Dialect
Kirsten works with actors to develop dialects for stage and screen. She works with the actor in the method that best fits their approach to the work using either:
a rules based method incorporating a list of sound changes in either phonetics or an actor-specific spelling. This approach works well when an actor needs to develop an accent for an audition or is working towards building a repertory of accents.
OR
recordings of real people and the development of the sounds, structure and musicality of the accent based upon auditory and sensory learning. This approach works well when an actor is developing the accent for a role and needs to find an 'accent and voice donor.'
Kirsten began her training in dialects studying under Louis Colaianni, the creator of the Phonetic Pillow approach. His work engages the body while making phonetic sounds so that the actor learns that sounds are something that live within the body and their expression is a physical, emotional and intellectual act.
Read below about working with Kirsten to prepare an accent for an important audition, to prepare an accent for a role or to teach an entire cast a required dialect for a show.
PROPRIOCEPTION
or the difference that helps you succeed at making new sounds
Proprioception is the body's ability to feel where it is in space.
Our feet are highly proprioceptive. If you pick up your foot and place it solidly on the ground in any direction without looking where you are placing it, you are able to feel and explain exactly where your foot is.
Though not highly proprioceptive by nature, your tongue—which plays a key role in shaping your sound into logical words and thoughts—can be trained to become more proprioceptive.
Kirsten works with actors to develop the their ability to understand and feel the shaping of sounds. She will guide you to understand the feeling of the new sounds that you need for the accent you are learning.
By learning how to feel the shaping of sounds, you train your brain to hear and recreate sounds that you may never have noticed existed creating new neural pathways so you can repeat the sounds to form your desired accent.
AUDITION SESSION
or what happens in an hour when I need an accent for sides
If you need an accent for an audition, Kirsten will teach you the sound changes and work on the lilt (musicality, rhythm and resonance) with you in the first session. During this first session, she will also work with you on your first few pages of text.
If you are preparing a side for an audition, a one hour session will work to learn the sound changes and lilt and to mark up 3 pages of your sides.
You will be given the sounds to practice and files to listen to in order to get the feel for the accent. You should be set for the audition with that hour, and more time is available if needed.
WHAT THEY SAY
feedback on working with Kirsten for an audition
"I always adore every time I work with Kirsten. She is not only very educated on the material and mechanics required to manipulate our vocal sounds, she is also wonderfully encouraging and patient. When I received an important audition notice requiring an accent I had never worked with before, Kirsten welcomed me into our meeting with a plethora of notes and video recordings. I feel very confident that I have the materials and training necessary to tackle this accent and audition. Much love to Kirsten!"
Sarah Queralt, actor
PREPARING A ROLE
or what happens when I need to prepare an accent for a filmed role
Once you have booked the job, the fun begins. Kirsten will work with you to find a good accent donor. Kirsten will record the person or use archived recordings and provide you with the key sound changes that this person makes.
She will work with you to examine the minute tensions and the shaping of the breath, mouth, and tongue that create this person's unique accent and voice.
More time will be invested to review the entire script and to examine the nuances of this person and how it can shape your vocal performance. You will examine why the voice is the way it is and what key takeaways from this particular voice would lend to your own character development.
Kirsten is able to work with you in preproduction, during production upon the actor or producers' requests, and also during any ADR process that may be necessary.
COACHING THE CAST
or how Kirsten can coach the dialects for your stage play
Kirsten has extensive experience coaching for the stage and has worked with entire casts to acquire a uniform accent or to keep differing accents from competing with each other on stage.
Her work with casts creates a nuanced sound for the stage that is both accurate and understandable. While she is passionate about being accurate to the sounds of the place and time of the play, she also knows that the audience wants to follow the story.
She created and coached the accents for the West Coast Premiere of Harper Lee's To Kill a Mockingbird a new play by Aaron Sorkin. Her work for this was based upon archival recordings from the Library of Congress and local interviews from residents of Monroeville, Alabama.
She has successfully coached the eight accents for Murder on the Orient Express—Standard British, Brooklyn, Scottish, Russian, French, Belgian, Swedish, and Transatlantic 30's actor. She has coached dialects for countless plays including Kindertransport, The Curious Incident of the Dog in the Night-Time, Arthur Miller's Playing for Time, and Lend Me a Tenor to name a few.