The Voice as Object in Guys and Dolls

Mladen Dolar speaks of the voice as object in A Voice and Nothing More. He discusses what makes voice as object, how singing breaks from this definition and how nonlinguistic sounds, coughing or hiccupping, break away even more. The voice as object, he states, is represented through timbre, intonation and accent. When singing, these aspects of the voice disappear and the focus is instead on the words or the lack thereof. Nonlinguistic sounds break the focus of the voice as object because they are harsh interruptions of speech. These sounds are unplanned and therefore reveal more than the voice or the song. Adelaide, in Mankiewicz's 1955 version of Guys and Dolls, represents the voice as object when she speaks through her high nasal voice and strong New York accent. She breaks the concept of voice as object when she sneezes, coughs, hiccups or whatever other ailment comes across her when Nathan hints that he does not want to get married. Dolar's concept of the voice as object both as a representation and a disruption is displayed through the character of Adelaide.

The character of Adelaide in Guys and Dolls is played by Vivian Blaine. Blaine exaggerates her New York accent in the film, calling attention to her distinctive voice and as a result the voice as object. The audience can tell she is intensifying qualities to call attention to her character because at times she does not exaggerate as strongly or simply forgets. The song she sings before the popular "Adelaide's Lament" features whole phrases where Blaine has a clear accent, not an overly nasal New York accent. Whenever Blaine speaks the viewer cannot help but notice the high nasal timbre of her voice. The exaggerated intonation is also obvious - for example, if she were to speak intonation it would have six syllables instead of four and her emphasis would be in a nontraditional place. Blaine even emphasizes her own New York accent for the role of Adelaide therefore making the character distinct and distinctly funny. Through Blaine's embellishment Adelaide becomes not just a supporting role but great comic relief.

Adelaide is longing to marry Nathan, a well known gambler. They have been in a relationship for fourteen years, well past marrying age. They have been together for so long that she has told her mother that not only are they married but they have five children all at various ages. Adelaide's urge for marriage comes across in her dialogue with Nathan but even more when she suffers from nonlinguistic sounds such as coughing and sneezing. This disruption reveals her stress over the subject of Nathan not marrying her. She is afraid that he will never marry her and she will not have financial security and will be seen as a joke in the community. Also, Adelaide is a showgirl which puts her in an awkward position with men. Marriage to Nathan, although unstable because of his record, would give her social stability and personal security.

Dolar discusses the nonlinguistic sounds as disruptions of the voice as object. "Both coughing and hiccups emerge without the intention of the utterer and against his or her will, they represent a break in speech, a disruption of the ascent toward meaning, an intrusion of physiology into structure" (Dolar 24). The song "Adelaide's Lament" features many nonlinguistic sounds that disrupt her distinctive voice. The song explains that Adelaide is perpetually sick because she is worried Nathan will never propose. When she brings up the question of marriage after fourteen years she starts sneezing. When she realizes Nathan has been gambling again, and thusly lying to her, her sneezes take over her completely. She begins the song by reading a book that tells of the unmarried woman being insecure and developing a cold. Her lament reveals her paranoia that she will not be married and that her coughs and other nonlinguistic sounds are produced from her inner psychosis.

The act of singing is also discussed in Dolar's book. He reveals that music without words is "threatening" due to its inhibitions and freedom where as music with words provides structure and "sense" (Dolar 43). "Adelaide's Lament" features music with words and nonlinguistic sounds. The song is sung in a nasal, New York accent with high pitched timbre and strange intonation. The voice as object is clear through the music. At the same time, the nonlinguistic sounds break from the voice as object and produce another meaning which is conveyed in the words of the song. Therefore while the viewer is focused on the voice as object rather than that content of the words of the song, the nonlinguistic sounds which break the focus of the voice as object reveal the true nature of the music. Dolar states that in singing, "The jubilation expresses what cannot be expressed by words, the singers are so overwhelmed with joy that they abandon and give way to their heart" (Dolar 49). While singing a song devoted to the reason why she has a cold, Adelaide reveals her insecurity of being single, her paranoia of not ever getting married and her fear that society will make a joke out of her.

Adelaide, whether she speaks, sings or coughs, expresses some aspect of the voice as object. As she speaks her exaggerated linguistics draw attention to her characters voice. The strong timbre, intonation and accent are difficult to process at first and therefore the content of what she is saying is lost. While singing she shows what is in her heart and is more able to express the content that is lost from her speaking. Through her nonlinguistic sounds, the coughing that comes forth because of her psychosomatic cold, Adelaide is truly able to express her insecurity and paranoia about never getting married. By analyzing a mixture of speech, music and nonlinguistic sound can one truly understand the true meaning of Adelaide in Guys and Dolls.

Works Cited

Dolar, Mladen. A Voice and Nothing More. Boston: MIT Press, 2006.

Guys and Dolls. Dirs. Joseph L. Mankiewicz. Perfs. Marlon Brando, Jean Simmons, Frank Sinatra, Vivian Blaine. Samuel Goldwyn Company, 1955.