话剧舞台语音指在话剧表演与训练情境下，演员讲出的由剧本规定的话，具有独特的风格。本研究对中文话剧舞台语音的声学特征进行了更为详细的描写，并对比了其与日常生活语音的差异，研究结果可以为话剧表演教学与特殊发声方式的人工智能语音研究提供参考。本研究主要包括以下两个部分：

对话剧舞台语音与日常生活语音的音段特征差异进行描写分析。通过规定语料两种发声方式单元音的对比，发现话剧音较日常音元音格局向下移动，左右也发生位移，推测为话剧音开口度增大、颏舌肌收缩等调音方式所致。通过自发语料和规定语料两种发声方式的元音声学空间范围、位置对比，发现话剧音较日常音声学空间比例基本保持不变，不同发音人存在个性化特征，具体表现为范围扩大、中心位置降低、发生旋转或基本保持不变。通过对规定语料两种发声方式塞音与擦音对比，发现话剧音较日常音塞音持阻时间更长，送气塞音群与不送气塞音群间空白区域扩大；擦音谱重心更大、分散程度更低，说明话剧音擦音边界更为清晰、区分更加明显、气息更加集中。

对话剧舞台语音与日常生活语音的超音段特征差异进行描写分析。通过对话剧舞台语音与日常生活语音规定语料长时平均功率谱进行分析，发现话剧舞台语音能量更高且衰减更慢，同时存在歌手共振峰与演讲者共振峰，男性表现为2700Hz-3500Hz之间，女性表现为3000Hz-4200Hz之间的能量凸起。歌手共振峰能够让话剧舞台语音穿过各类背景音乐及噪声干扰，而演讲者共振峰则会呈现质量较好的声音效果。对话剧舞台语音与日常生活语音韵律特征进行描写分析。通过对自发语料和规定语料两种发声方式音高的对比，发现话剧音较日常音音高更高且范围更大。通过对规定语料两种发声方式音强的对比，发现话剧音较日常音音强更强，且能够在较高的音强下仍保持较大的变化范围。通过对两种发声方式排比句的停延分析，发现两种发声方式下排比块边界停延率均增加，方式间差异不明显但个体差异较明显。韵律变化使得话剧音更加抑扬顿挫、富于变化，同时保证了内容、情感的传达。

Stage speech in drama refers to the unique style of scripted words spoken by actors in drama performance and training situations. This study will provide a more detailed depiction of the acoustic features of Chinese stage speech in drama, so as to further elucidate the differences between them and daily life speech, to provide a reference for the teaching of drama performance and the study of AI speech with special vocalisation styles. This study is mainly concerned with the following 2 aspects:

A depiction of the segmental features differences between stage speech in drama and daily life speech. A comparison of the unit sounds of the two vocalic modalities of the prescribed corpus reveals that the vowel pattern of the stage speech in drama is shifted downwards compared to the daily life speech, and the left and right are also shifted, due to the articulatory modalities such as the increased opening of the stage speech in drama and the contraction of the genioglossus. Comparison of the acoustic spatial range and position of vowels between the two voicing modes in the spontaneous and prescriptive corpora revealed that the acoustic spatial ratio of stage speech in drama to daily life speech remained basically unchanged, and that individual features existed among different articulators in the form of an increased range, a lower central position, a rotation, or a basically unchanged position. By comparing the two modes of voicing, the stops and fricatives, it is found that the stops of stage speech in drama are held for a longer time than those of daily life speech, and the blank area between the voiced and voiceless stop groups is enlarged; the fricatives have a larger centre of gravity and a lower degree of dispersion, which indicates that the boundaries of the fricatives of the stage speech in drama are more clearly defined, the distinction is more obvious, and the breath is more concentrated.

A depiction of the suprasegmental features differences between stage speech in drama and daily life speech. Analysing the Long Term Average Spectrum of stage speech in drama and daily life speech prescribed corpus, it was found that stage speech in drama had higher energy and slower decay, and there were both singer's formant and speaker's formant, with energy protrusions between 2700Hz-3500Hz for males and between 3000Hz-4200Hz for females. The singer's formant is able to make stage speech in drama pass through all kinds of background music and noise interference. The speaker's formant present a better quality sound effect. Explore the rhythmic characteristics of stage speech in drama and daily life speech. By comparing the pitches of the spontaneous and prescriptive corpora, it is found that the stage speech in drama has a higher pitch and a wider range of pitches than the daily life speech. Comparison of intensity between the two voicing modes of the prescribed corpus revealed that stage speech in drama were stronger than daily life speech and were able to maintain a wider range of variability at higher intensity. By analysing the stopping of plosives in the two modes of vocalisation, it was found that the stopping rate of plosive block boundaries increased in both modes of vocalisation, with insignificant differences between modes but significant individual differences. Rhythmic change makes the drama sound more subdued and rich in variation, while ensuring the communication of content and emotion.