Category Archives: FOR ACTORS

Cold Reading in a Dialect

What should you do if you are in an audition and the casting entities suddenly ask you to read the scene again — only this time using a dialect other than your own?

In general, you should ask if you can have a few minutes to prepare. I say ‘in general’ because if you haven’t previously mastered the dialect that you are being asked to perform in, a few minutes of preparation will not be enough time to make a favorable impression on those who are hoping to cast you. In fact, it could hurt your chances considerably. If you find that you aren’t intimately familiar with the dialect you are suddenly being asked to perform in, you’ll need to make a (slightly nervewracking) decision:

1) You can either tell the truth about your lack of skill in this area and risk hearing “OK, thank you, we have seen what we need” — And then when you don’t get the role, (because statistically speaking you probably won’t) you may end up forever wondering  if you could have landed that role if you’d have been able to nail the dialect.

OR

2) You can just go for it, (do sub-par work) and run the risk that the casting entities may write you off for future auditions because they get the impression that either you don’t possess a basic understanding of your own skill level or that you have ‘a really bad ear.’

If on the other hand you are suddenly being asked to perform in a dialect that you have previously mastered, I suggest that you ask the casting entities if you may have a few minutes to prepare. They are very likely to say yes. When they do, here’s what I suggest you do:

1)  Find a quiet spot where you won’t disturb anyone if you are talking to yourself.

2) Set a timer for 1/2 the time they’ve allotted you to prepare.

3) Using a smart phone (or an ipod) and some headphones, listen to audio samples of the dialect, specifically whatever sample you have used in the past to ‘tune in’ to the dialect. This of course will take a bit of foresight on your part. You’re going to have to take the time to pre-load your ipod or smartphone with samples from every dialect that you have mastered, and you’re going to have to remember to bring your smartphone and headphones to every audition without exception.

4) Practice applying the dialect to the text. Slowly. Deliberately. (You may find it useful to keep a written list of the basic rules of the dialect somewhere in your smart phone to help with this step.)

5) (Breathe and center yourself.)

6) Practice some more. If you have a voice recorder on your phone, record yourself speaking the lines and listen to them, making adjustments as necessary. (If you usually use an iPhone or iPad and David H. Lawrence’s Rehearsal 2 App for your auditions, it will come in very handy for this step.)

7) When your timer goes off reset it for half the time you have left and record yourself again, this time acting the script as fully as you will do for the audition.

8) Listen to this recording, and make adjustments as necessary.

9) When the second timer goes off, take a relaxing breath, center yourself and return to the audition area, ready to work.

Break a leg!

— Pamela

Note:  This post was inspired by a question I received from an actor who had listened to Inside Acting Podcast’s ‘Audition Horror Stories’ (ep. 44).  If you aren’t currently listening to this podcast I hope you will soon. The show is entertaining, informative, warm and honest. Good stuff.

American Dialects — An Addictive Map

What a treat I’ve just discovered in Internet-Land! It seems Christian missionary and professional linguist Rick Aschmann has a hobby outside his career of working in Native American languages — He’s been collecting samples of American accents and organizing them in a meticulously detailed online interactive map complete with links to audio and video samples of regional dialects. Here’s an overview of what his ongoing project looks like:

And here’s where you can go to interact with it!

Mr. Aschmann has included many technical descriptions which I think will interest those of you who are comfortable with the International Phonetic Alphabet and entry level linguistics, but even if you have no experience whatsoever, the map is an entertaining romp through the bounty of dialects America has to offer. Just look for cities marked with little green dots and follow them to the audio and video links Mr. Aschmann provides.

Have fun!

–Pamela Vanderway

P.S. You know those little dishes that some stores have where you can take a penny or leave a penny for someone who might need it? When you find a dialect sample that you love (on Rick Aschmann’s map, or anywhere else), I hope you’ll come back here to Dialect411.com and share your link and your thoughts or questions about it so I can share it with our readers here. You can leave your link in the comments section or if you’d rather you can email it to me at dialect411 (AT) gmail (DOT) com. Leave a link /Take a link. I promise that as our collection grows, I will find ways to make it easier and easier for you to find exactly the links you need for your next project. You know, if every one of my subscribers and Twitter followers offered up just one link, we’d already have one of the largest collections of dialect links on the internet. I’m pretty humbled by that thought. Thank you so very much for your support! Your participation here and on Twitter (@dialect411) has made these first nine months of Dialect411.com really lovely for me. Happy New Year, my friends! May this year be your best yet!

Vocal Rest

Did you spend this morning doing ADR for a horror film or voicing a violent video game? Last night were you shouting to be heard over a live band?  Has a cold or virus left you sounding  a little like Brando in ‘The Godfather’, Kathleen Turner circa 2009, or Billy Bob Thornton in ‘Sling Blade’?  If so, vocal rest might be just the ticket to helping get you back to your optimum vocal self.

What Is Vocal Rest? Vocal rest is the process of resting stressed, irritated vocal folds by not speaking so that inflammation can begin to subside and healing may occur. It involves not only eliminating day to day speaking, but all forms of vocal communication including whispering. Many voice professionals even caution against thinking about speaking, as you might end up causing further irritation by adducting (bringing together) the vocal folds unconsciously as you are thinking about what it is that you wish you were saying aloud.

When Is Vocal Rest Helpful? Vocal rest is used in a variety of situations. Temporary irritation of the vocal folds can occur for many reasons such as over-use, exposure to chemicals or extreme temperatures, or even mechanical traumas such as smoking or undergoing certain medical procedures. Whatever the reason, if your voice seems the slightest bit off, vocal rest coupled with re-hydration is typically recommended for mild to moderate cases of vocal irritation. Many actors traditionally engage in vocal rest at the very first signs of vocal irritation so that vocal impairment will not prevent them from securing work or end up delaying a production schedule. (NOTE: Always consult with your physician on matters of health! This post is intended to impart basic information about vocal rest. It is not meant to take the place of proper medical diagnosis and treatment.)

Why Is Vocal Rest Helpful? When you speak, your vocal folds must vibrate to produce sound. When your vocal folds become irritated or inflamed in some way, each instance of vocalization can wind up further irritating them.  In choosing to remain perfectly silent (usually for a day or two) you are eliminating a source of further irritation thereby giving your body’s repair mechanisms the greatest chance of restoring your vocal folds to their former glory. Another (surprising!) reason is that when it comes to your vocal folds, modern science can’t necessarily fix what you break. Currently, otolaryngologists are fairly limited in what they know about the properties of healthy human vocal folds. Why? Because no animal on the planet has vocal folds with the same complicated structure as ours. Study has mainly been limited to what is observable in human corpses and what is revealed during laryngoscopy or experimental surgeries. Dead bodies don’t vocalize, Laryngoscopy can offer only an external view, and experimental vocal surgeries are performed on vocal folds which are experiencing extreme malfunction rather than on healthy folds, so mankind’s collective knowledge of healthy human vocal folds is not what we’d all like it to be. Bottom line — take care of what you have today and every day. You only get one voice.

How To Succeed At Vocal Rest: Vocal rest is simple to prescribe, but challenging to perform. Your physician may tell you “Just go home for two days and don’t speak or whisper” but it’s not until you actually try to stay mum that you realize how much you normally talk each day. Most of us are incredibly reliant on our ability to speak in order to get our needs met. By the time you actually figure out how you can remain perfectly silent your vocal rest period may be over! To succeed at vocal rest you need to have a plan. The overall goal of this plan will be to eliminate from your environment the temptation to speak. Everyone is different, but here are some strategies I’ve seen clients use with success:

1) Consult your upcoming appointments and re-schedule every phone call and meeting you have for the next few days.

2) Eliminate the temptation of answering the telephone. Either change your outgoing message to explain that for the next day or two you will not be reachable by telephone and provide an email address for your callers to utilize or perhaps forward your calls to a trusted and competent friend who will act as your personal secretary for the next few days. (This friend will communicate with you via email except in the case of true emergency.)

3) Prepare to stay at home alone. Being alone greatly reduces the impulse to speak. If you live with other people, find an area of your home where you can isolate yourself from others, or even consider checking in to a hotel.

4) Make sure you have all the basic supplies you will need to be comfortable during vocal rest — food, plenty of water, and any other supply you typically require.  Avoid having to run out to the store!

4) Find something you can truly enjoy doing in silence by yourself. One of the most challenging aspects of vocal rest for social people such as actors, is simply the fact that silence isn’t very social. Do yourself a big favor and use vocal rest as the perfect opportunity to do something (silent) that you’ve really wanted to do, but haven’t had the time for. Read a fantastic novel or stack of plays and screenplays or work on that quiet crafting project you’ve really been wanting to get to. Use the time to study the career of an actor you admire. (Choose an actor, go to IMDB.com and use it as a playlist for a movie marathon. For maximum impact try watching projects in the order in which they were produced.) Journal. Paint. Update your actor profile on the various casting websites. Color in a kid’s coloring book. Cut out paper snowflakes… You know yourself best. Find some activities that are just right for you!

5) Drink plenty of water. Vocal rest and proper hydration go hand in hand. I know you’ve heard this a zillion times, but optimum hydration is really important to your quality of life. Not only is water essential in the healing process of  irritated  vocal folds, it’s key to helping prevent the irritation in the first place. As an actor proper hydration is particularly important to your career. Your body is composed mainly of water, and requires plenty of it to run all of its various systems. When your body lacks enough water to function at an optimum level, it begins to ration fluids, reserving them for the most essential areas (such as your brain and your blood) so that you will remain alive. Your vocal folds and your skin are among the first body parts on the ‘non-essential list’ and they are among the first to experience dryness. Unless you are a heckuva character actor, dry wrinkled skin and a creaky voice aren’t major selling points, so it’s a stellar idea to drink plenty of water not only during vocal rest but every single day.

Final Note From Your Coach: If you are experiencing difficulty with your voice, do consult your physician! While vocal rest typically has no side effects, it is by no means a cure-all. Make sure that you have all the diagnostic information you need to make the right treatment choice for your long-term vocal health. As always, if you have questions send them to me here in the comments section or @dialect411 on Twitter.  I’m here to help.

Learn How the Industry Utilizes Dialects

I invite every professional actor who would like to improve their chances of being cast to try the following experiment:

For the next week, as you listen to radio commercials, watch television, visit internet video sites and go to the cinema, I encourage you to make written notes of every fictional character  you see or hear that is not speaking in what you would personally consider to be a General American dialect. (NOTE: If you live outside of the United States and/or are seeking acting work primarily outside of the U.S.A. simply make notes based on characters who speak something other than what is perceived as the ‘preferred’ dialect of the market you are targeting.)

To the very best of your current ability write down the following observations (writing them down will help you get the best results from your efforts):

1) The name of the dialect you are hearing (for the purpose of this experiment, it will work just fine to take a note such as ‘Australian/NewZealand-ish’ or ‘Irish’ instead of ‘County Kerry, Ireland’ if you’re not exactly sure what you’re hearing).

2) The name of the show the fictional character appeared in and the episode name or number if possible. (Just to be clear, this experiment does not encompass documentary or reality style entertainment.)

3) The genre of the show (action, crime drama, situational comedy, children’s show, commercial etc.).

4) Approximately when the show was produced (Currently? Within 5 years? 1990’s? 80’s? 70’s? 60’s? etc.)

5) As many details as you can think of about the kind of character being played. Were they — The hero? The villian? The victim?  Were they wealthy, middle-class, or poor? Urban or rural? Honest/trustworthy or dishonest/shady? Overtly sexual or a-sexual? Educated or uneducated? Naturally astute or rather dense? Refined or gritty? Did they ‘win’ or ‘lose’ in the end and how did you as the viewer feel about this win/loss?

6) Did the accent sound authentic to you?

When the week is over, go back and read the data you have collected and look for patterns.  I cannot tell you exactly what information your particular entertainment viewing habits will yield, but by investing effort in this little experiment, I’m confident at the very least you will begin to see:

A) How many dialect role opportunities there are out there. (More than you think.)

B) Which dialects are currently being associated with which types of characters. (This is something that changes over time and is heavily influenced by world events.)

C) Just how often productions are forced to hire an actor who is not really ready to act in a particular dialect. (And by extension, how you can increase your odds of being cast by mastering dialects appropriate to your career.)

I hope you will give yourself the gift of performing this experiment and look forward to hearing from you about your observations!

Enjoy!

Tuning Up Your Acting Resume

Today’s post is very straightforward.

I’d like to encourage you to read this.

And this.

And then I really hope you’ll do this: Grab your fancy ‘eeeee-lectronic’ calendar and schedule in a perpetually-repeating appointment time twice a year so that you can remember to regularly perform a resume skills evaluation. If you haven’t done a resume skills evaluation before, rest assured that it’s pretty straightforward. The idea is to vigorously test each skill that you have listed on your resume and determine if you can honestly claim to be proficient at it or if you’ve been giving in to ‘resume inflation.’

To perform a resume skills evaluation, you’ll want to use every means you have at your disposal to effectively evaluate your skills. If you have juggling listed on your resume, video record yourself doing it so that you can have a good idea of how smooth you look while catching those pins.  If horseback riding is listed, head over to some stables and see what you’ve got.  When in comes to dialects, recording yourself is helpful, but you’ll need feedback from someone else knowledgeable to be sure you’ve really got the goods. (If you’ve made the effort to create an ongoing relationship with a dialect coach, you can handle this evaluation over the phone or via Skype in probably under an hour.)

A few more things:

1)    This time of year is great for skills evaluations. Summer is over, the holidays have yet to catch us up in their wake, and the giddiness of pilot season isn’t a distraction.

2)  If a reminder from your electronic calendar isn’t enough to kick you into gear, you might consider working with a buddy. Synchronize your calendars and hold each other accountable for following through with your evaluations.

3) The second article I invited you to read was written by Joe Von Bokern, one of the three talented and refreshing co-authors of the blog ‘Playbills vs. Paying Bills’ which chronicles the professional lives of actors Ben Whitehair, Joe Von Bokern, and Emily Beuchat as they pursue acting careers in Los Angeles, Chicago and New York respectively.  Playbills vs. Paying Bills  is always such an enjoyable read.  I want to personally thank Joe Von Bokern for publishing his story. When all of us have the wisdom to be this transparent and candid, we’ll revolutionize the entertainment industry.

Guest Post: How to Record a Dialect Donor

One of the best ways to ensure that you have all the materials you’ll need to learn a particular dialect is to make the effort to find someone who speaks with exactly the accent you have in mind and record them following specific guidelines.  I’ve written two posts on this topic in the past: Finding a Dialect Donor and How to Interview a Dialect Donor.  Today’s post written by recording engineer Tim Keenan of CreativeMediaRecording.com covers the final piece of the puzzle — the technical aspects of recording your donor.

Recalling my own awkward early attempts at recording donors outside of a studio setting, I asked Mr. Keenan to share some advice that can help ensure that you don’t have to make all of the mistakes I did before you can achieve useful recordings. Here’s what he has to say on this topic:

You don’t have to be a recording engineer to capture good quality audio recordings in any reasonably quiet environment and store them them on your computer as MP3s for future reference. If you don’t already own a portable digital recorder there has never been a better time to buy. Even the basic Zoom H1 digital recorder with a street price of $99.00 will do a decent job. It has built-in microphones or you can use an external mic. An added bonus is that you can even use this same device to record voiceover auditions, drag and drop the files to your computer and email them out as MP3s.

If you have the budget, take a look at the other models with more bells and whistles but a similar digital performance. Lots of equipment resources are out there but I like the folks at http://bswusa.com/ for their selection, helpful advice and pricing.

The two things to consider when recording at a remote location are the recording environment (where to set up) and the actual recording process (placing the mic, etc.).

The Environment:

First of all you want as quiet a room as possible away from kids, phones, animals and distractions. Looks for rooms with carpet, drapes and overstuffed furniture to help minimize room reflections. Make sure the person you are interviewing will be sitting in a comfortable place where they won’t move around much. Stay as far away from windows as you can and shut the drapes. The microphone will also pick up noises behind the subject as well so a good way to eliminate background noises is to position your interviewee with their backs away from windows, fans and other noise sources.

The interview subject should remove any noisy jewelry and bracelets. Try to minimize any paper they’ll be handling so you don’t have to worry about paper noise and hand fidgeting. All of those noises will detract from the final recording.

The Process:

I recommend a microphone stand to help you position the recording device as close to the subject as possible without being a distraction. Ideally you want the mic to be no more than 12 inches away (give or take) from the interviewee’s mouth.

*Very Important* Wear an ear bud in one ear to monitor the recording process. Listen for the sounds in the room – sounds like fans and other noises that will interfere with hearing your interview subject clearly. Wearing headphones is sometimes the only way you’ll actually notice these ambient sounds.

Pamela has some great tips for questions to ask to put your subject at ease. A good technique is to start by talking about local restaurants or recent movies to put your subject at ease and conversing comfortably. Use the first few questions to really listen and make sure the recording sounds clean and to note any distracting background room noises. Then you can then move into the meat of the interview.

Be sure to do some practice interviews with friends and family to get familiar with the equipment and how to best position everything to gain optimal sound. That way you’ll look like a pro when you go to capture the real thing and won’t waste any time getting what you need.

Tim Keenan is a long time recording engineer, voice talent and owner of CreativeMediaRecording.com an Orange County, CA based media studio specializing in voice recording and editing. On Twitter with tips & tricks for voiceover folks @tjkeenan and tips on recording & audio for video @Soundtrack_Pro

Concentration vs. Awareness

Sometimes the littlest thing can make the greatest impact.

Even a single word can make a difference.

For instance, consider the word ‘concentration.’  Many of us were encouraged as we grew up to ‘concentrate’ in order to learn new things, and at first glance, concentration seems like a stellar idea. After all, it refers to the directing of one’s attention to a single point of focus. More attention paid to something should bring about better results, right?

Not necessarily.

When we direct our attention to a single point of focus we run the risk of becoming reductive in our thinking. In other words, by paying extremely close attention to one area, we can end up encouraging our mind to only let in information which we already deem to be relevant to that area. Reductive thinking essentially cements what we already believe to be true, rather than creates an environment suited to discovery and learning.  Reductive thinking may be useful for ‘quality control’ situations such as working an assembly  line job or matching our socks, but it’s not particularly conducive to creative endeavors (learning included).

According to VisualThesaurus.com, the word ‘concentration’ bears resemblance to words such as ‘tightness’, ‘compactness’, and ‘absorption’.  Concentration reminds me of a laser beam.  Laser beams have (very) important uses, but have you for instance, ever tried to navigate the darkness using a laser-pointer? (Been there. Tried that. Epic fail.) It’s just not suited to the task. The beam is too ‘narrow’ to properly illuminate the way and lend perspective.

So, what happens if we let go of  our intention of ‘concentrating’ and embrace the concept of ‘awareness’ instead?

Things get interesting.

Awareness acts more like a floodlight that reaches well into dark corners. By intending awareness we signal our brain to let in a great deal of information simultaneously without regard for its perceived benefit. Sure, we get quite a bit of information that we may not find immediate value for, but along with that information, come gems of knowledge we would surely have missed otherwise. Awareness begets expansive thinking, and expansive thinking is the condition under which discovery and creativity thrive.

Next time you find yourself ‘stuck’ when learning something new, whether it be a dialect or any other skill, see what happens if you consciously invite yourself to make the subtle shift from ‘concentration’ to ‘awareness’. It might feel a bit awkward at first not to have access to your trusty ‘laser beam’, but you might surprise yourself with how enlightening the experience can be.

Myth du Jour: Actors Need General American Accents

Myth: To work regularly, you need to be able to speak in a General American Accent.

Reality: The reality of this situation is that for each and every actor the rules are different. (Doesn’t seem fair, I know. Sorry ’bout that.)

It comes down to this– the way you speak is one essential component of your unique, complex acting product and if you take the time to harmonize your speech skills to the rest of your acting product, you can maximize your casting opportunities. The General American accent itself contains no magic. It’s just a tool. If the General American accent ‘tool’ fits well with your acting career, great. Use it. If there are other tools (other accents) that fit better, stop fretting over the General American accent and make sure you master those accents so that you can find yourself booking jobs more frequently.

If you are dubious about my claim, I encourage you to take a few minutes and make a list of all the high-profile actors you can think of that don’t use a General American accent very often (or ever) in their careers. There are plenty of them.  There are also plenty for whom a General American accent is indispensable. Your challenge as an actor is to figure out into which category your own acting product logically falls and take action as needed.

Here are some places to start if the idea of thinking about your acting product/image/essence/brand (whatever you’d like to call it) is new to you.

1) You may find value in this blog post I wrote earlier this year.

2) You may benefit from attending personal brand workshops such as those taught by Sam Christensen in Los Angeles and NYC. (If you live outside these cities, you can see clips of Sam’s work on YouTube.)

3) You may wish to invest in a dialect fitting with a qualified dialect consultant who specializes in such matters.

I hope you’ll enjoy this part of your journey. If you have questions or comments, don’t hesitate to contact me here in the comments section or at dialect411 (at) gmail (dot) com.

Speech Class: Vowels and Consonants

I’m not going to try to hide it from you. Today’s post isn’t light reading. It’s equivalent to an hour’s worth of private coaching, or a session in an acting conservatory classroom. The upside is that this post is free which will save you anywhere from $75 -$200 in coaching fees, or even more when compared to the cost of prestigious private acting conservatories. (Cha-ching!)

If you are fairly new to learning authentic, actable dialects, it can be very helpful to know a few terms before you head off to hire a dialect coach. Familiarity with common linguistics terms will make communicating with your coach easy, and it can help you to quickly get your bearings if you find yourself in the unhappy situation of having no access to a coach and thus being limited to working with commercial dialect acquisition CD’s.

To get the most out of today’s lesson on vowels and consonants, you may find it valuable to glance back at this post explaining the difference between written and spoken language, and this post that elucidates the difference between voiced and unvoiced sounds of speech, and this post which will give you a good understanding of the body parts responsible for speech sounds.

Today I want to share with you a few things about vowels and consonants—exactly what they are, how you can tell if a sound you’ve never heard before is a vowel or a consonant, and I’ll even a throw in a bit of acting theory related to these two groups of sounds.

First, a basic definition: In the arena of spoken language, linguists consider a speech sound to be a vowel  if it is comprised of an uninterrupted, unimpeded voiced stream of air.  On the other hand, a speech sound is considered to be a consonant  when that sound is a voiced or voiceless stream of air that is stopped, impeded, or interrupted in some way by the articulators.

If you are not keen on wordy definitions, here are some more ways to think about these two groupings:

Vowel= unimpeded or uninterrupted voiced stream of air.

Consonant = voiced (or unvoiced!) stream of air that is somehow interrupted, impeded or stopped.

We could even go out on a limb and say that vowels are more static in nature, and consonants are more dynamic…

Here’s why:

When you happen to speak a sound that has been classified as a vowel, you’ll find that you can do so without moving any of your articulators during the creation of the sound, and you’ll also notice that your articulators aren’t constricting your breath channel enough to cause audible friction.

I want you to try a little experiment, but you’ll need to learn a tiny bit of the IPA (The International Phonetic Alphabet) to do so, so here is the International Phonetic Association‘s Vowel chart which shows all of the vowels  that are used in the many languages on Earth.

If you are curious about exactly what sounds each of these symbols represent, you can go here and listen to dialect coach Paul Meier pronounce them for you using a nifty interactive version of this chart that he and coach Eric Armstrong co-created. There are also other interactive versions available on line. If you listen to several, you’ll begin to notice where the IPA chart leaves off and the human element comes in…

For now, merely notice the very first symbol in the upper left-hand corner. It looks like this —>[i].  If you happen to speak in a General or Standard American accent, this symbol represents the sound you’d use in words such as ‘flea, me, sweep, greedy, and easy.’ (If you don’t happen to speak in a General or Standard American accent, now might be a good time to check out Mr. Meier’s/Mr. Armstrong’s interactive vowel chart and listen to this sound.)

Now for the experiment: I want you take a few moments to speak the sound [i] in a sustained way…sort of like a monk chanting…any note you want to use is fine…just speak [i] in a sustained way for as long as your breath allows. Then do it again and as you do, allow your mind’s eye to focus on your articulators (your jaw, your tongue, your teeth, your soft and hard palate, your gum ridge etc.). Notice how they don’t have to change position at all while you are making this [i] sound? That’s one of the hallmarks of a vowel sound. You can take up the position of a vowel sound and then remain in that position as you send a voiced stream of air through the shape you’ve created with your articulators. No moving necessary speech-wise. (You will of course have movement within your body in order to exhale the air you need to vocalize, and so that you can engage your vocal folds, but we can safely categorize these as movement needed for vocal production rather than movement required for speech.)

See? Vowels have a sort of static quality to them.

Consonants on the other hand will involve some combination of articulators to be moving, or to be placed in such close proximity as to cause audible friction.

Here comes another chart from the International Phonetic Association…This one is dedicated to consonants (not all of them, though). I’m sharing it with you not to overwhelm you, but in an attempt to be as precise about our discussion as possible. (This blog has readers from around the globe, so it would be folly to assume that everyone’s idea of how to pronounce a particular written word will be similar…Please don’t get scared off by this chart!)

Again, let’s start by looking at the upper left hand corner. See that lower-case P sort of symbol —>[p]? If you happen to speak General or Standard American English this is the unvoiced sound you’d speak in words like ‘promise, pepper, apt, sleepy and deep.’ If you’d like to hear this sound pronounced, Paul Meier can help you out here.

Experiment time again: I’d like you to try pronouncing this sound and sustaining it like you did earlier with [i]… Go ahead… Give it a whirl… Try to chant like a monk using a [p] sound…Can’t do it, can you? Me neither. It’s just not possible. The speech sound [p] can’t be sustained because it is a sound that is ‘stopped’ ‘impeded’ or ‘interrupted.’ Say [p] a few more times. (You might find that you end up adding  a voiced ‘uh’ kind of sound right after it out of habit. Don’t worry too much about that right now.) Instead, send your mind’s eye to what’s happening with your lips… Say [p]… Can you say it without moving your lips? Nope.  [p] is a consonant alright. A voiceless, stopped consonant that ends in a little mini-explosion of air. Pretty dynamic!

Take a look back at the IPA consonant chart. Near the center of the chart you will find something that looks like a lower case ‘S’—> [s]. If you happen to speak General or Standard American English, this symbol represents the voiceless sound you’d use in words such as ‘sea, storm, essay, east, and less.’ (Check with Mr. Meier here if you’d like to hear this sound.)

One more experiment: Try to speak a sustained [s] sound. How long can you sustain it? As long as you have breath exhaling from your lungs, right? Try another sustained [s] sound and as you do, send your mind’s eye to your articulators… Notice how they don’t have to move once they are in position for the [s]? [s] happens to be an example of a voiceless,  impeded (but not stopped!) consonant. As you say [s] two of your articulators (your tongue and your gum ridge) are in such close proximity  that audible friction occurs. We can consider that friction to be dynamic.

Okay, enough tech talk! If you’re still here, I commend you! (If we were in a room together right now, I’d be passing out celebratory cookies, so consider yourself virtually cookied!)

At the beginning of this post I promised you a little vowel and consonant theory, so here it is…

Many people assert that at the core of the matter, the informational content of a person’s spoken message is contained in the consonant sounds, while the emotional content of the message rides out on the vowel sounds.

(Yeah, go ahead. Read it again. Let it sink in.)

Information loves a consonant, Emotion seeks a vowel…

I’ll leave you now, but with some questions to ponder and then talk about over tea. (And if you’d rather wax poetic in my comments section, have at it!)

Knowing what you know now about vowels and consonants, why do you think that that many people have come to the conclusion above?

Do you agree with this conclusion, and if so, how might you take advantage of this idea in your craft?

Joy to you,

Pamela


Learning a Dialect: Five Ways to Squeeze in the Time

Becoming convincing in a dialect and being able to maintain that convincing nature while acting in a film or play doesn’t happen overnight. Even when you are familiar with the most effective dialect acquisition techniques available on this pretty blue planet, learning a dialect is still going to take a bite out of your schedule.

How much of a bite? It’s impossible to pinpoint exactly, but it’s a smart move to budget a few hours per day for anywhere from 4 to 8 weeks. For now let’s assume two hours per day for six weeks…that comes to 84 hours.

So, it’s going to take around 84 hours to master an unfamiliar dialect…

Wowza.

It’s in realizing this that most actors decide to put off their dialect aspirations.

After all, who’s got 84 extra hours?

Believe it or not, you do.

Really, you do.

You just need to be clever about it.

Here are five clever ways to sneak a little dialect work into your skill set without wreaking havoc on your life:

1) Listen while you commute. Many actors report that driving while listening to dialect source materials on the stereo not only allows them to squeeze in an hour or more of practice per day, but also has a calming effect during traffic jams. If cars aren’t your thing, try wearing headphones on the train or subway. You may not feel as comfortable responding  aloud to your recordings, but you can at least listen for details. If you are fortunate enough to have created recordings for yourself that have long interview sessions with a dialect donor, public transportation commutes can be a convenient time to listen to those.

2) Listen while you work out. If your daily workout includes walking, swap out your Lady Gaga recordings for your dialect materials. (Do be careful walking around wearing headphones. Remain aware of your surroundings!) With the advent of cell-phones with ear pods, even if you happen to be responding aloud to your dialect recordings, most people who pass by you will assume you are on the phone.

3) Listen on your way to lullaby land. Head to sleep 15 minutes early and squeeze a little practice in then. There have been no formal studies done as of yet to directly verify this, but since dreams appear to be our way of processing the events and information of our lives, it seems to follow that practicing a dialect as you drift off could have its benefits.

4) Listen while you do housework. Simple tasks such as folding laundry, sweeping the floor or deadheading roses provide great opportunities to practice your dialect. (And it won’t add a single minute to your busy schedule!)

5) Listen in lines and lobbies. When you have a wait ahead of you, even if it’s only going to be five minutes, try listening to your dialect materials.  Learning a dialect requires consistent exposure over time, so every little bit counts.

Annnnnd a bonus idea…

6) Listen while you relax. This one’s not necessarily a time saver, but I mention it because some actors report that they learn more quickly when they work on their dialect in a relaxing environment. Consider donning your ear buds and heading out to swing in a hammock or lie on the beach, or try working on your dialect while you enjoy a hot bath. (Safely please.)