A Quote by Audra McDonald
The authentic Gullah dialect is actually very clipped, and so it would sound almost Jamaican and be very odd to an American audience's ears. It's not the typical Southern dialect that we're used to.
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The authentic Gullah dialect is actually very clipped, and so it would sound almost Jamaican and be very odd to an American audience's ears. It's not the typical Southern dialect that we're used to. It has a much more percussive rhythm to it.
Dialect was my biggest fear. So, I spent a long time working with dialect coaches just trying to get American down. I think it's very important and very easy to misinterpret.
I had a really fantastic dialect coach that I worked very well with, and I was constantly surprised by the different intonations that the Russian dialect has.
Dialogue that is written in dialect is very tiring to read. If you can do it brilliantly, fine. If other writers read your work and rave about your use of dialect, go for it. But be positive that you do it well, because otherwise it is a lot of work to read short stories or novels that are written in dialect. It makes our necks feel funny.
I had a dialect coach to get an American accent, and then another dialect coach to come off it a bit. There is something deep and mysterious in the voice when it isn't too high-pitched American.
When using dialect, use it lightly. A dialect word here and there is enough. All you want to do is suggest. Never let it call attention to itself.
If someone said, I want to translate your novel into Igbo, I would say, Go ahead. But when I write in the Igbo language, I write my own dialect. I write some poetry in that dialect.
I don't have a Jersey dialect. So when I approached the singing, I approached it the same way as an actor I approach a dialect, just as a singer.
It's hard to imagine in this day and age the accent in Dalton Trumbo speaking voice, the Mid Atlantic mixture of an English and American dialect, so flowery and oratorical that it almost sounds theatrical. It would be uncool today, no one would ever speak that way.
I find standard American the hardest. It really fits in a different place in your mouth. Southern, I find the easiest. If you talk to a dialect coach and you get sort of technical, where an English person keeps their voice in their throat, a Southern person does the same, and it's got the same sort of music to talking.
I was too kind of brave and proud to want a dialect coach because I thought that showed weakness in my armor. But then you just learn it's a more efficient way of doing it. A dialect coach is really important because it takes a certain technical responsibility off your shoulders.
I'm happy that I know how to speak 'Southern.' I spent a lot of time in Alabama throughout my life. I even lived there for part of junior high and high school, so I learned the true beauty and mastery of the Southern dialect. 'Y'all' is one of the greatest and most useful words ever invented.
If you are playing a Hispanic character who has to speak in dialect or in an accent, nail that dialect or accent. When I hear a character that's supposed to be Cuban speaking with a Mexican accent or vice versa, it grates on me and immediately pulls me out of the story.
What is jazz? It, It's almost like asking, What is French? Jazz is a musical language. It's a musical dialect that actually embodies the spirit of America.
I know how a Manipuri is different from a Mizo or someone from Shillong. It's culturally very different... the food is also very different, and so is the language and dialect.
The American has no language, he has a dialect, slang, provincialism, accent and so forth
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