ACTING with an ACCENT
********************* COCKNEY (London Working Class) - Second Edition -
by
DAVID ALAN STERN, PhD
Copyright ©1979, 2003, 2012
DIALECT ACCENT SPECIALISTS, Inc.
P.O. Box 44, Lyndonville, VT 05851
(802) 626-3121
www.LearnAccent.com
No part of this manual or the accompanying audio CD may be reproduced or otherwise transmitted in any form, electronic or mechanical, including photocopying or audio dubbing, without permission in writing from Dialect Accent Specialists, Inc. 2
The ACTING WITH AN ACCENT series
New York City Standard British French American Southern Cockney German Texas British North Russian Boston Irish Yiddish "Down East" Scottish Polish "Kennedyesque" Australian Norw./Swed. Chicago Spanish Arabic Mid-West Farm Italian Farsi West Indian/Black African
Programs are Also Available for REDUCING Foreign Accents and American Regional Dialects
Other Programs Include AMERICAN ACCENTS FOR ENGLISH ACTORS AMERICAN ACCENT FOR CANADIAN ACTORS THE SPEAKER'S VOICE
ABOUT THE AUTHOR
David Alan Stern received a Ph.D. in Speech from Temple University and served on the faculties of both Wichita State and Penn State before founding Dialect Accent Specialists, Inc. in Hollywood in 1980—working there exclusively as an acting and dialect coach for professional actors. Since 1993, he’s kept his foot in the industry while serving as Professor of Dramatic Arts at his alma mater, the University of Connecticut. Among the many actors he has helped to prepare for stage, television, and film roles are Geena Davis (The Accidental Tourist), Julie Harris (Carried Away), Jennifer Jason Leigh (Fast Times at Ridgemont High), Shelley Long (Outrageous Fortune), Terrence Mann (My Fair Lady), Liam Neeson (Next of Kin), Lynn Regrave (Sweet Sue), Pat Sajak (The Boys in Autumn), Forest Whitaker (Byrd and The Crying Game), and Julia Roberts, Sally Field, Olympia Dukakis, and Daryl Hannah (Steel Magnolias). David also served for many seasons as the resident dialect coach at the Berkshire Theatre Festival in Stockbridge, Massachusetts.
For further information on recordings, coaching, and campus seminars or residencies, contact:
DIALECT ACCENT SPECIALISTS, INC. P.O. Box 44, Lyndonville, VT 05851 (800) 753-1016 www.LearnAccent.com 3
SOME PRELIMINARY CONCERNS
When should I use dialects & accents?
Here are a few guidelines I've put together after years of performing and coaching dialects.
(1) If there are characters in the script that come from a different speech group than the rest of the cast, consider differentiating them with appropriate dialects. (2) If the entire script is set in a country or region where a specific dialect of English is spoken, determine whether the whole cast can use that pattern while still creating complete, believable characters. (3) Avoid using foreign accents for translations of non-English scripts. For example, don't play Chekhov with a Russian accent or Moliѐre with a French accent. For such "classics," try using an "elevated" style of American diction. (4) Elevated diction is also appropriate when American casts are doing Shakespeare, especially those plays that are not set in England. (5) Finally, DON'T USE ACCENTS UNLESS THEY ARE GOING TO BE PERFORMED WELL!
What techniques lead to good dialects?
In my experience, relatively few actors have the skill to imitate the accents that they hear with a sense of accuracy and believability. Other actors must use a systematic approach in order to create authentic-sounding accents and dialects. Here is a brief discussion of the most important factors:
PRONUNCIATION: Just making the correct pronunciation changes is not enough to create an authentic-sounding dialect. Most teachers, texts, and recorded programs drill students almost exclusively with the appropriate vowel and consonant substitutions for the target pattern. Although I believe that correct pronunciation is one essential component, these vowel and consonant changes will not sound authentic unless you combine them with several other important vocal features.
PITCH CHARACTERISTICS: "Pitch" can refer to any of several vocal traits— from how high or low a voice is to how much intonation or pitch variety is used. But, the most important pitch traits that help characterize many accents and dia- lects are different kinds of upward and/or downward glides that take place during the sounding of vowels—especially vowels in stressed syllables. This trait, which 4
I call INNER-VOWEL LILT, contributes significantly to the familiar, distinctive sound of many accents and dialects.
STRESS PATTERNS: American English has a complex pattern of stressed and unstressed syllables. Many dialects and languages have distinctly different patterns. Some have few, if any, unstressed syllables, while others have rather intricate staccato rhythms that must be present before a performance of that dialect can sound authentic.
RESONANCE or MUSCULAR SPEECH IMPULSE: My research, teaching, and performing experiences have taught me that the most important part of a dialect's aural essence comes from the specific way that the tongue, lips, soft palate, and larynx shape and position the resonance tract. Different tract configurations, in turn, give many unique resonances or "timbres" to the overall sound. Each specific "tone focus" is very noticeable throughout a dialect, regardless of whether actual pronunciation changes are occurring on certain words. In fact, once an actor has mastered a dialect's muscularity and tone focus, many of the important new pronunciations can happen more easily and convincingly. Most of the CD's in this series begin with a detailed lesson on resonance. Pronunciation drills then extend out of the new muscularity. As such, the speech sounds are now "organic," and no longer a set of vowels and consonants you try to memorize in isolation.
What is the best way to practice?
Begin by drilling the mechanics of the new dialect—the resonance, lilt, rhythm, and pronunciations. Go on to integrate the changes into phrases, sentences, and passages. Then try improvising and actually generating your own speech while using the new dialect. Don't limit your new accent to the target script. If you do, you are apt to be very mechanical and never create the sense that you are a real person who actually talks this way.
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ACTING with an ACCENT COCKNE Y - London Working Class - (Second Edition)
LESSON ONE: COCKNEY RESONANCE or MUSCULAR SPEECH IMPULSE
The first step in creating a Cockney dialect is to make an overall change in the resonance features of the voice. As I explain on the CD, Cockney speech focuses its tone or resonance in the high-back part of the mouth—between the rear tongue and the soft palate. A complete change in speech muscularity causes this resonance shift. Standard American speech locates most of its muscle work in the middle part of the tongue. Cockney, by contrast, requires a wider opening in the back of the mouth and much more work in the middle and back of the tongue.
Follow the CD through the series of exercises for moving the new resonance away from the mid-mouth focus of American speech and toward the Cockney high-back muscularity by:
1. imagining or visualizing the change in tone focus and feeling a difference in the tissue vibration. [TRACK 2]
2. opening your mouth wider in back and lowering the mid- and rear tongue. [TRACK 3]
3. pretending that you are "about to swallow" the sound, just as you would swallow a pill with water. [TRACK 4]
WARNINGS: (1) While doing the exercises to create the new muscularity/resonance, be careful not to put tension in your throat or pull your larynx down to a lower position. All of the new muscle behaviors take place inside the mouth, not the throat. (2) Don't create an actual nasality, i.e., don't let any sounds other than M, N, and NG consonants pass wholly or partially through the nose. "Cockney through the nose" is the core of the Australian sound.
A WORD ABOUT INFLECTION: Though the "classic" or "music hall" Cockney style uses a great deal of upward pitch movement, especially at the ends of phrases and sentences, neither that nor any kind of pitch change is absolutely necessary for creating a general Cockney impression. However, the style and the amount of intonation can vary greatly from character to character. Follow the CD as I demonstrate the sentence that's printed below with different intonation traits. [TRACK 5]
- We traveled along the motorway and went off to get a bite to eat. 6
VOWELS THAT CHANGE IN MUSCULARITY/RESONANCE ONLY
[TRACK 6]
The new muscularity creates a different resonance and aural impression even on syllables with no overt pronunciation differences between the dialects. Those who use a "narrow" approach to phonetics still see these as pronunciation changes, but I find it easier to create the effect on these six vowels by shooting for the same pronunciation while changing to the new muscularity. Try it on the following vowels.
1. "SHORT I" as in SIT STILL - This is it. Sister is sitting inside. * Fill it in. fixing this chicken
2. "SHORT E" as in GET READY - Esther said, excellent credit * extended credit, extra effort
3. "UH" as in MOTHER'S LOVE (Do not use as is done in Ireland and the British North Country.) - such trouble, coming up * mother's love, up and coming
4. "SHORT OO" as in GOOD LOOKING - I should have stood. butcher's hook * took a look, push and pull
5. "AH-OO" as in OUT OF TOWN - mountain sounds, the proud count * loud sounds, clown around
6. "AW-EE" as in JOYFUL NOISE - noisy boy, enjoy the toy * moist cloisters, the joys of soybeans
The following sentences contain the vowels you just practiced. Each results from a refocusing of the resonance but does not require an overt pronunciation change.
- The book is in the desk. - Sid took account of the company's assets. - Join in some fun with the big crowd.
LESSON TWO: REAL VOWEL CHANGES RELATED TO RESONANCE
The vowels we'll study in this lesson actually do change noticeably in pronunciation; however, they are still extensions of the muscularity/resonance shift you just learned. Repeat the words and sentences after hearing them on the CD. Don't just imitate the new pronunciations. Generate the new muscle behaviors, and let the Cockney vowels extend naturally out of that change in speech impulse. 7
1. THE "LONG E" as in SEE [TRACK 7]
IPA: becomes .
- three, each, agree, cheat, achieve, equal
- He creeps through the Garden of Eden.
- Meat and cheese were served for tea.
- Steve went to pieces. - He was so green with envy. - Mary was sorry.
Use the same vowel for the final sound in words ending in "ary" and "ory." But, vowels all but disappear before the "R," and the stress shifts to an earlier syllable. Follow the examples on the CD.
- secretary, category, ordinary
- That was a necessary category. - The commissary is satisfactory.
Now here are a few additional, unrecorded drills for the "Long E." * Achieve free speech. * She agreed to speak. * He agreed to meet.
2. THE "LONG OO" as in SMOOTH [TRACK 8]
IPA: becomes .
- two, moon, truth, gloomy, prove, flute
- I knew cool prunes aren't blue. - The gloomy June moon is moving.
- At two past noon, we heard hooves on the roof of the room.
Here are a few additional, unrecorded drills for the "Long OO." * Boost up the duke's boots. * Recruit the raccoons to buy fruit.
3. THE "LONG A" as in DAY [TRACK 9]
IPA: becomes .
- able, great, played, neighbor, famous
- The neighbor made a face at the baby.
- The fateful delay in rainfall placed a great weight on Nathan.
- The ailing aviator chased the victory.
Try a few more "Long A" drills that aren't recorded on the CD.
* They paid for delaying the play. * April eighth was a great day.
4. THE "LONG O" as in GO HOME [TRACK 10]
IPA: becomes .
- oaken, loan, stone, slowly - Long ago people slept on the cold earth. 8
- Slowly, the ocean rolled home.
- The oboe and cello sat alone, woefully echoing tone for tone.
Here are a few additional drills for this vowel that aren't recorded on the CD.
* The boat floats in the ocean. * He was bloated by a roasted tomato.
* the most hopeful folks I know * Smoke rolled out the hotel window.
5. COMBINING THESE FOUR CHANGES [end of TRACK 10]
- She improved slowly through the day. - They sailed over the sea.
* Please, go away soon. * Okay, if you say so. * a strange place
* Show me the way. * Stay away from home. * two dream makers
LESSON THREE: OTHER VOWEL CHANGES
Although the following pronunciation changes are not directly caused or accounted for by the new muscularity, they will not sound authentically Cockney without the high-back resonance you learned in Lesson #1.
1. THE "LONG I" as in RIGHT TIME [TRACK 11]
IPA: becomes .
- bright, time, Eliza, writer, widest
- It's the right time to find a gold mine in the sky.
- The sight of dry land ended the exciting flight.
- A life of violent crime is now a sign of the times.
The word I, along with its contraction forms (I'll, I'm, I'd, and I've), usually isn’t stressed and does not require the full pronunciation
- I believe I'm rich. - I don't think I'll go.
- I've had enough of him. - It's what I'd like to do.
Now, do these additional, unrecorded drills for the "Long I" vowel.
* The actor recited ironic rhymes. * Lights shined at times tonight.
* Nine fires blazed last night. * Don't deny which side was fighting.
2. THE "SHORT O" as in WHAT ROCK [TRACK 12]
IPA: becomes .
NOTE: In many American regions, this vowel is already rounded.
- opera, obstinate, odd, quality, aqua, what, want, watch, wash
9
- Mr. Roberts threw the potted palm.
- Tommy is a rock opera.
- He stopped on the rocks in the swampy bog.
- What do you want to watch?
Here are a few more drills for the "SHORT O" vowel that aren't recorded on the CD.
* He occupied the gondola of the golf cart.
* The rocket shot toward the opposite air lock.
* Oxygen is commonly found in air pockets.
* Becket was positive about the honor of God.
* Move the fox from the rocks to the bog.
3. "SHORT-O" before S (LOST), TH (CLOTH), F (COFFEE), or NG (SONG)
IPA: becomes [TRACK 13] coffee, lofty, cloth, moth, lost, moss, wrong, song
- Lost boys often sell cloth.
- The dog was wrong to kill the moth.
- The loft smelled of strong coffee.
Here are a few more drills for this vowel category that aren't recorded on the CD.
* He lost the piece of cloth.
* He tossed the coin a long distance.
* Mr. Ross wrote great songs.
:::: 4. THE "BROAD AW" as in THOUGHT I SAW [TRACK 14]
IPA: becomes ::
- pause, brought, walk, tall
- The cat crawled across the lawn.
- The quarterback stalked the ball.
- The tall author paused and walked away.
Here are a few more drills for the "Broad AW" vowel that aren't recorded on the CD.
* The awkward, awful, tall man walked home.
* He stalked the ball and then vaulted down the hall.
* He thought he saw the autumn leaves falling.
* You taught me to vault flawlessly without falling. 10
5. The "SHORT A" SHIFT as in GLASSES [TRACK 15]
IPA: occasionally becomes or .
As discussed on the CD, this change takes place only when the vowel comes immediately before a limited number of consonants or consonant clusters. a. Before the sound as in:
after, laugh, half, calf
MAJOR EXCEPTIONS: sapphire, caffeine, saffron a. Before the sound as in:
fast, last, rascal, repast, pass
MAJOR EXCEPTIONS: passenger, passage, gastric, hassle, tassel ("castle" does change) a. Before the voiceless TH as in:
bath, pathway, wrath
(rather changes before voiced TH; the change is optional on lather)
MAJOR EXCEPTIONS: gather, catholic, mathematics, catheter d. Before the sound combination as in:
dance, chancellor, Lancelot, France
MAJOR EXCEPTIONS: fancy, cancer, romance e. Before the sound combination as in:
advantage, plant, chant, can't
MAJOR EXCEPTIONS: banter, fantasy, fantastic, tantalize, ranting f. Occasionally before the sound combination as in:
command, commander, demand, slander
(Most [nd] words do not change.) grand, stand, hand, land, etc. g. In these isolated words that don't have these consonant triggers:
banana, example, sample, soprano, (ranch & branch–optional)
In these sentences, the "Short A" broadens to "AH" every time. [TRACK 16]
- The rascal chancellor demanded the castle.
- At last, the commander's repast is half-ready.
- I just can't ask her for a dance.
In the next group, "Short A" never changes to "AH."
- can, grand, bat, sandwich
- I had to soak my batting hand. - Stan and Joanne sat instead of standing. 11
In these sentences, some change and others do not. The changes are underlined.
- That man is dancing divinely.
- Last night the cat transferred the kittens to the back room.
- He comes from a class of radical rascals.
- Ask any bashful man to dance.
- Please accept his answer.
These sentences mix all the vowels we've studied in this lesson.
- He brought his eyeglasses along to the optician’s.
- The song should be chanted next time by the author.
LESSON FOUR: THE DROPPING OF THE R (as in ALARM)
When "R" follows a vowel, Cockney drops the actual R sound, as does Standard British, leaving only the vowel or diphthong stem. Listen carefully to the CD for the proper style of R-dropping.
[TRACK 17] runner, player, helper, sweeter, heavier
- The runner staggered over the roof.
- I thank my mother, father, sister, and brother.
* The burglar and his helper stirred up such a clamor.
* This summer went faster than before.
3earthworm, word, work, thirsty, burn
- Ernest was very dirty and thirsty.
- Searching for the curse words was hard work.
* Herman was the first to get to church.
* He drew a perfect curve.
car, star, alarm, hard, march
- He parked the car down in the yard by the barn.
- Arthur played cards in the cardinal's garden.
* He disembarked from the car. * Charles argued with the guard.
::sport, four, door, chores, more, important
- The Concorde roared forth.
- It was a quarter to four.
- The sportsmen adorned the shore.
* Fourteen orphans were on board. * More support came forth. 12
ear, clear, beer, here, tears, career
- Shift the gears, and then steer. - Don't jeer; I'm being sincere.
- Do you think the deer will appear next year?
* It fell clear of the nearby pool. * Don't fear being sincere, my dear.
air, hair, pair, barely, everywhere, scared
- Where did the rare grizzly bear go?
- He carefully prepared to go upstairs.
* You pay a fare to get there. * Don't be scared to climb the stairs.
sure, cure, endure, secure
- Are you sure you can endure this?
- I can't ensure I'll be able to cure that.
* This cure is hard to endure. * I'm secure with our new tour guide.
WHEN R DOESN'T DROP, IT GLIDES as in THERE IS [TRACK 18]
Between vowels, the "R" returns—usually sounding like it is at the beginning of the next syllable. very, sorry, miracle, carry, clearing
- sore at me - a pair of socks - I prefer it. - the year after
LESSON FIVE: COCKNEY CONSONANT ISSUES
1. THE "H-DROP" as in HENRY HIGGINS [TRACK 19]
The CD illustrates the following different types of H-Drops: a) When an H-Drop follows any "front vowel," glide into it with a "Y" [j] sound, as in:
- I-j-hasten - three-j-holidays - They-j-had to do it
- The boy-j-heard the noise. - appre-j-hend b) When an H-Drop follows any "back vowel," glide into it with a "W" [w] sound, as in:
true-w-heart Go-w-home. Now-w-help your mother.
It was so-w-horrible co-w-habitate c) When an H-Drop follows a consonant, make it sound like the word or syllable begins with that consonant instead of the dropped H, as in:
She's[z] humble. world history inherited d) When the word "a" or "the" comes before an H-Drop, use "an" or "the" with Long-E,
since the next word now starts with a vowel.
an hungry man the-j-hungry man 13
- however, Hello love. Hudson's Bay
- I hasten to add my hearty and humble congratulations.
- To hide from harm, Henry hijacked the hydrofoil. - I'm hungry.
2. THE "GLOTTAL-T" as in BEAUTIFUL BRITISH WRITER
- Put the kettle on. - a bottle of beer [TRACK 20]
- Get in. - Let it go. - Make note of it. - I want a little water.
And now a few more drills for this sound:
* What is it about city settlers?
* Get out of the battle with a better position.
3. THE "L-to-W SWITCH" as in BELL
Category 1: An L inside a word moves to an "almost-W" if it comes after a vowel and before a consonant: [TRACK 21]
- always, welcome, building, gulf
But, it remains an L when it is between vowels:
- election, correlation, fillet
Category 2: A Final-L can become this "Almost-W" when it comes before a pause or before any consonant other than L: - wheel, wheelbarrow
But, when it glides into a vowel or another L at the beginning of the next word, you have to keep the L: - The wheel is broken. The wheel looks good.
Follow the CD for the following combination of L-sounds:
- We always feel the need for real friends.
- Don't conceal your real love. - The elephant strolled along.
Now, a few more drills that aren't on the CD:
* We feed the really needy people. * He's still able to garden well.
4. SHORTENED "-ING" ENDINGS as in ENDING [TRACK 22]
As in many urban and Southern dialects in the U.S., Cockneys often substitute an [n] for a in "ing" endings. - rehearsing, singing, reading
- I'm singing and dancing in the rain.
- We're coming and going all at once.
And, here are a few additional drills for this sound:
* He's walking and carrying the baby.
* I'm trying to avoid running. 14
5. TH CAN BECOME V or F as in OTHER THINGS [end TRACK 22]
Many Cockneys also change the voiced and voiceless "TH" sounds to [v] and [f]. But, be careful; if you use this trait, it can sometimes interfere drastically with intelligibility.
- other, washcloth, smooth, leather * either one or the other
* They did this, that, and the other thing. * They were worthy.
LESSON SIX: SPECIAL PRONUNCIATIONS & COACHED DRILL
ISOLATED WORDS: These words don't follow any of the pronunciation rules we've studied. They are what they are.
[TRACK 23] - again & against (usually "LONG-A") / Once again, I'm against it.
- been (often "LONG-E") / Where have you been while I've been gone?
- clerk (like "Clark") / They gave me the post of a junior clerk.
- figure (as if it were spelled "f-i-g-a") / He cut a handsome figure.
- garage (stressing the first syllable) / The car's in the garage.
- either & neither (usually "LONG-I") / You can do either or neither.
- process (with "LONG-O") / process of elimination
- "-ile" word endings (with "LONG-I") / They were hostile missiles.
- laboratory (second-syllable stress) / He works in the laboratory.
- schedule (with SH instead of SK) / He's running behind schedule.
- tomatoes (with an AH) / Eating tomatoes (but "potato" doesn't change.)
- weekend (stressing the second syllable) / a weekend in the country
COACHED PRACTICE: The following passages from Lesson #6 are marked with the symbols I used earlier in the manual. Changes that occur only in very heavy Cockney dialect are in parentheses. Be sure to embed the new pronunciations into the Cockney resonance.
[TRACK 24] AN IMPORTANT MESSAGE FOR DIALECT ACTORS
()() MOST ACTORS FORGET THE REST OF THEIR CRAFT WHEN
() ATTEMPTING TO PLAY DIALECT ROLES. THEIR PURPOSE
()()() BECOMES "PUTTING ON THE COCKNEY ACCENT" RATHER
15
()() THAN CREATING REACTIONS OF A REAL PERSON WHO--(H)AS
::()() ALWAYS SPOKEN WITH COCKNEY MUSCLE IMPULSES, INTO-
() NATION, AND WORD PRONUNCIATIONS. EVEN THE FINEST
() ACTORS MUST REMEMBER TO DISCOVER THE SAME IDEAS,
(v) () IMAGES, AND ACTIONS, BUT TO PHYSICALIZE THEM WITH THE
NEW SPEECH BE-j-HAVIORS.
from THE PIRATES OF PENZANCE by Gilbert & Sullivan [TRACK 25] Now follow the recording as you try this last passage with first a very heavy Cockney dialect and then a softer, more general London street sound.
() WHEN A FELON'S NOT ENGAGED IN (H)IS EMPLOYMENT, ::()(w) OR MATURING (H)IS FELONIOUS LITTLE PLANS, () ::() (H)IS CAPACITY FOR INNOCENT ENJOYMENT, IS JUST AS GREAT AS ANY HONEST MAN'S. ()()() OUR FEELINGS WE WITH DIFFICULTY SMOTHER, () WHEN CONSTABULARY DUTY'S TO BE DONE, ()() AH, TAKE ONE CONSIDERATION WITH ANOTHER,
()() A POLICEMAN'S LOT IS NOT A[N] (H)APPY ONE.
HAVE AT IT WITH YOUR COCKNEY DIALECT!