Stage Dialects

Scranton, Pennsylvania: Chandler Publishing Company, 1967. Assumed First Edtion . Hard Back. Good/No Dust Jacket. 8 1/2" X 11. Roter, Josephh M. - Design. 156 Pages Indexed. Multi-colored hardback boards that have normal edge and corner wear for a book with moderate use. Tight square book with clean unmarked white interior pages. No marks or stamps. The need among American actors for a source of study of the most-used stage dialects has been obvious for some time. In today's theatre-community, educational, professional-and on today's film the variety of material being performed is extremely diversified, dealing with many voices from many lands. In most cases these voices would sound better if they spoke in the accents and idiom of the source material. A proper dialect properly delivered adds attractive and informative qualities to every kind of interpretive work. It used to be that an American actor, if he traveled to any extent, could hear at first hand numerous native and foreign dialects. Unfortunately, such sources are drying up throughout the American scene. Variations of speech patterns, once heard in abundance in the cross- currents of daily life, have disappeared under the impact of modern education and the influence of our communications media, a condition as noticeable in rural as urban areas. For example, the author recently completed a 2,OOO-mile trek along the ridge of the Rockies from northern New Mexico to Jasper Township in Canada in search of a full-bodied western-rural-mountain dialect, such as he had known as a boy growing up on a ranch in western Colorado. As far as the desired dialect was concerned, the journey produced meager results. By actual count, more tourist than native voices were taped.' Even former grammar and highschool classmates had changed speech both in manner and in forms. As a result of these nation-wide alterations, today's performer is left with only an uncertain reliance on vague traditions of pronunciation and phraseology. This book seeks to aid him in remedying this situation. To their credit be it said that most actors not only welcome the opportunity to obtain a dialect role but even show an eagerness for dialect study well in advance of any future chances. In a great many cases, role or no