Accents at Auditions – Use ’em or lose ’em?

November 8, 2009 at 12:01 am | Posted in acting, actors, auditions, employment, entertainment | Leave a comment
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This week: “Zee play is zee-How you say? -Is zee thing, yes?”

A reader  — long ago when Susan Boyle was “the it girl” —  inquired:

“Paul how important is it to use an accent at auditions?”

A vague, but important inquiry. So let’s get specific here on a solution. There are several audition scenarios for which I can foresee the utilization or avoidance of an accent.

Auditioning for a Specific Role:

You’ve been given sides. The breakdown for the role reads that the character is French. What do you do about an accent?

First there is a question you must ask of yourself and/or the person who has provided you the material:

“Is an accent required for the audition?”

Why ask this?

1. The auditors may want you to be more focused on the story telling in the scene than your ability at linguistic legitimacy. An accent may be secondary. Stage and screen projects with budgets for a dialect coach will have someone to properly discipline your dialect dexterity.

2. If every role in the project is of the same accented heritage the director may have opted to have all actors perform the piece without the regional dialect associated to the characters.

3. The accent, for the auditors, may be just as important as the story-telling. If so, make sure you ask the person presenting you the audition for dialect specificity. Lost on that? If you’re told to do an English accent what kind would you present? Cockney? RP? Central London? Welsh? Mid-lands? Know before you go what derivation of pronunciation you’re to show.

A General Audition:

There are times when you’ll have auditions in your career for which there is no project of employ; academic entry, talent reps, paid auditions, getting-to-know-you as an actor and similar. You may have chosen a piece (monologue or scene) that can be associated with a dialect. You’d be wise to focus on the story telling than to bring an accent into the audition. Why? Because you’re being viewed in a general audition for your ability to bring character and thru-lines to life. You’re not there to show how well you can mimic sounds. Leave that, for the moment, to parrots and talking heads on cable news.

If you choose — in a general audition — to forgo a dialect. Let the person(s) viewing you know that you have made a conscious decision to focus on story telling and not selling a sound.

Overall:

When requested to provide an accent at the audition make sure that you’re presenting one that is either learnt from a credible dialect coach or at least from one of the many available dialect CDs. The worst thing an actor can do is present a self-taught, foreign-to-them dialect acquired without training. The most bastardized of regional tongues are the Queen’s English and American Southern. I and my colleagues have heard one-too-many substandard “southern accents”. And what you may think is southern (inadvertently sounding like a drunken Texan) doesn’t pass for southwestern Virginia Appalachia or coastal South Carolina. A one-size fits-all southern accent does not work. This advisory holds true for all regional dialects of French, English, Spanish, what-ever origin of tongue.

Whenever you audition for a role in which an accent is associated always ask, “Is an accent required for the audition?”  If you don’t ask, they won’t tell.

Arm yourself with knowledge of accents (type & usage) before going in front of auditors. That’s the best way to apply accents at auditions.

My Best,
Paul

AMIYB_AmazonRead advice from legendary talent agents,
plus Hollywood & Broadway actors in Paul Russell’s Best-Selling Book ACTING: Make It Your Business!

Paul Russell’s career as a casting director, director, acting teacher and former actor has spanned nearly thirty years. He has worked on projects for major film studios, television networks, and Broadway. Paul has taught the business of acting and audition technique at NYU and has spoken at universities including Yale, Temple and the University of the Arts. He writes a column for Back Stage and is the author of ACTING: Make It Your Business – How to Avoid Mistakes and Achieve Success as a Working Actor. For more information, please visit www.PaulRussell.net.

 

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