be contracted in one brow of woe;
Yet so far hath discretion fought with nature
That we with wisest sorrow think on him,
Together with remembrance of ourselves.
Therefore our sometime sister, now our queen,
The imperial jointress to this warlike state,
Have we, as 'twere with a defeated joy,—
With an auspicious and a dropping eye,
With mirth in funeral and with dirge in marriage,
In equal scale weighing delight and dole,—
Taken to wife: nor have we herein barr'd
Your better wisdoms, which have freely gone
With this affair along. For all, our thanks.
And now, Laertes, what's the news with you?
You told us of some suit; what is't, Laertes?
You cannot speak of reason to the Dane,
And lose your voice: what wouldst thou beg, Laertes,
That shall not be my offer, not thy asking?
The head is not more native to the heart,
The hand more instrumental to the mouth,
Than is the throne of Denmark to thy father.
What wouldst thou have, Laertes?
Examples from Modern Theatre
Nora in A Doll’s House: Nora’s tone evolves from playful and submissive to assertive and resolute as she gains self-awareness and challenges society’s expectations. Her initial coquettish tone reflects her perceived role in the household, while her later firm tone signifies her newfound strength and independence.
NORA:
(playfully) Oh, Torvald, I’ve been so excited about the party! I’ve got such a wonderful dress and I can’t wait to show it to you.
TORVALD:
(patronisingly) My little skylark is always thinking about her appearance. Always so pretty.
NORA:
(assertively) I must stand quite alone if I am to understand myself and everything about me. It is for that reason that I cannot remain with you any longer. I am leaving you, Torvald.
TORVALD:
(angrily) What are you saying? Leaving me? Your husband? Your children?
NORA:
(firmly) Yes, I’m leaving you. I need to find out who I am, apart from being a wife and mother.
TORVALD:
(desperately) You’re throwing everything away for some vague sense of independence?
NORA:
(resolutely) It’s not vague to me. It’s my future, Torvald. My life.Torvald’s Condescension: Torvald often uses a patronising tone when speaking to Nora, reflecting his perception of superiority and control. His demeaning tone reinforces the power imbalance in their relationship and his paternalistic attitude.
TORVALD:
(patronisingly) My little skylark, mustn’t droop her wings, must she? You’re just like a child, you know that, Nora? You don’t understand the gravity of what you’re doing.
NORA:
(firmly) I understand perfectly, Torvald. That’s why I’m doing it.
TORVALD:
(scoffing) You think you can just leave? You have responsibilities, Nora. A wife’s place is at her husband’s side.
NORA:
(calmly) I’ve been at your side for years, Torvald. Now, it’s time for me to stand on my own.Example from Musical Theatre
Eliza Doolittle in My Fair Lady: Eliza’s tone transforms from a coarse, Cockney accent to a refined, elegant tone as she undergoes her transformation under Higgins’s tutelage. This tonal shift mirrors her social ascent and personal growth.
ELIZA:
(coarsely) Ah, ah, ah, ow, ow, ow, I ain't done nothin' wrong by speaking to that gentleman. I've a right to sell flowers if I keep off the kerb.
HIGGINS:
(formally) The rain in Spain stays mainly in the plain. Now, repeat after me.
ELIZA:
(tentatively) The rine in Spine sties minely in the pline.
HIGGINS:
(correcting) The rain in Spain stays mainly in the plain.
ELIZA:
(more confidently) The rain in Spain stays mainly in the plain!
HIGGINS:
(delighted) By George, she’s got it! Now, once again, where does it rain?
ELIZA:
(elegantly) The rain in Spain stays mainly in the plain.
HIGGINS:
(confidently) Exactly! Now you’re speaking like a true lady. And remember, it’s not just about pronunciation. It’s about poise, grace, and confidence.
ELIZA:
(smiling) I’ll remember that, Professor Higgins. Thank you.
HIGGINS:
(smiling) You’re doing splendidly, Eliza. Keep up the good work.Higgins’s Authority: Higgins maintains a confident, authoritative tone throughout the play, underscoring his control over Eliza’s education and the social experiment. His assertive tone is indicative of his self-assuredness and command over the situation.
HIGGINS:
(authoritatively) By George, she's got it! Now, once again, where does it rain?
ELIZA:
(elegantly) The rain in Spain stays mainly in the plain.
HIGGINS:
(confidently) Exactly! Now you’re speaking like a true lady. And remember, it’s not just about pronunciation. It’s about poise, grace, and confidence.
ELIZA:
(smiling) I’ll remember that, Professor Higgins. Thank you.
HIGGINS:
(smiling) You’re doing splendidly, Eliza. Keep up the good work.