Workshops already confirmed
Barbara Houseman - Finding Clarity and Resonance Within Your Own Accent.
Yvonne Morley and Tim Charrington - Working in OP (Original Pronunciation) for Shakespeare
Edda Sharpe - Approach to Learning and Teaching Accents
Mary Howland - Refining an Accent - Intonation Patterns
Anne-Marie Speed - Singing in Your Own Accent
Deborah Garvey - Exploration of the different types of RP
Joel Trill & Hazel Holder - African Diaspora Accent (ADA)
African Diaspora Accent
The African Diaspora Accent (ADA) focuses on accents and dialects born or evolved through the presence of diasporan ethnic groups, in particular, those of sub-Saharan African descent. The programme began in 2017, and actors have already been able to take advantage of Nigerian, Ugandan, Jamaican, Trinidadian and African American accent workshops. The workshops are designed to be inclusive, dynamic and playful, and so incorporate a plethora of activities that facilitate discussion, analysis and embodiment of this broad and rich variety of accents and dialects.
Exploration of the different types of RP
This workshop offers a chronological practical exploration of four accents which fall under the umbrella heading of Received Pronunciation or RP: Period or Heightened RP; BBC 50's English; Standard RP; and Modern Chelsea Set. Selected dramatic texts and recordings will be used to practically explore and interrogate common and distinctive features of each of the selected four accents.
Refining an Accent - Intonation Patterns
A lot of time is given to speech work and to text work, but an element of vocal communication that is often overlooked is intonation.
It can be the element of accent work that can make it sound fully authentic, and the element of text work that can make the text sound spontaneous and fully owned.
It is an element of English speech that can be the unlocking of fluency in second language speakers - or first language speakers, come to that.
This workshop will be looking practically at how to decipher intonation - how to accurately describe what it does, where it does it, and how it varies, depending on thought, emotion and accent. It will help you to explain why ‘downward inflections’ are not always appropriate, the usefulness of ‘uptalk’, to be more accurate than ‘it goes up and down a bit’, and to help connect thought and breath to word, especially in sight reading and classical text.
Joel Trill & Hazel Holder