Take a look at international articles on Dee Cannon from Guardian UK to Financial Times to Philippines…
“What makes an actor truly great? The actor’s job is to bring a scripted character to life. RADA’s Dee Cannon outlines 10 questions that must be addressed in order to create a fully-realised three-dimensional person” READ MORE
Dee Cannon features prominently in one of the most important research papers on the teaching of Stanislavski and his influences in the UK. Section Eight: Teaching Stanislavski at the Royal Academy of Dramatic Art (Case Study) READ MORE
Advice on how to survive a Parliamentary grilling… Dee Cannon, a leading acting coach who has worked with Jon Voigt and Courtney Love, said: “Vulnerability is the key. They have to come across as open and soft, to show humility, shock at what has gone on and an acceptance of blame.” READ MORE
After 17 years spent teaching at RADA, Dee Cannon decided it was time to move on. Jonathan Watson finds out why. READ MORE
Gradually, this forensic attention brings most students to tears. Is it odd, for Cannon, to see everybody crying at her feet? “A little.” But also gratifying? “Oh, absolutely.” Afterwards, she asks students to identify the precise detail that elicited the tears. READ MORE
ACTING coach to the stars Dee Cannon is coming to Ireland to give an acting masterclass in Trim, Co Meath. Dee is one of the world’s most sought-after acting coaches and spent 17 years as senior teacher at the Royal Academy of Dramatic Arts (RADA) in London. She has a wealth of experience. READ MORE
The homework is to figure it all out on paper and work out how you want to psychologically affect other characters. But when you’re in front of a camera, you don’t think of psychology. You need to become the character. Initially you need your head, but when you’re acting, you don’t need it. READ MORE
Dee Cannon’s American students are more used to being expressive in real life, and their bubbling emotionalism can get in the way of good performances. “Americans know you have to expose certain parts of yourself–vulnerability, humility,” she explains. READ MORE
Gone are the days when you could choose your medium – for example – you just want to be a theatre actor and have a snobbish attitude towards say the Soaps. READ MORE
Monique brought … Dee Cannon …. Having her proved to be a great learning experience for the Filipino performers. “We learned so much about the importance of improvisation,” she says. “And since she helps me with the direction, I can now focus more on my acting. My role as Rose is very taxing as I make more than 20 quick costume changes during the show.” READ MORE
Everybody, from Monique down to the stage hands, needs more stamina in walking, running, pacing back and forth across the stage and going up and down stairs, enlarging their movements for a bigger audience, etc.
This is why Monique, seasoned actress that she is, got respected acting coach Dee Cannon as co-director.
For the Singapore production, Wilson called on an old friend from England to help out. The acting coach Dee Cannon will assist her in directing the play. As Wilson explained, actors can be never be too seasoned to continue learning the craft. Dee, she explained, is very helpful because she could point out the things that could be improved.
“It’s harder to direct a play in a larger theater so I asked Dee’s help,” confessed Wilson. “I also invited her to critique our show last year since as a director and actress in the play, I have been blinded by the show’s magnificence that I cannot anymore see the flaws.”
“To fully prepare for the role of Rose, I also had to be individually coached by premiere acting coach, Dee Cannon from the prestigious Royal Academy of Dramatic Arts in London,” she adds.