Stage Dialects

Catalog Description

Introduces students to specific methods for acquiring stage dialects. Work includes International Phonetic alphabet and Standard American Speech/Dialect. Students listen to and perform scenes and monologues in each dialect, which may include Standard American, Standard British, Cockney, Irish, American Southern, French, South African, and Spanish.

Proposed update: Introduces methods for the actor to research, prepare, and perform in accents other than their own with specificity and fluency. Includes exploration of the articulatory setting, pronunciation, and prosody of an accent, using primary research sources.

Meets

MW 11:00am - 12:50pm
WDC Studio 2

Student Learning Objectives

Through active engagement with this course, you can learn to:

1. Compellingly portray accents other than one's own as a component of dramatic performance;

2. Research appropriate samples for accent work;

3. Identify and utilize changes in oral posture as a component of accent work;

4. Use phonetics to accurately describe the target sounds of an accent;

5. Describe and accurately execute the prosodic elements of accents;

6. Demonstrate sensitivity to cultural context in accent work.

Texts & Materials Needed

Recommended Text:

Experiencing Accents: A Knight-Thompson Speechwork® Guide for Acting in Accent by Thompson, Seiple, and Caban.

• Writing materials

  • Please bring a journal or notebook and something to write with. There may be opportunities for written reflection during class. For many people, pen and paper can be more effective for deep learning than taking notes electronically, but all modes of note taking are welcome.

• Audio device and earbuds/earphones

  • Our work will make use of primary source recordings and it will be useful for you to be able to engage with these on your own device in class.

I will distribute any additional performance texts, handouts, readings, videos, etc. in class or via Canvas.

Course Content

This course will focus on a process of researching, learning, and embodying accents other than your own.

Although the catalog currently lists this course as "Stage Dialects", I call this class "Acting in Accent" to reflect a shift in the way we're thinking about performing in language varieties other than our own. In our internet-connected, globalized world, the idea of "stage dialects" just doesn't cut it anymore. Producers and audiences are (rightly) beginning to demand that the language stories we tell should be handled with specificity and respect...and, of course, good acting!

So this course will not include the traditional laundry list of "generic" (read: white and stereotyped) accents for the "special skills" section of your resume. Instead, we'll focus on a process of accent acquisition that you can apply to any accent. My hope is that this process will serve everyone in the room and open a world of language and character possibilities to you. 

At minimum, you will learn and polish one native "L1" accent of English and one non-native "L2" accent. You will also explore embodying these accents with cultural sensitivity through a short context presentation/interview. At the beginning of the semester, I will invite the class to choose two accents for me to learn, so I can demonstrate the research, preparation, and rehearsal process in real time with you.

Major Assignments

• "Original Pronunciation" Sonnet Performance

• Verbatim Accent/Language Performances

• Accent Breakdown Documents

• Accent Self-Tapes

• Cultural Context Presentations

Community Standards

Community agreements are different from rules in that they are community-focused, aspirational, non-hierarchical, and adaptable. I'll start by offering the following community norms and we will decide as a group if we need additional agreements to support everyone's learning:

• We aspire to a consent-based learning environment. Consent is contextual, reversible, and relies on being fully informed.

• Self-care cue: If you experience a moment of heightened concern or activation, please use the word "button" (or a non-verbal double-clap). We will all pause to take a breath, allowing our nervous systems to calibrate to the moment, and then we will make space for your needs. The appropriate response to someone's "button" is a generous "What do you need?"

• We will honor people's various access needs and respect one another's boundaries (physical, professional, personal, and cultural).

• We will assume benevolence on the part of others and extend grace when possible.

• We will take care of ourselves and one another.

• We will practice skillful communication:

  • We will "speak from the 'I'" and allow ourselves and others to "speak in draft" (thank you to Nicole Brewer for this language.)

• • We will make space and take space: If you feel yourself talking a lot, try listening more. If you find yourself mostly listening, please consider sharing your thoughts.

  • We will listen to understand rather than to respond.

  • We will practice the skill of apologizing for harm that we unintentionally cause.

• In order to practice care for one another, we will communicate content disclosures before performances that may be particularly activating. 

• If we find ourselves not living up to these agreements, anyone can use "button" as a calling-in mechanism for community accountability.

 Additions and Edits 2023-2024: