FREE
The International Dialects of English Archive (IDEA)
Samples from around the world to download and listen to on your computer.
http://web.ku.edu/~idea/
National Public Radio
Do a search on this site for stories involving the region with the accent/dialect you are using. Many will feature interviews with native speakers.
www.npr.org
The BBC
Do a search on this site for stories involving the region with the accent/dialect you are using. Many will feature recorded interviews with native speakers and special programs on the language and culture of that region.
http://www.bbc.co.uk/
Radio Stations
Look for radio stations broadcasting in English and streaming online from the region or country you need, and listen to newscasters, interviews and commercials. I’ve found many useful samples this way, from countries including Trinidad, Ireland, Nigeria and South Africa.
Chamber of Commerce
For a small-town dialect in America, try calling the Chamber of Commerce, or Mayor’s Office. Interview a local resident over the phone, and take notes. You probably won’t have to go much further than the receptionist to get what you need.
Google
Enter the name of the country you need on a search engine and see what turns up – often you’ll find pages that feature recordings of native speakers or have information about the language and culture. Pages on slang from various dialects are especially popular and can be helpful.
The Library
Many libraries carry documentary films that may be useful to you. Listen for interviews and antique recordings. You may also find dramatic films there that feature accents that are helpful. They may also carry books and cds on dialects and accents.
Community Organizations
Find out if there is a community from the region/country you need living in your city. Places of worship and restaurants are two good places to start. Bring a digital recorder and record interviews, if they give you permission.
YouTube
Enter the name of the dialect or accent you are interested in and see what pops up.
TO RENT OR BUY
You can rent or stream online many documentaries and dramatic films featuring interviews with native speakers or actors from the country depicted. Netflix seems to be the best source for streaming, although there are others that are competitive. When you watch a dramatic film, do some research so that you can focus your listening on those actors who are true native speakers.
CLASSIC DIALECT AND ACCENT MANUALS
Jerry Blunt:
Stage Dialects and More Stage Dialects, books and cds
Some terrific basic descriptions and samples here, with more diversity in the second book. Highly recommended.
Lewis Herman:
Foreign Dialects and American Dialects
First published many years ago, very old-fashioned descriptions of dialects and accents you may find useful, especially for plays written before 1960.
Dr. David Alan Stern
Acting with an Accent series, booklets and cds.
www.dialectaccentspecialists.com
NEWER DIALECT AND ACCENT SOURCE MATERIALS
Gillian Lane-Plescia
Accents for Actors series, booklets and cds.
http://www.dialectresource.com/
The widest variety of authentic sources available from a leading theatrical dialect coach. These are the ones I use most often.
Robert Blumenfeld
Accents: A Manual for Actors
A helpful manual with many accents and dialects discussed, with brief samples. Good to have on the shelf.
ALSO:
Edda Sharpe: How to do Accents
Paul Meier: Accents and Dialects for Stage and Screen (from the editor of IDEA)
Evangeline Machlin: Dialects for the Stage
Ginny Kopf: Dialect Handbook
Thursday, March 17, 2011
Looking for a dialect scene...
Australian playwrights listed here:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=australian+playwrights
Nigerian playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=nigerian+playwrights
Scottish playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=scottish+playwrights
Jamaican playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=jamaican+playwrights
Irish playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=irish+playwrights
(Just enter a search for the country you are interested in followed by the word "playwrights" and a site will come up with a list.)
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=australian+playwrights
Nigerian playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=nigerian+playwrights
Scottish playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=scottish+playwrights
Jamaican playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=jamaican+playwrights
Irish playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=irish+playwrights
(Just enter a search for the country you are interested in followed by the word "playwrights" and a site will come up with a list.)
Saturday, January 22, 2011
Voice II, Please Watch
Hi Voice II students, please watch this excellent video interview with the great director Michael Langham. He recently passed away. Langham was a preeminent director of Shakespeare in Canada at the Stratford Festival and in the U.S. at the Guthrie, and ran the Juilliard drama school for many years.
http://www.youtube.com/watch?v=E5fNsLBWJIQ
This is part six of the series -- I recommend you watch all of the segments when you have time.
http://www.youtube.com/watch?v=E5fNsLBWJIQ
This is part six of the series -- I recommend you watch all of the segments when you have time.
Tuesday, October 12, 2010
Suzuki clips online
Movement class, check these out:
Scenes from Suzuki's recent production of the Greek tragic play Electra, which looks to be set in an insane asylum. Prepare yourself for quite a trip:
http://www.youtube.com/watch?v=JtiNJF0dO7A&feature=related
photo stills from productions:
http://www.youtube.com/watch?v=ISO1Y6obkBs&feature=related
note that the music in this one is the music for the slow tem teke tem walking -- the big swell in the music is where the turns occur
http://www.youtube.com/watch?v=BhHWHNBwH9Q&feature=watch_response
demonstration of the exercises with one professor's ideas about context and purpose
Scenes from Suzuki's recent production of the Greek tragic play Electra, which looks to be set in an insane asylum. Prepare yourself for quite a trip:
http://www.youtube.com/watch?v=JtiNJF0dO7A&feature=related
photo stills from productions:
http://www.youtube.com/watch?v=ISO1Y6obkBs&feature=related
note that the music in this one is the music for the slow tem teke tem walking -- the big swell in the music is where the turns occur
http://www.youtube.com/watch?v=BhHWHNBwH9Q&feature=watch_response
demonstration of the exercises with one professor's ideas about context and purpose
Suzuki Verses
O, splendor of sunburst breaking forth this day
Whereon I lay my hands once more on Helen, my wife.
And yet it is not so much as men think
For the woman’s sake I came to Troy,
But against that guest proved treacherous
Who, like a robber, carried the woman from my house.
TO SIT IN SOLMEMN SILENCE IN A DULL DARK DOCK
IN A PESTILENTIAL PRISON WITH A LIFE LONG LOCK,
AWAITING THE SENSATION OF A SHORT SHARP SHOCK
FROM A CHEAP AND CHIPPY CHOPPER ON A BIG BLACK BLOCK.
Whereon I lay my hands once more on Helen, my wife.
And yet it is not so much as men think
For the woman’s sake I came to Troy,
But against that guest proved treacherous
Who, like a robber, carried the woman from my house.
TO SIT IN SOLMEMN SILENCE IN A DULL DARK DOCK
IN A PESTILENTIAL PRISON WITH A LIFE LONG LOCK,
AWAITING THE SENSATION OF A SHORT SHARP SHOCK
FROM A CHEAP AND CHIPPY CHOPPER ON A BIG BLACK BLOCK.
Friday, September 10, 2010
Edward Albee article
voice students please read:
"Sometimes when I’m writing a scene from a play I think I’m writing a string quartet.
If you’re directing a play of mine,” he continues, “you could conduct it [waving his arms] because the rhythms and the punctuation and everything that’s used is exactly the way a composer does it. Note duration, note intensity ... A play is a heard experience."
http://www.ft.com/cms/s/2/9d442662-b6e9-11df-b3dd-00144feabdc0.html
"Sometimes when I’m writing a scene from a play I think I’m writing a string quartet.
If you’re directing a play of mine,” he continues, “you could conduct it [waving his arms] because the rhythms and the punctuation and everything that’s used is exactly the way a composer does it. Note duration, note intensity ... A play is a heard experience."
http://www.ft.com/cms/s/2/9d442662-b6e9-11df-b3dd-00144feabdc0.html
Notes from Movement class by Casey
Hi everyone, here are notes that Casey took from our work in Movement class this week. Feel free to add your thoughts, too, and many thanks to Casey. Note the homework reminder:
Movement for the Stage class for September 7th and 9th…
Props should ground you. Sometimes, however, having to interact with them causes us to become “lost” and break character when onstage with them because handling them is so foreign to us. Send props presence. Sending them presence helps allow our movements to be fluid and confidently portray a character’s relationship with the object.
Center work:
Changing your center changes the personality and worldview of the character being portrayed. It also changes what you communicate to the audience about the emotions of the character. Additionally, it actually influences the emotions you feel when you move the center. So, this can be helpful in that when preparing/researching for a scene, you can become inspired (and learn more about the character) by the different way you carry yourself and the gestures you make as a result of having moved your center to different places.
Even though your audience really wants you to do a good job, they won’t always send you (or have, many times) that positive energy that comes from eager anticipation. Therefore, you’ll have to bring it with you by creating and taking your presence on stage. In order to do this, you’ll have to cope with anxiety and develop your awareness which, in turn, will allow you to create presence beforehand – instead of mustering it up after you’re onstage.
The visualizing-light-through-your-fingers, etc-while-pushing-boulders-and-swinging-axes exercises train the mind to focus on emitting presence (energy) while doing something that requires concentration, like acting.
Homework: Observe people’s centers and pick one to show/discuss with the class on Tuesday.
Movie Suggestion: Watch George Clooney's movement in "The American" (now playing). Also, on the Netflix website (if you are a member) you can watch a series of Daniel Day Lewis movies -- he is extraordinary at creating character through physicality. The 'tying his shoes' moment comes about 2/3 of the way in to "A Room With A View" but his movement choices throughout the whole film are terrific.
Movement for the Stage class for September 7th and 9th…
Props should ground you. Sometimes, however, having to interact with them causes us to become “lost” and break character when onstage with them because handling them is so foreign to us. Send props presence. Sending them presence helps allow our movements to be fluid and confidently portray a character’s relationship with the object.
Center work:
Changing your center changes the personality and worldview of the character being portrayed. It also changes what you communicate to the audience about the emotions of the character. Additionally, it actually influences the emotions you feel when you move the center. So, this can be helpful in that when preparing/researching for a scene, you can become inspired (and learn more about the character) by the different way you carry yourself and the gestures you make as a result of having moved your center to different places.
Even though your audience really wants you to do a good job, they won’t always send you (or have, many times) that positive energy that comes from eager anticipation. Therefore, you’ll have to bring it with you by creating and taking your presence on stage. In order to do this, you’ll have to cope with anxiety and develop your awareness which, in turn, will allow you to create presence beforehand – instead of mustering it up after you’re onstage.
The visualizing-light-through-your-fingers, etc-while-pushing-boulders-and-swinging-axes exercises train the mind to focus on emitting presence (energy) while doing something that requires concentration, like acting.
Homework: Observe people’s centers and pick one to show/discuss with the class on Tuesday.
Movie Suggestion: Watch George Clooney's movement in "The American" (now playing). Also, on the Netflix website (if you are a member) you can watch a series of Daniel Day Lewis movies -- he is extraordinary at creating character through physicality. The 'tying his shoes' moment comes about 2/3 of the way in to "A Room With A View" but his movement choices throughout the whole film are terrific.
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