voice acting scripts female Audiobooks

The silence had already taken hold of each of the rooms in the house, so much that sometimes it was difficult for me to go there, where so many things had happened in the family. At the beginning I turned on the television or the radio, to listen to a voice wherever I was in the house, and that made me feel better, but then, it seemed so absurd, deceiving myself, it was like I was with somebody, when there was nobody left. Joys, sorrows and sadness, listened in every corner of that home, in which my wife had always worked with such care to maintain order and cleanliness.

In this short paper Paula Eleta explores the theme of the value of the puppet in the pedagogical field, mainly in early childhood (0-6 years), as an effective tool to improve the quality of the educational service through play. Under the direction of the educator, the puppet can become an excellent ”assistant” to build new educational contexts, able to offer all those who live in the services different accesses to a common and shared space. The puppet can help to found a more inclusive ”school”, giving voice and listening to the past, experiences, knowledge and skills of the various actors involved: children (first of all), families, educators, pedagogical coordinators and other subjects of their own territory. ”The puppet as an educational tool value” is a written text in an accessible and immediate form. Furthermore, the topics covered have been elaborated on the basis of the author's long experience in the field. The content is therefore full of concrete and enlightening examples and, among the many proposed activities to be carried out, there is an easy and quick technique to build puppet characters: an activity that can be performed, at the various educational services, both together with families and children (with the support of adults).

Avery couldn’t accept the sudden changes in him. “Why are you being nice and sweet all of a sudden?” Anderson inched closer and she could feel his breath on her face. “Because you are my wife. Only my wife deserves my sweetness.” At twenty four, Anderson Crown was the acting CEO of his father’s trillion dollar multinational company. He was hot and a die for yet, he was so cold. When it was time for him to assume the position of CEO wholly, he wouldn’t accept it without Avery Smith by his side as a wife. Therefore, an arranged marriage was the best option, but why? Avery Smith was the shy intern in the accounts department. When she reluctantly succumbed to her parents' demand to marry Anderson to save their business, she grew hatred towards him because her heart was already taken. She vowed to her boyfriend that she would frustrate Anderson’s life to make him divorce her but was surprised when she realized after the marriage, that Anderson wasn’t who she thought he was. So what happens when she begins to fall head over heels in love with Anderson, and her ex boyfriend appears to claim her as promised? Will she keep to her vow or will she stay true to what her heart feels? This book is a read alone, though a sequel to *The CEO silenced me with a kiss*

“Papa explains the war like this: ‘When the elephants dance, the chickens must be careful.’ The great beasts, as they circle one another, shaking the trees and trumpeting loudly, are the Amerikanos and the Japanese as they fight. And our Philippine Islands? We are the small chickens.” Once in a great while comes a storyteller who can illuminate worlds large and small, magical and true to life. When the Elephants Dance introduces us to the incandescent voice of Tess Uriza Holthe, who sets her remarkable first novel in the waning days of World War II, as the Japanese and the Americans engage in a fierce battle for possession of the Philippine Islands. The Karangalan family and their neighbors huddle for survival in the cellar of a house a few miles from Manila. Outside the safety of their little refuge the war rages on—fiery bombs torch the beautiful Filipino countryside, Japanese soldiers round up and interrogate innocent people, and from the hills guerillas wage a desperate campaign against the enemy. Inside the cellar, these men, women, and children put their hopes and dreams on hold as they wait out the war, only emerging to look for food, water, and medicine. Through the eyes of three narrators, thirteen-year-old Alejandro Karangalan, his spirited older sister Isabelle, and Domingo, a passionate guerilla commander, we see how ordinary people must learn to live in the midst of extraordinary uncertainty, how they must find hope for survival where none seems to exist. They find this hope in the dramatic history of the Philippine Islands and the passion and bravery of its people. Crowded together in the cellar, the Karangalans and their friends and neighbors tell magical stories to one another based on Filipino myth and legend to fuel their courage, pass the time, and teach important lessons.

In a fusion of fact and fiction, nineteenth-century women institutionalized as hysterics reveal what history ignored “ City of Incurable Women is a brilliant exploration of the type of female bodily and psychic pain once commonly diagnosed as hysteria—and the curiously hysterical response to it commonly exhibited by medical men. It is a novel of powerful originality, riveting historical interest, and haunting lyrical beauty.” — Sigrid Nunez , author of The Friend and What Are You Going Through “Where are the hysterics, those magnificent women of former times?” wrote Jacques Lacan. Long history’s ghosts, marginalized and dispossessed due to their gender and class, they are reimagined by Maud Casey as complex, flesh-and-blood people with stories to tell. These linked, evocative prose portraits, accompanied by period photographs and medical documents both authentic and invented, poignantly restore the humanity to the nineteenth-century female psychiatric patients confined in Paris’s Salpêtrière hospital and reduced to specimens for study by the celebrated neurologist Jean-Martin Charcot and his male colleagues. Maud Casey is the author of five books of fiction, including The Man Who Walked Away , and a work of nonfiction, The Art of Mystery: The Search for Questions . A Guggenheim Fellow and recipient of the St. Francis College Literary Prize, she teaches at the University of Maryland.

Evie Bell is the white sheep in a family of black ones. Bookish and quiet where her sisters are showy and brash, she doesn’t understand her darker needs that resulted in the catastrophic end to her last relationship. Frederic d’Estang, a stage performer with Byronic dark good looks, is famous for playing villains that women adore – the Phantom, Claude Frollo, Mr Hyde. Facing a distressing premature end to his career due to developing Reinke’s edema, a chronic voice disorder, he recalls how someone took a chance on him when he was just starting out which launched him into stardom, and desires to do the same before his power and influence wane. His agent wants him to write his memoirs, and when he meets Evie Bell, an autobiographical writer with a penchant for gothic anti-heroes, he sees his chance: she has talent, but lacks the confidence and experience to make something of herself. She also has interesting, unexplored tastes, which Frederic discovers when her sister gives him a link to her anonymous fan-fiction archive – much to Evie’s mortification.