THA 531: BFA VOICE & SPEECH 4
Instructor: Raeleen McMillion Spring 2017 Office Time: T 3-5pm
Mobile Phone: 414/732-0644 UWM & By Appointment
E-mail: T/TH 9am-10:45am Theatre Office: 229-4947
Domestic & Foreign Stage Dialects for the Actor
Actual Time Investment Expectation: 40 hours of direct classroom instruction; 20 hours reading & research (plays, research materials, & academic articles); 18hours rehearsal; 15 hours prep for in-class performances/presentations; 15 hours attending performances; 12 hours written analysis & observation; 10 hours reflection & self-assessment. Total: 130hrs.
Course Description:
Students will practice regional domestic and foreign dialects for the stage. Course work will focus on five major dialects most frequently used in the American theatre: American Southern, New York City, Irish, and a review of British RP, and Cockney. Additional dialects will be studied and practiced as an introduction to world dialects; most probably Scottish, African, Australian/New Zealand, and/or Eastern European (Russian, Polish, or Slovak). The semester begins, perhaps ironically, with accent reduction work in order to build on maintaining an “American Standard” dialect (“Detail Model” or “Career Speech”) that continues to be an important part of the actor’s skill set, and to provide a “neutral palette” upon which to build stage dialects. Students will explore the cultural and somatic connection to international sounds, sound production, and facial postures. Students will be asked to analyze dialects for individual sound substitutions by employing IPA; will explore rhythm, musicality, syntax, special vocabulary, and regional idioms. Drills, rehearsal phrases, improvisation, monologues, songs, and scenes will be used to apply exploration of the dialects. Throughout the semester, students will contribute to weekly research and share materials and information with the class in support of sounds presented by the instructor.
The Colossal Project progresses through the semester and involves research, sound analysis, teaching, and acting practice in order to develop practical skills of preparing and applying dialect on your own. This project culminates in the application of the researched dialect to a scene of dramatic material to be performed.
Course evaluation includes an Oral Fluency Exam which will be administered individually and requires demonstration of a degree of fluency in all dialects practiced, and strong practical skill in analysis of sounds and scoring a script.
Rationale:
This course satisfies requirements of the BFA Actor training program because it:
- Builds on the previous semester’s study of sound placement & facial posture,
- Applies the International Phonetic Alphabet as an analytical tool,
- Provides practice of a variety of stage dialects, both domestic & foreign;
- Increases individual student awareness of personal vocal habits, including regional dialects;
- Establishes the ability to research & apply any dialect as needed, and
- Provides an opportunity to reflect on the progress of individual vocal work over the four semesters of study as a culminating course in BFA vocal study.
Recommended Texts: The Dialect Handbook by GinnyKopf &The Joy of Phonetics by Louis Colaianni
Required Script: THE FOREIGNER by Larry Shue digital copy provided on D2L
Additional scripts as needed for rehearsal & performance of dialect application
Recommended Reading: The Articulate Voice by Lynn K WellsStage Dialects by Jerry Blunt
Voice & Articulation by Kenneth C. CrannellSpeaking With Skill by Dudley Knight
Cambridge English Pronouncing Dictionary or other English pronouncing dictionary
“Tonight we will HEAR a play” —Hamlet
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Recommended Online Dialect Resources: www.accenthelp.com
IDEA: NPR and BBC Radio 89.7 FM
Course Goals:
1. To clarify & continue to build on the work of the previous three semesters.
2. To build consistency in use of “career speech” (detail model) standards and regional accent reduction.
3. To assess current challenges and effectiveness as a stage actor, and reflect on the progression of voice & speech skill growth during the two years of BFA study.
4. To skillfully demonstrate mastery of “The Big Five” dialects: American Southern, New York City, Standard Irish, British RP, & Cockney.
5. Toskillfully demonstrate mastery of additional foreign dialect/s.
6. To introduce regional variations of these dialects: American Southern, NYC/Boroughs, and British.
7. To effectively research, analyze, teach, apply, and demonstrate a dialect of the students’ choosing, in addition to those presented by the instructor.
8. To practice application of IPA transcription & sound analysis.
9. To further explore the somatic connections to voice and speech production and to deepen understanding of the IPA as an analytical tool.
10. To practice text analysis skills for vocal life opportunities by scoring scripts in dialect.
11. To continue the practice of observation and analysis of speech skills in performance.
12. To introduce regional and cultural influence on speech, and transversely, impact on creation of character.
Course Requirements/Expectations:
1. Participate fully in each class session.Because of its participatory nature, students with repeated absences and/or late arrivals may be administratively dropped from the course. You will receive one verbal warning for repeated attendance/participation issues.
2. Dress appropriately for freedom of movement. Dressing in layers is strongly recommended. Please adhere to any dress code established in the BFA program. Remove any/all piercings in or on the mouth and/or nose before class. Long hair must be kept out of the face when presenting or performing.
3. Give and receive criticism of voice and speech work, employing concepts and skills introduced in class.
4. Complete all homework assignments in a timely fashion. Homework assignments may include reading, research, rehearsal of exercises and scenes, memorization of dramatic text, some writing, IPA transcription, and creative projects.
5. You may be given the opportunity to repeat unsatisfactory assignments.
6. Attend individual critique and/or coaching sessions as scheduled.
7. Attend live professional, academic, and amateur theatre performances in an on-going effort to critique observed skills in performance, and for comparison in assessment of your own abilities.
8. Have the text book/s, syllabus, paper, pen,and pencil available for use in class every day.Students should have IPA flashcards/chart and a hand mirror available as needed.
9. Ability to access and download online information.
10. Have a close-able water bottle available in class.
11. Be respectful of fellow classmates, the work space, the material, the process, and your own health—physical, emotional, & mental.
12. Take responsibility for yourselves, your assignments, your contribution to the class & your personal learning process. If there’s a problem, take it to the person who can do something about it.
Supply List
Things you will need in order to successfully participate in course work, and/or to simply make things more accessible or more comfortable for you in class:
1. paper, pen, pencil, your text, handouts, notes, syllabus, assignments, & scripts—every day
2. clothing layers for varied temperatures
3. IPA flashcards and chart—I will supply you with a chart if you don’t have one yet
4. close-able water bottle
5. a way to record live dialect samples; your phone is an ok option
6. positive thought & can-do attitude! 531.syllabus.spring17/raedesk
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“You understand his kinda talk?” –Larry Shue’sTHE FOREIGNER
ASSESSMENT & EVALUATION for COURSE
Attendance & Participation300points
Research Support 50 points
Required Attendance to Pro. Theatre 50 points
Quizzes & Written Exercises100 points
Fluency Exam200 points
Colossal Project300 points
1,000 points possible for course
ASSIGNMENTS
1. Research Support—Each student will provide one of the following for at least one dialect taught by the Instructor: sound samples, images, and/or scripts containing the focus dialect.
2.Attendance to Pro. Theatre—any live professional theatre production with dialect work.
3. Fluency Exam—Individual Oral assessment of skills practiced.
4. Colossal Project—a practical examination of a dialect with a partner, this project includes research, analysis, planning & teaching, and then performing in dialect.
One very important part of your course evaluation is in the assessment of the energy, attitude, and professionalism of your participation in class. For this to be evaluated you’ll need to actually be in class.
Each assignment guideline will include its individual evaluation criteria.
Required Attendance to Professional Theatre Performance:
1. Dialect Performance of your choice.
Required Attendance to UWM Theatre Performances:
1. Anon(ymous) UWM Mainstage (Russian)
2. Arcadia UWM Mainstage (British)
3. A Month In the Country UWM Studio 508 in KSE
4. Faith & Jealousy UWM Studio 508 in KSE (Neutral Palette)
OPTIONAL ATTENDANCE TO EARN EXTRA CREDIT (2 @ 25=50 points possible)
Any professional locally produced theatre performance with at least one actor working in dialect. Here are some suggestions to investigate (show schedules & other information may be found online): Next Act Theater, Renaissance Theaterworks, First Stage Children’s Theatre, Youngblood Theatre, Uprooted Theatre, The World Stage, In Tandem Theatre, Next Act, Windfall Theater, or Milwaukee Repertory Theater. You may also choose to attend another show on campus like New Directions projects. Any of the professional traveling road shows from New York at local venues, including Madison and Chicago.
Points Grading Scale for Final Course Evaluation: There are 1,000 total points possible.
970-1000A+870-909B+770-809C+670-709D+
940-969A840-869B740-769C640-669D
910-939A-810-839B-710-739C-610-639D- 0-609 Not Passing
“I believe that virtue shows quite as well in rags and patches as she does in
purple and fine linen, …even if Gargery and Boffin did not speak like gentlemen,
they were gentlemen.”
―Charles Dickens
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INSTRUCTOR FEEDBACK
Instructor feedback for course work will be primarily oral, and individual sessions can be scheduled if you would like more personalized feedback to discuss assessment of skill, accuracy, progress, and challenges in the work.
Feedback & Critique
Actors depend on feedback more than most other artists, and the notes you receive from your teachers, directors, and fellow students play an important role in shaping your development as an artist and guiding you through the rough terrain of creating theatre that is believable and has beauty. It’s not easy, but it is essential to your progress that you take responsibility for both giving and receiving feedback and criticism of your work in rehearsal and performance, and that you maintain respect for that process.
Keep this in mind and use the following suggestions to help support you as you approach note sessions.
1. It is not appropriate to give unsolicited notes to fellow actors in rehearsal or performance of a production. It is never appropriate in professional situations.
2. The studio is the place for feedback between fellow student actors.
3.Take the time to be clear about what you’re trying to communicate before you say it publicly.
4. Be specific, simple, and get to the point.
5. Refrain from making a comment if you know it may be colored by some personal experience with the actor. It is rude, immature, and unprofessional to get revenge with notes.
6. Comment on the work, not the person.
7. When receiving critique, just say “thank you” or say nothing at all. If you truly have a question to help you understand the comment, ask it; but take a moment to think if you are trying to explain or excuse before you speak.
8. It is your responsibility as an actor to ask for feedback from people whom you trust & respect—as artists and as human beings. It’s how we get better. And it can be done in private any time that is convenient for you!
“Her accent's funny, different from mine, different from anyone in Prentisstown's. Her lips make different kinds of outlines for the letters, like they're swooping down on them from above, pushing them into shape, telling them what to say. In Prentisstown, everyone talks like they're sneaking up on their words, ready to club them from behind.”
―Patrick Ness,The Knife of Never Letting Go (novel)
Rubric for Assessment of Attendance/Participation
Maximum Points Possiblefor each Class / Criteria for Maximum number of Points
10 / Attend class on time / Engaged, creative, thoughtful, energetic, positive & collaborative
5 / Attend class late / Engaged, creative, thoughtful, energetic, positive & collaborative
5 / Leave class early / Engaged, creative, thoughtful, energetic, positive & collaborative
1-5 / Excused Absence* / No participation possible.
0 / Unexcused Absence / No participation possible.
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General Rubric for Assessment of Performance and Presentation Assignments
Grade / CriteriaA
91-100%
of total points / Cogent, collaborative (when applicable), creative, original, strong performance style, evocative, interesting, compelling, superb grasp of all performance aspects including preparation & rehearsal, physical & vocal life of character. Interactive (when applicable), evidence of progress made since first rehearsal, evokes emotional response in audience.
B
81-89%
of total points / Clear, well presented, interesting, collaboration is strong (when applicable), involves audience (when appropriate), points, themes, and ideas are clear and communicated well, progress made since first rehearsal, presentation flows in a holistic manner, characters are clearly delineated, solid application of physical & vocal life character choices.
C
71-79% of total points / Presentation is clear, collaboration is not apparent and/or weak (when applicable), attempts to involve audience are limited or non-existent (when applicable), somewhat unfocused or unclear, limited progress made since first rehearsal. Character work apparent, but limited vocal and/or physical expression.
D
61—69%
of total points / Sloppy, thrown together at the last minute, rushed, one person leads the entire group (when applicable), no acknowledgement of audience, generally unfocused, disjointed and not understandable, character work extremely limited, use of gestures extremely limited, vocal work extremely limited.
F
60% or less
of total points / Inappropriate, late, assignment not done, group collaboration non-existent (when applicable) and/or limited, progress since first rehearsal is minimal or non-existent, unfocused or not understandable, character work non-existent, no use of gesture, vocal variation not included.
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