2. Community Theatre: The Turtle and the Empty Stage

Accents, Performing in a Second Language and  Disabilities

Acting is fun. Performing is exciting. Putting on a different reality feels more complete when we take on the mores of someone totally different to ourselves. Assuming an accent or physical infirmity is fun and challenging. If we don’t give it a go in a community space where else are we meant to try it on?

In the case of accents: does the play actually call for them as a necessity? The best written of plays have something to say across cultural boundaries and borders, down through years, decades, centuries and millennia. It stands to reason then that just because a play was written in America, Britain, South Africa or Rome its place of origin shouldn’t have to be experienced by wearing its accent. Unless of course, humour based on accents and misinterpretation or creating a sense of otherness is called by the text.

The problem with adopting a foreign accent or a limp etc., over the course of a play is maintaining it. As soon as it slips the audience will be removed from the reality of the story and will be expecting another slip. The focus will move from the intent of the playwright, director and troupe to the ability and integrity of the production as a whole.

I’m not saying don’t do it. I’m advocating for puttingmeasures in place where you are less likely to fail. Your character has a limp,consider strapping a shunt to your leg – has a shrivelled arm – strap it, is ahunch back – secure an encumbrance of some sort to your shoulders – personalsafety first of all. Your character is an eastern European spy, or you areperforming in a language not your own – learn and rehearse your lines incharacter – don’t let yourself slip.

Previously in this series:

1. Community Theatre: The Turtle and the Empty Stage

Next up in the series: 

3. Community Theatre: The Turtle and the Empty Stage – The Set or the Bare Stage