The Mechanics: Phonetics and Pronunciation!
Wednesday 7th May 2025, 2:00 PM - 4:00 PM (London Time)
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.”
Colton Weiss (he/they) is a professional dialect coach, actor, and lecturer (Ohio State Univ.) based out of Columbus, Ohio. Colton has 10+yrs experience working on and off stage ranging from Broadway level musicals and classic opera to outdoor Shakespeare. His clients range from local middle school/high school students and working adults, to professionals performing regionally and on Broadway. Favorite coaching credits include: Actors’ Theatre of Columbus (Robin Hood, Sense and Sensibility - 2023 season), Columbus Children's Theatre (Disney’s Newsies - Dir. Joe Deer), and A.R.T.@Oberon (Violet the Musical - Dir. Sammi Cannold from How to Dance in Ohio). He is a proud graduate of Ohio State and Harvard University and member of the Voice and Speech Trainers’ Association (VASTA).
🏷️ Price £30 (UK VAT inclusive)
🎥 Recording automatically sent to all who book (even if you cannot attend live)
▶️ Rewatch as many times as you like
📜 Certificate of attendance available
Colton Weiss
Colton Weiss (he/they) is a professional dialect coach, actor, and lecturer (Ohio State Univ.) based out of Columbus, Ohio. Colton has 10+yrs experience working on and off stage ranging from Broadway level musicals and classic opera to outdoor Shakespeare.
Attend this course for as little as £22 as part of the Voice Professional Training CPD Award Scheme.
Learn MoreSorry, this is an archived short course...
We have plenty of upcoming short courses coming soon. See details of some of them below or look at the full list of short courses.
Tuesday 3rd March 2026
5:00 PM - 7:00 PM
(London Time)
Sex differences in VOICE!
Dr Richard Lissemore
This two-hour workshop, led by performer, articulatory phoneticist, and voice physiologist, Dr. Richard Lissemore, will examine in detail the role that biological sex plays in the perception and pedagogy of singing voices. We'll consider how parameters such as anatomy, physiology, articulation, resonance, and radiated acoustics influence the perceptions and pedagogical decision-making of singing teachers.
Wednesday 4th March 2026
1:00 PM - 2:00 PM
Wednesday 11th March 2026
1:00 PM - 2:00 PM
Wednesday 18th March 2026
1:00 PM - 2:00 PM
Wednesday 25th March 2026
1:00 PM - 2:00 PM
Wednesday 1st April 2026
1:00 PM - 2:00 PM
Wednesday 8th April 2026
1:00 PM - 2:00 PM
(London Time)
Learn to Coach RP and SSBE – a Certificate in Accent Coaching
Louisa Morgan
This six-week course is an opportunity to learn about both Received Pronunciation and Standard Southern British English. Rather than a course in learning how to speak RP/SSBE (there are many brilliant available courses for this already), this course is about learning how to coach it.
Thursday 5th March 2026
1:00 PM - 2:30 PM
Thursday 12th March 2026
1:00 PM - 2:30 PM
(London Time)
Acting Emotion: Perspectives from the Masters
Louisa Morgan
Stanislavski said, “our artistic emotions are, at first, as shy as wild animals and they hide in the depths of our souls.” Michael Chekhov said, our bodies should be like a “sensitive membrane, a kind of receiver and conveyor of the subtlest images, feelings, emotions and will impulses.” And Meisner said we should be “living truthfully under imaginary circumstances.” Join Louisa Morgan in this 2-part course as she explores a range of well-known acting practitioners to investigate what they believed (or believe) about emotion and how they approached it in their work. She'll compare their work to see where they align and where they diverge.