Spanish Dialect Contact in New York: Perception and Representation in Theatrical Stage Performance
Document Type
Paper Presentation
Presenter Language
English
Research Area
Spanish in the US, Contact linguistics, Sociolinguistics
Location
MBSC Dodge Room 302A
Start Date
19-10-2024 11:30 AM
End Date
19-10-2024 12:00 PM
Abstract
Following Zentella’s (1990) inquiries into contact between Spanish varieties in New York, research has examined the impact of interdialectal contact among different Hispanic groups in this city (e.g., Erker, 2012; Otheguy & Zentella, 2011). The present research extends the study of dialect contact in New York to the context of theatrical performance and audience perception. The project focused on performances of the Repertorio Español and Teatro Círculo, both with strong Caribbean and Peninsular foundations. The analysis included qualitative and quantitative data. In sociolinguistic interviews, twelve actors of different Hispanic dialect origins reflected upon their personal experiences with accent modification in stage productions of these two companies. They also completed a brief survey related to dialect preference according to the types of plays (classical vs. contemporary) and their roles (primary vs. secondary). A small audience sample of ten first-generation Cubans responded to a survey regarding their perceptions of the accents that they observed in the performances of the same twelve actors. In the second part of the survey, the audience participants also provided sociolinguistic background information. In the findings, audience members’ perceptions did not always align with what the actors themselves believed they were accomplishing linguistically on stage. Actors of Caribbean origin (especially Cubans and Puerto Ricans) stated in interviews that they worked to suppress their voices in non-Caribbean productions. However, the audience sample overwhelmingly perceived a Caribbean accent, which they attributed to a lack of proper theatrical diction. In non-Caribbean productions, Peninsular actors (e.g., from Spain) stated that they did not work to modify their accents, while actors of other dialect origins did. Nevertheless, audience participants indicated that they perceived the linguistic origins of the latter. Non-Caribbean and non-Peninsular performers (e.g., Venezuelans and Mexicans) affirmed that they at times perceived Caribbean voices as more prestigious or acceptable than their own within the context of some types of performances. These findings advance research by highlighting the importance of the performative and perceptual dimensions of Spanish dialect contact in public spaces in the United States, and in the theater industry more specifically.
Keywords: Spanish, dialect contact, perception, accents, Hispanic theater, New York
Spanish Dialect Contact in New York: Perception and Representation in Theatrical Stage Performance
MBSC Dodge Room 302A
Following Zentella’s (1990) inquiries into contact between Spanish varieties in New York, research has examined the impact of interdialectal contact among different Hispanic groups in this city (e.g., Erker, 2012; Otheguy & Zentella, 2011). The present research extends the study of dialect contact in New York to the context of theatrical performance and audience perception. The project focused on performances of the Repertorio Español and Teatro Círculo, both with strong Caribbean and Peninsular foundations. The analysis included qualitative and quantitative data. In sociolinguistic interviews, twelve actors of different Hispanic dialect origins reflected upon their personal experiences with accent modification in stage productions of these two companies. They also completed a brief survey related to dialect preference according to the types of plays (classical vs. contemporary) and their roles (primary vs. secondary). A small audience sample of ten first-generation Cubans responded to a survey regarding their perceptions of the accents that they observed in the performances of the same twelve actors. In the second part of the survey, the audience participants also provided sociolinguistic background information. In the findings, audience members’ perceptions did not always align with what the actors themselves believed they were accomplishing linguistically on stage. Actors of Caribbean origin (especially Cubans and Puerto Ricans) stated in interviews that they worked to suppress their voices in non-Caribbean productions. However, the audience sample overwhelmingly perceived a Caribbean accent, which they attributed to a lack of proper theatrical diction. In non-Caribbean productions, Peninsular actors (e.g., from Spain) stated that they did not work to modify their accents, while actors of other dialect origins did. Nevertheless, audience participants indicated that they perceived the linguistic origins of the latter. Non-Caribbean and non-Peninsular performers (e.g., Venezuelans and Mexicans) affirmed that they at times perceived Caribbean voices as more prestigious or acceptable than their own within the context of some types of performances. These findings advance research by highlighting the importance of the performative and perceptual dimensions of Spanish dialect contact in public spaces in the United States, and in the theater industry more specifically.
Keywords: Spanish, dialect contact, perception, accents, Hispanic theater, New York