Modern Voice: Working with Actors on Contemporary Text

256 Pages·2012·1.26 MB·English

by  Catherine Weate

MODERN VOICE
MODERN VOICE
Working with Actors on
Contemporary Text
Catherine Weate
OBERON BOOKS
LONDON
WWW.OBERONBOOKS.COM
First published in 2012 by Oberon Books Ltd
521 Caledonian Road, London N7 9RH
Tel: [phone] / Fax: [phone]
e-mail: [email protected]
www.oberonbooks.com
Copyright © Catherine Weate 2012
Catherine Weate is hereby identified as author of this work in accordance with section 77 of the
Copyright, Designs and Patents Act 1988. The author has asserted her moral rights.
This book is sold subject to the condition that it shall not by way of trade or otherwise be
circulated without the publisher’s consent in any form of binding or cover or circulated
electronically other than that in which it is published and without a similar condition including
this condition being imposed on any subsequent purchaser.
Full acknowledgement for extracts reproduced in this book can be found on pages 291-2.
A catalogue record for this book is available from the British Library.
ISBN: 978-1-84943-171-2
EPUB ISBN: 978-1-84943-537-6
Cover design by James Illman
Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY.
For
Mum
(who was a brilliant teacher, ahead of her time)
Acknowledgements
My mother was a classroom teacher who believed in the power of the
imagination as a teaching tool. She passed away while I was working on this
book but the thought of her educational foresight kept me writing. Thanks Mum
for teaching me about teaching.
Trying to untangle my specific vocal sources is virtually impossible after so
many years of coaching. My solution is to thank everybody I have ever worked
with who have provided me with such wonderful inspiration.
Writing a book may appear to be a solo task but there was always someone
around the corner for motivation, encouragement and support.
Special mention must be given to Francesco and Max for their loving patience
(particularly when I was in silent mode trying to think through an idea: I’m sure
it was deeply frustrating).
My test readers, Les Cartwright, David Shirley and Mia Ball, offered up
invaluable reassurance and advice. Some very lengthy drafts were shaped from
their feedback.
And, of course, none of this would have been realised without James Hogan,
Charles Glanville and the fantastic team at Oberon Books, particularly Andrew
Walby for his incisive editorial eye.
I couldn’t have done it alone. Thank you.
CONTENTS
Preface
PART ONE: VOCAL REALISM
Chapter 1 – Rhythm in Speech
1.Speech Rhythm: Separating the Elements
2.Speech Rhythm: Connecting the Elements
3.Speech Rhythm: Forming the Elements
4.Speech Rhythm: Analysing the Elements
a. Phrasing and Pausing
b.Stressing
c. Pitching and Tuning
d.Pacing
5.Revisiting the Basics
Chapter 2 – Rhythm in Writing
1.Speaking and Writing: What’s the Difference?
2.Rhythm in Writing: Analysing the Elements
3.Speaking Text Aloud: Phrasing and Pausing
4.Speaking Text Aloud: Stressing
5.Speaking Text Aloud: Pitching and Tuning
6.Speaking Text Aloud: Pacing
7.Practical Work
8.Revisiting the Basics
Notes
Suggested Reading
PART TWO: REALISTIC DRAMA
Chapter 3 – Journeys, Demands and Challenges
1.Context
2.Realism vs Naturalism
3.The Rise of Realism: Plays and Playwrights
a. Early Influences
b.England
c. America
d.Australia
4.The Rise of Realistic Acting
5.Vocal Demands
Chapter 4 – Creating Vocal Characterisation
1.Vocab Research
2.Rhythmic Research
3.Applying the Research
4.Text Samples
5.Workshop Plan
6.Revisiting the Basics

Text extract 1: Ivanov by Anton Chekhov/Tom Stoppard
Text extract 2: Ivanov by Anton Chekhov/Tom Stoppard
Chapter 5 – Dealing with Dialogue/Revealing Relationships

1.Spoken Dialogue
a. Rhythmic Synchrony
b.Allo-repetition
c. Redundancy
d.Interrupted, Overlapped and Unfinished Speech
2.Written Dialogue
3.Text Samples
4.Workshop Plan
5.Revisiting the Basics

Text extract 1: The Lady From the Sea by Henrik Ibsen/Pam Gems
Text extract 2: A Streetcar Named Desire by Tennessee Williams
Text extract 3: Look Back in Anger by John Osborne
Chapter 6 – Capturing the Colloquial
1.Accent Research
a. Source Material
b.Points of Tension and Sound Placement
c. Rhythm
d.Vowels and Consonants
e. Practice Sentences
f. The Play Text
2.Colloquial Research
a. Searching the Text
b.Pinpointing Meaning
c. Practising in the Accent
3.Text Samples
4.Workshop Plan
5.Revisiting the Basics

Text extract 1: Peaches by Nick Grosso
Text extract 2: Essex Girls by Rebecca Prichard