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Click on any newspaper masthead below for a full copy of the article quoted alongside.

The article above inspired Dee's monthly Act Off column in Total Film magazine. 

Meryl Streep vs Jennifer Connelly Reese Witherspoon vs Marion Cotillard
Bebel vs Notes on a Scandal Albert Finney vs Vanessa Redgrave
Ivana Banquero vs Abigail Breslin James McAvoy vs Tom Hanks
Helen Mirren vs Kirsten Dunst Angelina Jollie vs Ralph Fiennes
Johnny Depp vs Billt Bob Thornton Angelina Jollie vs Ralph FiennesKatherine Heigl vs Ellen Page
John Travolta vs Cate Blanchett Sacha Baron Cohen vs Steve Buscemi
Tom Hanks vs Tom Cruise Patrick Wilson vs Natalie Portman
Tom Hanks vs Tom Cruise Matthew Rhys vs Tony Leung Patrick Wilson vs Natalie Portman
The Guardian "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"

Dee Cannon features prominently in one of the most important research papers on the teaching of Stanislavski and his influences in the UK.

Click the image on the right for a PDF of the relevant chapter.

"Dee has spoken about her approach to teaching and how important it has been to her that her students are able to both demonstrate a curiosity about learning and an ability to reveal their talent. Talent is something Dee defines as the ability to breathe life into a character and to transform, adding, that it can be very easy to recite but very hard to make acting truthful because both the language and the inner life needs to be reflected."

 Click for Stanislavski research extract
The Independent 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.”
Heaping praise on his new acting coach Dee Cannon, [Ramin Karimloo] senses he might be getting there: “Technique and training are vital, but then you have to have the wherewithal to put all that in the background and run itself so you can put your passion on it. The Independent
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."
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.
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. "Vulnerability is so important. Without it you have one-dimensional characters.
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.

The articles quoted below are from press coverage of the 2006 production of Aspects of Love in Manila and Singapore

Aspects of Love press conference
(Monique Wilson and Dee Cannon)
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."
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.

 

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