RESEARCH  REPORTS

61.

THE USE OF  LANGUAGE  AND  THE  GHANAIAN

ACTOR'S  TECHNIQUE

by  J.  Scott  Kennedy*

f*  a

The object  of  this  project  is to determine  the  relationship  between  the

use of  language  and  the  development  of  the  Ghanaian  actor's  technique.

The subjects  of  the  investigation  include  the major  acting groups  of
the  country,  beginning  with  the Accra  area.  The  instruments  used  include
intensive  interviewing  via  interview-response  sheet,  autobiographical; case
histories and  language-survey  check-sheets,  taped  interviews,  graded
technique  exercises,  questionnaires,  and participant  observation.

This  initial  investigation  limits  itself  in  scope  toon  intensive  study

of  the  major  acting  groups  in Accra  including  the  following:

(1)  University  of  Ghana  School  of  Drama  students
(2)  Ghana  Drama  Studio  Players
(3)  Graduate  Experimental  Workshop Seminar of  the  Ghana

Drama  Studio

(4)  Builder's  Brigade  Drama  Group
(5)  Damas Choir  of  the  Arts and Culture  Centre

('Lost  Fishermen's  Company)

(6)  Ghana  Drama  Club,  students of  the  Arts and Culture  Centre

The subjects  include  male  and female,  adults and children,  and make a  total
of  one hundred and ten.

The approach and check  includes a specific  design and analysis based

on the  'Tune-In' and  'Unlocking'  Process.  Special  check-sheets,  study-sheets,
and syllabi  have  been  designed  in  the areas of  oral  interpretation,  drama analysis,
and acting  technique.  Graded tests and exercises are  being  used in  voice
production,  and graded  tests and exercises  are  also being  used  in diction  •

»„*

*  Dr.  Scott  Kennedy  is a  Senior  Research  Fellow  in  Music  and Drama.

RESEARCH  REPORTS

62.

Under  focus  in  this  study  is  the  verbal  behaviour  of  the  subject,  as  well

as  his  theatrical  life.  The analysis  uses as a  point  of  departure  the  discipline
of  the  Professional  Director  and  Critic  for  the  acting  technique,  and  the  disci-
plines  of  the  Specialist  in  Communication  (Phonetician)  and  the  Voice  and
Speech  Pathologist  in  the  language  area.

A  basic  rationale  is  included  in  the  design and  study. 

It  is stated as
The  actor's  ability  to  communicate  determines  his  effectiveness  on

follows: 
the  stage.  The  actor's  ability  to  use  language  determines  his ability  to
communicate.  The  actor's  technique  is,  to a  large  degree,  determined  by  his
use  of  language  and  communication.  The  actor's  essential  task  is to  create  and
communicate  life  (vocal,  physical,  emotional  life)  from  the  stage,  and most
important  is the  sustaining  of  that  life  .

Technique  is the  actor's  tool  for  the  creation,  recreation  and  sustaining
of  a  role.  Often  the  amateur  actor  can  create  beautiful  life  on  the  stage,  but  it
is spotty  and  erratic,  and,  rarely  if  ever  sustained.  Technique  enables  the  actor
to  sustain  a  role.

It  follows  then,  that  the  theatrical  process  must  find a  method  that  enables

the  actor  to  do  this  —  create  life  and  sustain  life.  Moreover,  this  theatrical
process  must  create  conditions  that  make  it  possible  for  the  actor  to  produce  'good
tone'  (voice  and  speech  production)  and  'believable  life*.  Consequently,  the
participant  observation  phase  of  the  'tune-in'  and  'unlocking'  process  stresses  the
following:

(1)  Study  the  subject  and  find  out  how  he  uses  his  language.
(2)  Study  the  subject  and  find  out  what  technique,  if  any,  exists.
(3)  Design  tests and  exercises  that  reveal  his verbal  behaviour.
(4)  Design  tests and  exercises  that  develop  his acting  technique.
(5)  Utilize  tapes,  acting  scenes,  improvisational  scenes/ and

interpretation  tasks.

(6)  Design  a  method  that  aids  the  actor  in developing  proper  physical
habit  patterns  and  attitudes  in  respect  to  verbal  behaviour  and
acting  technique,  and  finally

(7)  See  and  analyze  the  end-product  in  theatrical  productions.