Many people have questions about the steps involved in mastering a dialect for use in performance, so today I am going to explain at the most essential level, the steps involved in this somewhat complex but highly rewarding process. The steps occur roughly in the following order, but please note that during steps one through five there will be some overlap. Additionally, it is important to remember that to be successful, one’s focus must be on detail and precision, while at the same time remaining in a creative and playful mindset.
THE DIALECT ACQUISITION PROCESS
1) HEAR THE TARGET-– The first step in the process is to truly be able to hear all of the individual sounds of the dialect you are learning. This step is the foundation of all the others. If you can’t actually hear a sound, the likelihood of you reproducing it accurately is very low indeed. I must note here that by ‘hearing’ I mean recognizing not only the sounds that your own dialect shares with the target dialect, but also the sounds that are quite different from any sounds you utter in your own life. This step of the process is often the longest. It is also the step that many people attempt to rush through, only later to find themselves really struggling. Take your time here. Simple repeated exposure to a ‘new’ sound will eventually cause your brain to recognize that sound, and when it does, you are ready for the next step.
2) PHYSICALLY DUPLICATE THE INDIVIDUAL SOUNDS — As you listen to an audio sample of the target dialect, you may find that you hear certain sounds but you are not automatically able to physically reproduce them. This is normal. Here’s why: As you speak in your own language and dialect every day you are actually ‘working out’ the muscles of your face, lips, tongue, jaw and soft palate. As you do this, these articulators become strong and flexible in very specific ways. Your target dialect may require a different type of flexibility and strength than you currently have, and you are going to have to do some work to acquire the agility necessary for the task. Please note that it is absolutely normal to feel awkward and and a bit clumsy during this part of the process. It really does happen to everyone.
3) COMBINE INDIVIDUAL SOUNDS– During this phase of the process, you combine the individual sounds of the target dialect (aka phonemes) to create words and phrases as well as non-sense words and phrases. There are many ways to go about this, and a qualified dialect coach can help you find the process that works best for you.
4) APPLY THE SOUNDS TO A PRE-DETERMINED TEXT– This is the step where you apply what you’ve learned about the target dialect to your script or any other pre-determined text. To do this, you must be able to recognize the pronunciation patterns involved in the dialect. This part of the process is often referred to as ‘using substitutions.’ Actors familiar with the IPA (International Phonetic Alphabet) can easily mark their scripts with the necessary sound changes. Those without this skill must find alternative means such as comprehensive word lists. (If you aren’t familiar with the IPA, or had a ‘bad experience’ with it in the past, please don’t let this stop you from working with dialects. A good dialect coach can help you find a way to succeed.)
5) EXTEMPORIZE– Once you can accurately and consistently reproduce the sounds of the target dialect in scripted speech, it is time to begin practicing speaking off the cuff. As you embark on this step you will likely notice that your dialect work seems to take a step or two backwards. You’ll make mistakes and fall out of the dialect. Don’t panic. Keep in mind that it’s a complicated task to try to quickly translate your own thoughts into the target dialect. Even if you consider yourself to be ‘good with dialects’ this stage of the process can reveal shortcomings. Stick with it, be mindful and specific, listen to the advice your dialect coach offers you, and you’ll get there.
6) INTEGRATE– Once you are able to remain accurate and consistent with the target dialect while using scripted material and while speaking your own thoughts aloud, you are ready to integrate the dialect into your acting process. This of course involves being able to think and speak the thoughts of another person (the character), pursue the actions of another person (the character) while remaining easily and comfortably within the confines of the target accent. If you’ve taken the time and made the effort necessary to master the first five steps, this part of the process will be quite enjoyable. You’ll find that you are quickly able to ‘just do your job’ and act. There may be high-stakes moments in the script where remaining in dialect is a challenge, but a good on-set dialect coach can help you through those little glitches.
Hey! You made it through! I’m guessing that today’s topic may have sparked some questions. I love questions! Ask yours here in the comments section, or by writing to me at dialect411 (at) gmail (dot) com.
Where do you get the material to practice the dialect you want to perform. I am a 50 plus women who does not reside near any acting schools or classes.
The best way to assure success is to work with a qualified dialect coach. Have you tried http://www.Vasta.org to see if there is one in your area? If you have video access to Skype on your computer, many coaches offer private coaching over the internet. (Try Amy Stoller at Stollersystem.com, Paul Meier at PaulMeier.com, or Joel Goldes at TheDialectCoach.com).
Barring that, (or even in addition to that) recorded materials are available through Amazon.com and dialect coaches’ websites. I’ll eventually be writing here at Dialect411.com about how to select commercial materials if this is your only option, but for now keep in mind that it is important that the recorded lessons you choose feature ‘primary resource materials.’ This means for instance that if you are learning a German accent, that the commercial materials include actual recordings of people who normally speak with a German accent. It is not enough to have the instructor speak in the accent. To learn well, I am a firm believer that you need plenty of access to ‘the real deal.’ Gillain Lane Plescia and Paul Meier both have published what I consider to be good, usable recorded and written materials. You can find Gillian at dialectresource.com and Paul at paulmeier.com. Caveat: Paul does not include primary resource materials on his CD’s but he does refer you to the many recordings on the website he helped found at the University of Kansas–The IDEA website (There’s a link on my ‘Further Resources’ page.)
Does this help?