Dialect Coaching

I draw upon the music of the language to introduce foreign accents or regional dialects, or to minimize your personal accent or dialect as the role requires. Unless you come to me asking to neutralize your speech patterns, I look at the challenges of dialect work as an addition to your own speech and not to subtract your own individual voice.

In adapting a new dialect or accent, you must hear the language and it’s inflections. Equal emphasis is given to adjusting the physical specifications for changing the vowel sounds and mouth positions. Because time for preparation is often limited, it is important to show that you have the facility for the dialect and that you can show the essence of the accent without worrying about the fine tuning. It is more important to demonstrate your ability as an actor to incorporate the nuances of the language than to sound like a native speaker. We will find that balance.

Deena worked with me as an individual, finding ways to help me with my particular issues, basically designing a method and process that worked for me.
— IM
It was, when I finally found my way to Deena Kaye, that the much dreaded question: “So, where are you from?” disappeared from my auditions as an actress. (Sigh. Answer: “From Germany.”) She has an annoyingly infallible ear when it comes to picking up the slightest deviation from the accent you’re working on and then deploys a variety of tools for you to get it right. I especially love that she puts language and speech into a musical context which makes it more playful and enjoyable. It helped me to intuitively grasp the speech melody of the American accent and apply it immediately to larger chunks of text than having to go through hours of mind-numbing drill sheets for specific sounds. Her energy, enthusiasm and generosity that she brings to every lesson make you look forward to something that under less skillful tutelage, would be a tedious endeavor. Go, check it out for yourself.
— TK