Level Two Certificate in Accents and Phonetics for Coaching Actors with Joseph Griffiths-Bloor and Louisa Morgan

This presentation is an introduction to all things Phonetics, the International Phonetic Alphabet (IPA), and Pronunciation. This course will cover the professional basics of how to interpret the IPA from a ‘descriptive’ view instead of a ‘prescriptive’ view of right-or-wrong. Participants will also be challenged to investigate personal and social views on Pronunciation.  

The content of this course is primarily influenced by publications and the philosophy of Knight-Thompson Speechwork (KTS) “a skills-based approach to speech and accent training for actors that places emphasis on developing the speaker’s detailed awareness of—and deep engagement with—the precise physical actions which make up speech.”   

Learn more about Colton Weiss

In this session, Beatrice will give an introduction to Prosody, which is often described as ‘the musical aspects of speech’. Prosody comprises pitch (speech melody and register), time (speech tempo and rhythm), loudness, and voice quality. We will explore the forms and functions of prosody in natural talk. For example, as conversationalists we take over the floor from earlier speakers by picking up their speech rhythm; and we indicate that a conversation is nearing its end by speaking in a higher pitch. We will examine audio and video recordings of everyday talk, and together discover how speakers’ prosodic choices become meaningful in conversation. 

Learn more about Beatrice Szczepek Reed

Beatrice and Anne will showcase how prosody impacts accents in natural English conversation and will discuss how this can help coaches find specific patterns in certain accents. Beatrice will explore prosodic patterns across a range of English native and non-native accents. Anne will discuss how these findings can be useful for a coach or actor learning to acquire an accent as well as lead a few exercises that she has developed from her work with Beatrice. Importantly Anne and Beatrice will showcase how a focus on natural conversation can help coaches develop a holistic approach to coaching the prosody of an accent that goes beyond focusing on the salient prosodic patterns that may create unwanted or harmful stereotypes about accents. 

Learn more about Anne Whitaker

Learn more about Beatrice Szczepek Reed

How best should a coach, teacher or researcher approach an accent or language variety and the people who speak it? Accent coach, designer, educator and researcher Eric Armstrong will discuss ethical and reliable research methods, sources, and fieldwork that benefits the community and the artists who will make use of data and materials you generate. Whether preparing for work on historical fiction, contemporary verbatim theatre pieces based on real individuals, or science fiction with constructed language or accents, there is much to consider as you approach the world—and people—of each project you work on. 

Learn more about Eric Armstrong

Did you know that babies learn accents before they are even born? Did you know that there is a neurological condition where people wake up one morning and start speaking with a different accent than they did when they went to bed? Did you know that people with a foreign accent are perceived as less competent and less trustworthy than those without an accent? Can one’s accent be influenced by pollution? Why is it so difficult for late learners of a second language to acquire a native-like accent? Can voice coaches for actors help speech therapists develop exercises for people with communication problems? 

In her talk on the neuroscience of accents, Dr Miha Constantinescu (Department of Psychology, University of East London) will address some of these questions. 

Learn more about Miha Constantinescu

This session will continue to dive into the methods established with Joseph on the delivery of IPA in accent coaching during Level 1 of the course. Here, more time is afforded to these methods, with a more focused scope on the variety of pathways for students looking to learn an accent with IPA. As this will be a continuation of the session offered at Level 1, this will allow more time to explore the limitations, practical considerations & benefits of each method, at an intermediate level. This exploration of IPA methods beyond the elementary level will allow for a much richer toolkit for you to take with you into all manner of actor training environments. 

Learn more about Joseph Griffiths-Bloor

This session will explore how an accent coach can develop and deliver alternative (non-IPA) methods for coaching accents and dialects. There will be a particular focus on developing inclusive and accessible practice for all. Not all actors receive accent and dialect training in IPA, or indeed in any other specialist accent teaching method, others find IPA an unhelpful way to learn. Over a career you may need to find effective ways to coach any, and all, of the following: young people, amateur groups, a cast with mixed experience, professional actors with no formal training, or neurodivergent and learning-disabled actors. 

Learn more about Ellen Hartley

In this session we look at the challenges faced by EAL speakers when learning accents of English and explore ways to approach coaching in an inclusive way. We will investigate what might be their strengths, how we can overcome obstacles and foster independence in their learning process. 

Learn more about Sterre Maier

In this session, we will begin to explore the complexities accent coaches might face in their work, examining the intersection of language, identity, and cultural sensitivity. Participants will explore how to navigate challenging situations in different contexts and understand what to do—and avoid—when working with diverse clients and materials. 

Learn more about Jenru Wang

With the continued popularity and development of productions that call for more demanding voice, speech, and accent work, dialect coaches, music directors, and actors must collaborate across jobs. Inspired from the text, Voice and Speech for Musical Theatre by Chris Palmer, and ongoing production experience, this presentation explores the intersections of accent work, and the musical skills needed for actors to perform in Musical Theatre. Throughout the course, participants will get the opportunity to analyse and discuss the voice, speech, and accent choices from major shows such as: Bonnie & Clyde; Come from Away; and Beautiful, the Carole King Musical. 

Learn more about Colton Weiss

At points of heightened emotion, it is common for actors working in an accent to default to their natural speech. This can even lead to pressured decisions by directors about whether or not to include accent work in their productions. As coaches, we want performers to be acting the scene and not worrying about holding on to the accent. How do we help performers to avoid this issue and provide them and their directors with the confidence they need regardless of the emotional demands of the piece? What can we learn from research in vocal expression of emotion to help actors to embody the emotion and keep control of their voice and accent? Louisa will guide participants through the latest research and offer practical suggestions for working with performers needing to navigate this challenge. 

Find out more about Louisa Morgan

Live assessments (time slots to be booked by participants)