DOCSLIB.ORG

English Pronouncing Dictionary

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
English Pronouncing Dictionary English Pronouncing Dictionary published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge cb2 1rp, United Kingdom cambridge university press The Edinburgh Buiding, Cambridge cb2 2ru, United Kingdom 40 West 20th Street, New York, ny 10011–4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa Visit our website at http://www.cup.cam.ac.uk/elt/reference Email comments about this book to [email protected] © Cambridge University Press, 2003 This book is in copyright. Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. Entries we have reason to believe constitute trademarks only have been labelled as such. However, neither the presence nor absence of such labels should be regarded as affecting the legal status of any trademark. First published by J. M. Dent & Sons Ltd 1917 First published by Cambridge University Press 1991 This edition published 2003 Printed in Italy by G. Canale & C. S.p.A Typeface Times Phonetic IPA 7/9 pt. System QuarkXPress® [uph] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data applied for isbn 0 521 81693 9 hardback isbn 0 521 01712 2 paperback isbn 0 521 01713 0 paperback & CD-ROM isbn 3 12 539683 2 Klett paperback & CD-ROM isbn 3 12 539684 0 Klett paperback Contents Editors’ preface to the 16th edition iv Introduction v Part 1: Introduction to the English Pronouncing Dictionary v 1.1 What is the English Pronouncing Dictionary? v 1.2 Whose pronunciation is represented? v 1.3 How are the pronunciations chosen? vi 1.4 Regional accents vi 1.5 Pronunciation of foreign words vi 1.6 Usage notes vii 1.7 Syllable divisions vii Part 2: Principles of transcription viii 2.1 The phoneme principle viii 2.2 Vowels and diphthongs viii 2.3 Consonants x 2.4 Non-English sounds xi 2.5 Stress xii 2.6 Syllable divisions xiii 2.7 Assimilation xiii 2.8 Treatment of /r/ xiv 2.9 Use of /i/ and /u/ xiv 2.10 Syllabic consonants xiv 2.11 Optional sounds xv 2.12 Elision xv Part 3: Explanatory notes xvi References in introduction xviii List of recommended reading xviii The International Phonetic Alphabet xx Index of Information Panels xxi The dictionary 1 iii a – Abdulla(h) Pronouncing the letter A See also AE, AEO, AI/AY,AU/AW In addition The vowel letter a has two main strong pronunciations There are other vowel sounds associated with the letter linked to spelling:a ‘short’pronunciation /Q/ and a ‘long’ a,e.g.: pronunciation /eI/. In the ‘short’pronunciation,the a is /A˘/ father /»fA˘.D´r / U /»fA˘.D‘/ usually followed by a consonant which closes the syllable, /A˘ U Q/bath/bA˘T/ U /bQT/ or a double consonant before another vowel,e.g.: /Å U A˘/swan/swÅn/ U /swA˘n/ tap /tQp/ /ç˘ U A˘, ç˘/ walk /wç˘k/ U /wA˘k/ tapping /»tQp.IN/ warm /wç˘m/ U /wç˘rm/ The ‘long’pronunciation usually means the a is followed And,in rare cases: by a single consonant and then a vowel,e.g.: /e/ many /»men.i/ tape /teIp/ taping /»teI.pIN/ In weak syllables When there is an r in the spelling,the strong pronunciation is The vowel letter a is realised with the vowels /´/ and /I/ in one of three possibilities:/A˘ U A˘r/,/e´ U er/ or /Q U e, weak syllables,and may also not be pronounced at all in Q/,e.g.: British English,due to compression,e.g.: car /kA˘r / U /kA˘r/ above /´»b√v/ care /ke´r / U /ker/ village /»vIl.IdZ/ carry /kQr.i/ U /ker.i, kQr.i/ necessary /»nes.´.sri/ U /-ser.i/ a indefinite article: strong form: e weak Abaco b.ə.kəυ U -koυ abbot (A) b.ət -s -s form: ə abacus b.ə.kəs -es -z Abbotsford b.əts.fəd U -fd Note: Weak form word. The strong Abadan b.ə dɑn, - d n abbotship b.ət.ʃp -s -s form /e/ is used mainly for contrast Abaddon ə b d.ən Abbott b.ət -s -sAbbott and (e.g. ‘This is a solution, but not the abaft ə bɑft U - b ft Cos tello only one.’). The weak form only abalone b.ə ləυ.ni U - loυ- abbrevi|ate ə bri.vi.et -ates -ets occurs before consonants, and is abandon ə b n.dən -s -z -ing -ŋ -ed -d -ating -e.tŋ U -e.tŋ -ated -e.td usually pronounced /ə/. In rapid -ment -mənt U -e.td -ator/s -e.tər/z speech, when /ə/ is preceded by a à bas bɑ U -, ɑ- U -e.t/z consonant, it may combine with a abas|e ə bes -es -z -ing -ŋ -ed -t abbreviation əbri.vi e.ʃən -s -z following /l/, /n/ or /r/ to produce a -ement -mənt abbreviatory ə bri.vi.ə.tri, syllabic consonant (e.g. ‘got a light’ abash ə b ʃ -es -z -ing -ŋ -ed -t əbri.vi e.tər.i U ə bri.vi.ə.tɔr.i / ɒt.l at U ɑt.ə lat/;‘get abatab|le ə be.tə.bl U -tə- -ly -li Abbs bz another’ / et.n ð.ər U -/). a|bate ə bet -bates - bets -bating Abby b.i a (A) the letter: e -'s -z - be.tŋ U - be.tŋ -bated - be.td abc,ABCe.bi si -'s -z A-1 e wn stress shift: A-1 con dition U - be.td -batement/s Abdera b də.rə U - dr.ə A4 e fɔr U - fɔr stress shift: A4 - bet.mənt/s abdicant b.d.kənt -s -s paper abat(t)is b.ə.ts, -ti U -ə.ts, abdi|cate b.d.ket -cates -kets AA e e stress shift: AA pat rol ə b t.s -es b.ə.t.sz U -t-, -cating -ke.tŋ U -ke.tŋ -cated Aachen ɑ.kən ə b t..sz alternative plur.: -ke.td U -ke.td -cator/s aah ɑ b.ə.tiz U -tiz, ə b t.iz -ke.tər/z U -ke.t/z Aalborg ɑl.bɔ U ɑl.bɔr , ɔl- abattoir b.ə.twɑr U -twɑr, -twɔr abdication b.d ke.ʃən -s -z aardvark ɑd.vɑk U ɑrd.vɑrk -s -s -s -z Abdiel b.dəl U -di.əl aardwol|f ɑd.wυlf U ɑrd- -ves -vz abaxial ə b k.si.əl, b k- abdomen b.də.mən, -men; Aarhus ɑ.hυs U ɑr-, ɔr- Abba b.ə b dəυ.mən U b.də.mən, Aaron eə.rən U er.ən, r- abbac|y b.ə.si -ies -iz b doυ- -s -z ab- b-, əb- Abbado ə bɑ.dəυ U -oυ abdominal b dɒm..nəl, əb-, Note: Prefix. Examples include Abbas b.əs, ə b s - dəυ.m- U - dɑ.mə- -ly -i abnegate / b.n. et/, in which it Abbassid, Abbasid ə b s.d -s -z abducent əb dju.sənt, b- U - du-, is stressed, and abduct /əb dkt/, abbé b.e U b.e, - - -s -z - dju- where it is unstressed. abbess b.es, -s U -əs -es -z abduct əb dkt, b- -s -s -ing -ŋ ab (A) b Abbeville in France: b.vil -ed -d -or/s -ər/z U -/z AB e bi U b vil in US: b..vl abduction əb dk.ʃən, b- -s -z Abacha ə b tʃ.ə U -bɑtʃ- abbey (A) b.i -s -z Abdul b.dυl aback ə b k Abbie b.i Abdulla(h) b dl.ə, əb-, - dυl- 1 Abe – -able Abbreviations The pronunciation of individual abbreviations is not Some words or phrases are abbreviated to initial letters. predictable and must be treated on a word-by-word basis. In this case,the item may be pronounced as the initial letters,or in full. This is not the same as an ACRONYM,in Examples which the letters are pronounced as a word (see,for example, NATO),e.g.: Some good examples of abbreviations which are spoken in full are to be found in titles used for people,e.g.: MS (multiple sclerosis;manuscript)/«em»es/ NBA (National Basketball Association)/«en.bi˘»eI/ Mr /»mIs.t´r/ U /-t‘/ UCLA (University of California Los Angeles)/«ju˘.si˘.el»eI/ Mrs /»mIs.Iz/ Dr /»dÅk.t´r/ U /»dA˘k.t‘/ Abbreviations derived from Latin words and phrases are Esq /Is»kwaI´r/ U /»es.kwaI‘/ common,but do not all follow the same pattern,some being pronounced in full,some as letters,and some as they are However,in some cases,an abbreviation may be pronounced spelt,e.g.: the way it is written,e.g.: e.g.(exempli gratia)/«i˘»dZi˘/ Bros.(Brothers)/»br√D.´z/, /brÅs/ et al (et alia)/et»Ql/ U /-»A˘l/ U /»br√D.‘z/ etc.(et cetera)/It»set.´r.´/ U /-»set.‘-/ des res (desirable residence)/«dez»rez/ i.e.(id est)/«aI»i˘/ ‡ Abe eb Abernathy b.ə n θ.i U b..n θ- Abimelech ə bm.ə.lek abeam ə bim Abernethy b.ə neθ.i, - ni.θi Abingdon b.ŋ.dən abecedarian e.bi.si deə.ri.ən U b. neθ.i Abinger b.n.d+ər U -d+ U - der.i- aberran|t b er.ənt, ə ber-; Abington b.ŋ.tən à Becket ə bek.t b.ə.rənt -ce -ts -cy -t.si ab initio b.
Load more

Recommended publications
  • Singing in English in the 21St Century: a Study Comparing
    SINGING IN ENGLISH IN THE 21ST CENTURY: A STUDY COMPARING AND APPLYING THE TENETS OF MADELEINE MARSHALL AND KATHRYN LABOUFF Helen Dewey Reikofski Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2015 APPROVED:….……………….. Jeffrey Snider, Major Professor Stephen Dubberly, Committee Member Benjamin Brand, Committee Member Stephen Austin, Committee Member and Chair of the Department of Vocal Studies … James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Reikofski, Helen Dewey. Singing in English in the 21st Century: A Study Comparing and Applying the Tenets of Madeleine Marshall and Kathryn LaBouff. Doctor of Musical Arts (Performance), August 2015, 171 pp., 6 tables, 21 figures, bibliography, 141 titles. The English diction texts by Madeleine Marshall and Kathryn LaBouff are two of the most acclaimed manuals on singing in this language. Differences in style between the two have separated proponents to be primarily devoted to one or the other. An in- depth study, comparing the precepts of both authors, and applying their principles, has resulted in an understanding of their common ground, as well as the need for the more comprehensive information, included by LaBouff, on singing in the dialect of American Standard, and changes in current Received Pronunciation, for British works, and Mid- Atlantic dialect, for English language works not specifically North American or British. Chapter 1 introduces Marshall and The Singer’s Manual of English Diction, and LaBouff and Singing and Communicating in English. An overview of selected works from Opera America’s resources exemplifies the need for three dialects in standardized English training.
    [Show full text]
  • A Sociolinguistic Analysis of the Philadelphia Dialect Ryan Wall [email protected]
    La Salle University La Salle University Digital Commons HON499 projects Honors Program Fall 11-29-2017 A Jawn by Any Other Name: A Sociolinguistic Analysis of the Philadelphia Dialect Ryan Wall [email protected] Follow this and additional works at: http://digitalcommons.lasalle.edu/honors_projects Part of the Critical and Cultural Studies Commons, Other American Studies Commons, and the Other Linguistics Commons Recommended Citation Wall, Ryan, "A Jawn by Any Other Name: A Sociolinguistic Analysis of the Philadelphia Dialect" (2017). HON499 projects. 12. http://digitalcommons.lasalle.edu/honors_projects/12 This Honors Project is brought to you for free and open access by the Honors Program at La Salle University Digital Commons. It has been accepted for inclusion in HON499 projects by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. A Jawn by Any Other Name: A Sociolinguistic Analysis of the Philadelphia Dialect Ryan Wall Honors 499 Fall 2017 RUNNING HEAD: A SOCIOLINGUISTIC ANALYSIS OF THE PHILADELPHIA DIALECT 2 Introduction A walk down Market Street in Philadelphia is a truly immersive experience. It’s a sensory overload: a barrage of smells, sounds, and sights that greet any visitor in a truly Philadelphian way. It’s loud, proud, and in-your-face. Philadelphians aren’t known for being a quiet people—a trip to an Eagles game will quickly confirm that. The city has come to be defined by a multitude of iconic symbols, from the humble cheesesteak to the dignified Liberty Bell. But while “The City of Brotherly Love” evokes hundreds of associations, one is frequently overlooked: the Philadelphia Dialect.
    [Show full text]
  • The Social Perception of Three Features of New York City English
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 The Social Perception of Three Features of New York City English Giacomo Castronovo Jr. The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2654 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SOCIAL PERCEPTION OF THREE FEATURES OF NEW YORK CITY ENGLISH by GIACOMO CASTRONOVO JR. A master’s thesis submitted to the Graduate Faculty in Linguistics in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2018 © 2018 GIACOMO CASTRONOVO All Rights Reserved ii The Social Perception of Three Features of New York City English by Giacomo Castronovo Jr. This manuscript has been read and accepted for the Graduate Faculty in Linguistics in satisfaction of the thesis requirement for the degree of Master of Arts. Date Michael Newman Thesis Advisor Date Gita Martohardjono Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Social Perception of Three Features of New York City English by Giacomo Castronovo Jr. Advisor: Michael Newman Since the late 19th Century, the accent particular to New Yorker City natives of European descent has been negatively perceived by both the American general public and the speakers themselves. The stereotypification of New York City English speakers has largely been the cause of this negative evaluation, in that the features of the accent, as well as the unique New York discourse style, have long been utilized by actors and comedians to create characters of uneducated, uncultured provenance, as well as, all too often, unscrupulous behavior.
    [Show full text]
  • Lauren Michele - Sag-Aftra
    10/8/19, 138 PM Page 1 of 1 www.actorsaccess.com Breakdown Services, Ltd. LAUREN MICHELE - SAG-AFTRA media photos Résumé Print Résumé TELEVISION Untitled Pilot Social Happenings Expert (principal) Unknown Celebrapy Writer (principal) Ken Kushner Brain Games Featured contestant (principal) National Geographic Untitled Pilot Bossy Backup Singer (principal) Laurie Cronan Productions MTV Promo - The Devil Wears Prada Self (featured) OnSet Prods. GIRLS Lucy #2 (featured) HBO "Off the Wire" Late Night Comedy Actor UMTV - University of Miami Show FILM Rough Night Miami Pool Partygoer Lucia Aniello Coco Swimmer (special) RZA North by Northwest (dir. exerc.) Eve Kendall Minjae Jang, Columbia U. Last Tango in Paris (dir. exerc.) Jeanne Mengwei Ma, Columbia U. Oppenheimer Strategies Young Jewish Woman (featured) Joseph Cedar, Fábrica de Cine The Unbearable Lightness of Being Tereza Mengwei Ma, Columbia U. (directing exercise) Claws, Paws, & A Blue Macaw (live Lanie/Jelly (principal) Walid Chaya, Creative World screening) The Scariest Story Ever Told Scared Woman (lead) Gene Pina, New York University Bob and Janet Janet (lead) Felix Alexander Dausend Angels of America Scene Adaptation Ethel Rosenberg (lead) David Marcus Hello Lead's love interest (principal) Nicholas Nyarach Music Buddies music education videos Music student (principal) Bud Filipo THEATER Bye Bye Birdie Kim MacAfee (lead) Community Center Joseph and the Amazing Technicolor Chorus Community Center Dreamcoat The Boyfriend Dulcie (supporting) Bak School of the Arts NEW MEDIA A Day in the Life of a Student Using Student (lead) McGraw-Hill Education AccessScience Linking to Content Voiceover McGraw-Hill Education Website Testimonial Dental patient Presidential Dental Center Justin Jesso music video Wedding guest/friend Justin Jesso “Off to School” & “Splash in the Lead vocals The Weiners Water” albums “The Streets are for the Children” Feat.
    [Show full text]
  • Engelse Taal En Cultuur
    Janssen/4360990 AAVE as a class-marker in American film _________________________________________________________________________________________________________ BA Thesis By Mees Janssen s4360990 Supervisor: Jarret Geenen Second Reader: Mathilde Roza Department of English Language and Culture Janssen/4360990 ENGELSE TAAL EN CULTUUR Teacher who will receive this document: J. Geenen Title of document: AAVE as a class-marker in American film Name of course: Bachelor Thesis American Studies resit Date of submission: 08-08-2018 The work submitted here is the sole responsibility of the undersigned, who has neither committed plagiarism nor colluded in its production. Signed Name of student: Mees Janssen Student number: s4360990 2 Janssen/4360990 Table of Contents 1. Introduction ............................................................................................................ 1 2. Literature review ........................................................................................................ 3 2.1. Dialects within the United States ........................................................................ 3 2.2. Dialectically based social stratification .............................................................. 5 2.3. Social stratification and AAVE .......................................................................... 6 2.4. African American representation in American film ........................................... 9 2.5. Stereotyped representation through accent .....................................................
    [Show full text]
  • Karen Obilom Resume
    Karen Obilom SAG-AFTRA Hair: Brown Eyes: Brown Height: 5’6” Weight: 140 lbs. TELEVISION NCIS: LA Co-Star John P Kousakis Comedy Bang! Bang! Co-Star Stoney Sharp FILM Congo Cabaret Supporting Deondry & Quincy Gossfield Cultural Clash Lead Omodada Productions Hey Stacy Lead Outfest Festival: Outset Nutcracker Supporting Michael Aronson Bachelorette Party Supporting Rodrick Veal Princess Lead Bianca Emery 5AM Supporting Daryl Perle Unlikely Reunion Lead Ryan Gill NEW MEDIA Mr. Student Body President Recurring Verizon go90 A Movie For Women By Men Co Star Funny or Die American Quagmire Lead John Paul Black Boots Supporting Geno Brookes Spotlight Supporting Miller Walton Me You And Everyone We Know Lead Eloise Santa Maria THEATRE Reservoir Bitches Brown The Crucible Tituba Johanna Whitmore/Charles Hobby Midsummer Nights Dream Hippolyta/ Tituba Johanna Whitmore/Charles Hobby Our Town Mrs. Gibbs Whitmore & Hobby TRAINING AMDA Conservatory Anthony Meindl On-going Jordan Shappel Improv Workshops Katy Mushlin/ Tom Green Improv 1 Tom Christenson Improv 2 Katey Mushlin Dialects Deborah Ross-Sullivan Voice Projection 1 Giovanni Ortega Voice Projection 2 Deborah Ross-Sullivan Stage Combat: Mass Battles, Rapier & Dagger, Unarmed Dance & Movement Wendy Rosoff Movement Miming Michael Lee Cold Reading Trent Moore SKILLS Archery, Basketball, Bowling, Canoeing, Combat - Stage, Fishing, Football, Frisbee, Hula Hoop, Jump Rope, Roller Skating, Rollerblading, Running - General, Running - Long Distance, Running - Sprint, Segway, Soccer, Swimming - ability - general,
    [Show full text]
  • David Pevsner
    Amelia Cormack SAG-AFTRA Theatre Kinky Boots Trish US First National Tour Priscilla, Queen of the Desert Diva 1 World Premier- Australia Priscilla, Queen of the Desert Diva 1 UK’S West End-Palace Theater Radio Times Cherry Grosvenor The Watermill Murder Mistaken Freda Jefferies Bruce James Productions The Convict’s Opera (UK/SYDNEY) Lucy Lockit/Amelia STC/Out ofJoint Side by Side Sondheim Woman 1 Promothis PTY LTD A Little Touch of Chaos (Workshop) Anne/Elaine New Musicals Australia Fame Cover Mabel/Miss Bell GFO Entertainment In a Pink Tutu Christina Sydney Fringe Festival Love Bites Woman 1 Seymour Centre The Hat Pin (workshop) Clara Neil Gooding United States of Nothing Ashley Stablemates Concerts/Cabaret Love for Sale One Woman Show Bar Me, Statement Lounge Kinky Kabaret Featured Soloist Freedom Trevor Ashley’s Showqueen Headline Act & Guest Artist The Supper Club Shopping Centre Santa Mrs. Claus Kabarett Voltaire Summer Arts Soiree Featured Soloist America/Australian Assoc. An Evening With John Bucchino Featured Soloist Life’s a Circus Featured Soloist Work of Anthony Costanzo The Craig Christie Songbook Featured Soloist Saint James Theater, UK Television/Film All Saints Alicia Clark Seven Gone Gail Working Title Films The Silence Tobacconist Jan Chapman Films Training Bachelor of Arts (Performance Studies), University of Sydney,1998-2001 Bachelor of Arts (Music Theatre), WAAPA, 2002-2004 Skills Drivers License, Violin, Piano and Guitar, Cycling, Equestrian, Skiing, Swimming, Dance Ballet, Dance Jazz, Dance Tap, Teleprompter, Voiceover, Australian Accent, BBC English Accent, Cockney Accent, Yorkshire Accent, Eastern European Accent, French Accent, Irish Accent, Jewish/Yiddish Accent, New York Accent, Scottish Accent, Southern Accent, Welsh Accent, Fluent French.
    [Show full text]
  • Why Are Certain Accents Judged the Way They Are? Decoding Qualitative Patterns of Accent Bias
    Advances in Language and Literary Studies ISSN: 2203-4714 www.alls.aiac.org.au Why are Certain Accents Judged the Way they are? Decoding Qualitative Patterns of Accent Bias Amee P. Shah* School of Health Sciences, Stockton University, United States Corresponding Author: Amee P. Shah, E-mail: [email protected] ARTICLE INFO ABSTRACT Article history While it is well-established that listeners judge accents different from their own, and that this Received: February 13, 2019 listener bias has pervasive consequences to the speakers, we have only offered a cursory attention Accepted: May 11, 2019 to understand the nature of this accent bias. This paper explores listeners’ judgments, ratings, Published: June 30, 2019 and qualitative comments associated with psychosocial, personality and behavioral attributes Volume: 10 Issue: 3 of seven accents. Fifty-five respondents evaluated six different attributes of seven regional Advance access: May 2019 and foreign accents on a Likert scale. Means, Standard Deviations, and statistical significance of the difference in the respondent ratings from the Midwestern standard were computed, as well as qualitative analyses of the judgments were conducted. Results showed that perceptual Conflicts of interest: None biases for many attributes of the regional and foreign accents were significant at the 95% level. Funding: None Results also showed that the accent recognition was consistent across a group of people from the same region, and the identification of the region of the accent was largely accurate. Qualitative analyses revealed that the underlying bases of listener judgments are typically borne out of the Key words: influence of media, TV, and movies.
    [Show full text]
  • Haydn Winston Resume
    Haydn William Winston Height: 5'11” Weight: 180 Hair: Strawberry Blonde Eyes: Hazel Film: Bill the Galactic Hero Supporting Directed by Alex Cox Monk3y Lead Directed by Richard Corso Finlay Rogers & the T.M.C. Lead Directed by Jeff Nixon Only Thread to Sanity Supporting Directed by Vince Mazzara Align Supporting Directed by Van Wampler Commercials: Available upon request Theatre: You Can't Take It With You Mr. Kirby University of Colorado-Boulder The Pillowman Michal University of Colorado-Boulder The Bohemian Seacoast W. Shakespeare University of Colorado-Boulder The Ingenious Chambermaid Brighella University of Colorado-Boulder Hamlet Hamlet University of Colorado-Boulder Gross Indecency Alfred Wood Boulder Ensemble Theater Company Leading Ladies Butch Backstage Theater-Breckenridge The 10th Valentine Backstage Theater-Breckenridge Messenger #1 Prince Orestes Catamounts Theater-Boulder The Glass Menagerie Tom Wingfield Arvada Center-Denver Twelfth Night Andrew Aguecheek Louisa Center-Colorado Springs As You Like It Orlando de Bois Louisa Center-Colorado Springs The Cherry Orchard Peter Trofimov Traditions-Los Angeles Training: *University of Colorado-Boulder BFA 2012 *Chris Thatcher Acting Studio *LAFA Rob Hamilton *Upright Citizens Brigade *Front Range Acting Studio *Aaron Speiser Scene Study I Special Skills: Sailing, Aerobics, Baseball, Boxing, Combat - Stage, Cycling, Fishing, Equestrian, Running - Long Distance, Running - Sprint, Shooting - Revolver/Automatic, Shooting - Rifle, Soccer, Swimming, Track & Field, Weight Lifting, Wrestling,
    [Show full text]
  • Downloadable Resume
    Jason Leyva Hair: Black THE CLUTTS AGENCY Eyes: Brown 1807 Ross Avenue, #167 Height: 5’ 6” Dallas, TX 75201 Weight: 155 lbs 214.761.1400 fax 214.761.1402 Management by: Joseph Chavez, Adult Broadcast De Long Talent Services [email protected] 405.474.3193 / [email protected] 214.761.1400 Film Texas Tango Lead Moondancer Entertainment Dirty Red Supporting Poor Child Films Murder By Mistake Lead Moondancer Entertainment The Ecstasy of Gold Lead A.V.A. Farm Twister Featured Warner Bros. The Lost Mine Lead Silvertree Productions Sprit of the Lost Messengers Featured Performer Independent Productions, Inc Rain Man Featured MGM/UA Commercial / Industrial Your Personal Flight Principal Multimedia Division, FAA Cable Theft Principal Cox Communications Directions in Furniture Principal Sloan Communications Engine Express Principal Sizzlin' Brains Creative Theatre True West Austin (Lead) Maryland Ensemble Theatre Orphans Treat (Lead) Jewel Box Theatre Burn This Pale (Lead) I.A.O. Gallery Who’s Afraid of Virginia Woolf George (Lead) Double JJ Ranch Hamlet Hamlet (Title Role) Univ. of Central Okla. Anansi the Spider Nayame (Lead) OKC Children’s Theatre Training Film Ryan Glorioso Film Audition Technique and Cold Reading Actors Casting & Talent Services, Private Coaching Commercial ACTS Commercial Workshop Series Stage University of Central OK, Theater School Special Skills A/V recording/editing, lifeguard instructor, pyrotechnics, rodeo-barrel clown, special effects, stage combat training, stunt choreography, theatrical make-up, Archery, Badminton,
    [Show full text]
  • MFA Voice & Speech Training 4 “Accent & Dialect Training for Actors”
    MFA Voice & Speech Training 4 “Accent & Dialect Training for Actors” TPP 6718 Section 134D University of Florida Spring 2018 Time: 3rd Period (9:35-10:25) Days: M/W/F Room: CON G011 Instructor: Susan Schuld Office: T211 Office Hours: By appointment Email: [email protected] The recommended method of communication outside of scheduled class time is email Course Description: Our main focus in class will be how to research and practice an accent or dialect - not mastery. “Accent & Dialect Training for Actors” focuses the tools needed to successfully act in an accent or dialect. Methodology will include studying the main vowel and consonant positions and accurate speech and intonation patterns of a key target accent. Students learn how to write an accent breakdown sheet and learn how to research audio-visual aids. The first half of our coursework begins with a close study of vocal anatomy and physiology. It continues to a very full study of phonetics based on a much more linguistic model than is usually taught in speech courses; the emphasis is on the physical awareness and experience of sound distinction and the ability to discern subtle changes in vocal articulated sound using sounds that are found in many languages other than English. Through this process, we learn the International Phonetic Alphabet (IPA) and develop phonetic transcription skills for future dialect study and script notation. During this semester students will study: A “So Called” General American Accent, A Standard RP Accent, An Estuary and/or A Cockney Accent, A Jamaican Accent, A Nigerian Accent, and A Standard French Accent (If time we will also look at A Standard New York Accent, A Brooklynese, A Bronx, and A New Jersey Accent.) Students will then present group and solo accent and dialect research.
    [Show full text]
  • Semitic Stereotypes: How Being a Jewish Stereotype, Speaking Jewish English and Being a Negative Character Are Correlated on South Park and Family Guy
    Article Semitic Stereotypes: How Being a Jewish Stereotype, Speaking Jewish English and Being a Negative Character Are Correlated on South Park and Family Guy Matias R. Porsgaard Introduction In audio-visual media like cartoons there are two factors creators can manipulate to create an impression: sound and picture. Both provide information about how the creators envision certain characters and social groups. In comedy it is often easier to resort to stereotypes than creating detailed personalities when inventing new characters, especially if the characters’ primary function is to make an audience laugh. This article will examine how the American comedy cartoons South Park and Family Guy construct and present Jewish characters. I will argue that the ‘negative’ Jewish characters of the shows (Mort Goldman from Family Guy and Kyle Schwartz and Sheila Broflovski from South Park) are portrayed as Jewish stereotypes while the ‘neutral’/‘positive’ Jewish characters (Gerald and Kyle Broflovski from South Park and Max Weinstein from Family Guy) are not. The three stereotypical characters also speak a distinct ‘Jewish English’, which includes using certain phonetic variations typically associated with New York English as well as Yiddish loanwords, and the other characters do not. Based on the analysis presented in this article, I argue that on South Park and Family Guy there is a correlation between being stereotypically Jewish, speaking a non-standard ‘Jewish English’ and being a negative character, and this can have serious consequences for real American Jews. The visual and behavioural Jewish stereotypes in South Park and Family Guy One very powerful method of expression in cartoons is the way that the characters are drawn: what type of clothes they wear, what colours they prefer and how their bodies look.
    [Show full text]