Dialects for the StageRoutledge, 2006 M02 28 - 170 páginas Dialect work is one of the actor's most challenging tasks. Need to know a Russian accent? Playing a German countess or a Midwestern farmhand? These and more accents – from Yiddish to French Canadian – are clearly explained in Evangeline Machlin's classic work. Now available in a book-and-downloadable resources format, Evangeline Machlin's Dialects for the Stage is based on a method of dialect acquisition she developed during her years working with students at Boston University's Division of Theatre. During her long career, Evangeline Machlin trained such actors as Steve McQueen, Lee Grant, Suzanne Pleshette, Joanne Woodward, and Faye Dunaway. |
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Página 3
... What a character is saying in dialect on the stage must be comprehended by the audience. If the dialect is too heavy, the audience will miss some of the lines and much of the pleasure they expected, eventually becoming bored and ...
... What a character is saying in dialect on the stage must be comprehended by the audience. If the dialect is too heavy, the audience will miss some of the lines and much of the pleasure they expected, eventually becoming bored and ...
Página 4
... what part of Wales did YOU come from?” Because the examples in each dialect differ from each other, you should select as your chief model the one which seems most appropriate for the role you expect to play. How to choose this is ...
... what part of Wales did YOU come from?” Because the examples in each dialect differ from each other, you should select as your chief model the one which seems most appropriate for the role you expect to play. How to choose this is ...
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... what the respellings are meant to stand for. Guiding yourself by what you hear rather than by what you see, you will safeguard yourself against mistakes in dialect reproduction. If you are to become an expert in this field you will do ...
... what the respellings are meant to stand for. Guiding yourself by what you hear rather than by what you see, you will safeguard yourself against mistakes in dialect reproduction. If you are to become an expert in this field you will do ...
Página 8
... what you just heard. After repeating it, you start the CD again and listen to the next unit. Then you stop the CD again and repeat that unit. You continue in the same way throughout the example. To show you where to stop for each unit ...
... what you just heard. After repeating it, you start the CD again and listen to the next unit. Then you stop the CD again and repeat that unit. You continue in the same way throughout the example. To show you where to stop for each unit ...
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Contenido
1 | |
7 | |
Part Three Steps in the PlayItandSayIt Method of Learning Dialects | 15 |
Part Four North American Dialects | 21 |
North American and British | 71 |
Part Six Dialects of Great Britain and Ireland | 85 |
Part Seven European Accents | 113 |
Part Eight Symbols and Sounds of the International Phonetic Alphabet | 141 |
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Términos y frases comunes
AA’M African Alan Jay Lerner BLACK AMERICAN British speech Character Notes Cockney Colloquialisms and Idioms Consonant Changes STANDARD CUUM dialect drawl DUNACCHADEE EET’S English Eugene O’Neill examples FRENCH ACCENT French Canadian German accent goin gonna Gratien Gélinas HAOWSE hear heard HERRBIE HEYUH Howard Sackler improvisation inflection patterns inflections International Phonetic Alphabet Irish ITALIAN ACCENT KIITCHEN LAAK lilt Listen Marian Seldes Mexican Midwestern mule nasalized North British Patrick Tucker Peter Peter Ustinov pitch Play and say Pronunciation and Character Pronunciation Notes RAAT record respelled Robert Reznikoff Robin Bartlett role RUSSIAN ACCENT Scottish sentences Short i becomes sound changes Southern Southwestern speak Speaker spelled STANDARD BRITISH STANDARD NORTH AMERICAN STHRANGER syllables TAAM tell Tennessee Williams theatre THEES there’s thing trilled vowel vowel and consonant Vowel Changes STANDARD Welsh what’s words YANKEE Yeah Yiddish YORK-BROOKLYNESE yuh know