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Giving Voice to Mandela: an Analysis of Accent Acquisition Intervention for the Role of Nelson Mandela in the Film Mandela: Long Walk to Freedom

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Giving Voice to Mandela: an Analysis of Accent Acquisition Intervention for the Role of Nelson Mandela in the Film Mandela: Long Walk to Freedom ! ! ! ! ! ! ! ! ! GIVING VOICE TO MANDELA: AN ANALYSIS OF ACCENT ACQUISITION INTERVENTION FOR THE ROLE OF NELSON MANDELA IN THE FILM MANDELA: LONG WALK TO FREEDOM A CASE STUDY THESIS Submitted in fulfillment of the requirements for the Degree of MASTER OF ARTS of The University of the Witwatersrand By FIONA RAMSAY HORSTHEMKE June 2014 ! ! ! ! ! ! ! ! ! ! ! ! Declaration I declare that this is my own unaided work. It is submitted in partial fulfillment for the degree of Masters of Arts at the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university. ……………………………………………….. FIONA RAMSAY HORSTHEMKE June 2014 ! "! Acknowledgements Voice practitioners uphold a tradition of acknowledging their master teachers and their influence on one’s own teaching practice and methods developed. Apart from the respect accorded these teachers, this tradition connects an individual practice to a broader voice practice and to a culture of voice coaching. I have not been influenced by one master teacher, but rather learnt from a variety of teachers and coaches who I have worked with over my years as an actress and coach in the industry. My technique and process have not only been affected by directors, teachers and coaches but by the many students and actors I have coached in classrooms, rehearsal rooms and on film sets, for 30 and years whose passion and commitment to their craft and to learning has inspired me. My work ethic was initially motivated by my first ballet teacher Josie Pretorius and furthered by my Spanish dancing teacher Mercedes Molina. Both instilled in me an understanding of the need for discipline of body and mind to succeed not only in the arts industry, but as a general tenet in life. Drama teachers Moira Winslow, Mavis Taylor, Robin Lake, Jasmin Honore, Susie Parker and Prof Robert Mohr influenced choices I made when studying at UCT that have stayed with me long after leaving drama school. Vocal coaches have stirred and supported my interest and these I am grateful to: Joan Little, Sue Braun, Gaye Morris, and teachers and lecturers I have consulted Marth Munro and Liz Mills. ! #! Director Barney Simon taught me patience, humility and a respect for the attention to detail and minutae, which has informed choices made both as an actress and in imparting knowledge as an acting and vocal coach. I have had the privilege of working with extraordinary people all who have shared some part of my passion for acting, singing, coaching, directing and experimenting. I recently joined the Medical Team at the Park Lance Voice and Swallowing Clinic with Dr Lance Maron and Prof Heila Jordaan, which has helped inform my work in teaching vocal hygiene and good use of vocal apparatus. It has also contributed to my knowledge as a Specialist Professional Voice Consultant and Coach. I also thank my parents Raymond and Jean Louw who have fully supported, endorsed and celebrated my pursuit of a career in the arts and contributed to this work with helpful proof reads and comments. My supervisors Prof Hazel Barnes and Warren Nebe. ! $! Contents Abstract 7 Chapter 1 Introduction 8 1.1 Research Aim 1.2 Hypothesis 1.3 Research Questions 1.4 Motivation 1.5 Rationale 1.6 Terms used in the study 1.7 Literary Review 1.8 Research Design 1.9 Research Methodology 1.10 Ethical Considerations 1.11 Chapter Outline Chapter 2 Vocal Mechanisms, Apparatus and Phonation 50 1. Vocal Mechanisms and Apparatus 2. Placement of articulators RP Chapter 3 Vocal Mechanisms, Apparatus and Phonation 64 3.1 How Accent Acquisition may assist or hinder the actor 3.2 What is Accent? 3.3 Accent for Actors 3.4 Learning an accent 3.5 Learning the accent of a real person as opposed to a fictional character Chapter 4 Cockney Dialect: the Actor’s Native Accent 81 4.1 Brief history of Cockney Dialect as a context for the actor’s sounds 4.2 Cockney Prosody and Phonetics 4.3 Characteristics of Cockney Grammar 4.4 The actor’s dialect Chapter 5 IsiXhosa Accent 96 5.1 Brief history of IsiXhosa and the AmaXhosa as context for accent 5.2 IsiXhosa 5.2.1 IsiXhosa Alphabet and Phones 5.2.2 Characteristics of IsiXhosa Grammar 5.2.3 Pronunciation of IsiXhosa 5.3 Analysis of IsiXhosa accent 5.4 Nelson Mandela’s accent 5.4.1 Chronology of influences on accent 5.4.2 Implications for the actor and dialogue coach ! %! Chapter 6 Case Study Data 122 6.1 Pre-production intervention 6.1.1 RP Acquisition 6.1.2 Vowel and Consonant Shifts 6.1.3 Cockney sounds that occur in IsiXhosa accent 6.1.4 RP in the method 6.2 IsiXhosa Accent – shifting from RP to IsiXhosa 6.3 Faux Phonetics 6.4 Coaching Time-table 6.5 Script modification for accent 6.4.1 Mandela as young activist 6.4.2 The Rivonia Trial Speech 6.4.3 Mandela the private man 6.4.4 Mandela incarcerated 6.4.5 Mandela released and public 6.4.6 Prosthetics and how these affected accent 6.4.7 General notes discovered for voice Conclusion of study 172 Appendices 179 Reference list 194 Sound clips (on CD) 1. Idris Elba interviewed on accent 2. Idris Elba interviewed on playing Mandela 3. Rivonia Trial speech translated and spoken in IsiXhosa 4. Rivonia Trial speech spoken in IsiXhosa accent 5. Widlake interview with Mandela 6. Rivonia Trial speech spoken by Mandela in the dock 7. Rivonia Trial speech spoken by Idris Elba (from film) 8. Mandela Inauguration speech 9. Idris Elba as Mandela SABC address ! ! &! Chapter 1: Introduction to the Study 1.1 Research aim The aim of my research was to test and evaluate my process of coaching accent acquisition for the role of Nelson Mandela in the film Mandela: Long Walk to Freedom Directed by Justin Chadwick (2013). I am an actor and dialogue coach and work in film, television and on stage in South Africa, the United Kingdom and the United States of America. I have been acting for over 30 years, since graduating from the University of Cape Town (UCT) in 1979 with a Bachelor of Arts and Performer’s Diploma Degree in Drama and have worked as a Dialogue Coach since 2000. My experience as an actor has informed my work as a Dialogue Coach, and my work as a Dialogue Coach has in turn helped me identify what I investigate in this dissertation. I look at the phenomenon of the voice in the role it plays in the creation of a character with particular reference to acquiring an accent. I identify the changes actors are required to effect to their voices for an authentic portrayal of a character. The voice is only one, but a critical element, that contributes to the construction of a character, physicality, psychology and biography being others. There is a synergy and causal relationship between these elements that enable the actor to form a composite image of a character and a fully realized three-dimensional person with a detailed history. The actor needs to be believed in what or whom they portray, and critical factors that facilitate this process are that their speech or dialogue appears real, spontaneous and true. The voice is part of the whole that comprises the character, is influenced and affected by the other elements and therefore cannot be viewed in isolation. ! '! Technically I analyse the voice in relation to accent acquisition investigating the qualities and functions that the voice needs to embrace to enable the actor to speak in an acquired accent. Particular anatomical structure, psychological factors, level of education and the actor’s exposure to the accents, phonetics and to sounds different to his/her own are elements that will be discussed in the study. 1.2 Hypothesis Drawing from my existing knowledge of coaching accents generally, and of the IsiXhosa language and of the Cockney accent in particular, I devised a coaching strategy, embracing tenets of other vocal pedagogues and accent coaches, in order to create an intervention to facilitate accent acquisition by the actor playing the role of Nelson Mandela in the film Mandela: Long Walk to Freedom authentically. Integral to my methodology is the concept of perceived neutrally placed non-accented sounds as a tool to move from one accent to another. In this study this non-accented sound is Received Pronunciation because this was a derivation of the English spoken in South Africa and fundamental to my acting training. (By inference, I could use any other perceived general or standard sounds of any accent such as General American, Standard American or American Theatre Standard, Australian English or Standard Filipino English. These have emerged in particular regions or countries as a ‘standard’ or ‘generic’ form of the accent, and invariably demand a neutral placement. This is applicable not only to English but to versions of languages regarded as standard, such as Hochdeutsche Spragen (High German) or Francais Standard (Standard French). ! (! 1.3 Research Questions The primary research question arose out of working in the arts industry both as an actor and dialogue coach and to test the methodology I have developed. The methodology evolved out of a need to teach actors who had little or no tuition in phonetics or the study of accents. I have also coached actors to acquire an accent in a second language and have made use of the same methodology. 1.3.1 Main Question How can I improve the process of accent acquisition coaching to enable the actor to modify and shift sounds from one accent to another? Is the methodology I have devised in coaching an actor to acquire an accent successful? 1.3.2 Sub-questions Could the methodology I have devised address issues of lack of formal voice and accent training in institutions in South Africa? Could the interventions be developed further into a curriculum for accent acquisition coaching? Could the methodology be introduced for short accent education courses? Could the methodology be used to a further study in the field of accent acquisition? 1.4 Motivation I was motivated to conduct this research study in order to test the theory and practice I had been using as a method of coaching accents in the hope of formalizing a methodology that would contribute to the body of work that exists in the field.
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