British technique? The British emphasis is on text, words, and line delivery so that your role is both real and fascinating. Before an
audition for a film, I told the director I thought the character could go two opposite ways  and then asked him which way he
preferred. His answer? "Surprise me." "Surprise me" often makes the difference in being a good contender and being the one cast.
To sounding real, British training adds the notion of a "surprise me" reading (text)  and then teaches the tools (technique) that make
"surprise me" possible. (Continued below "Qualifications.")

MY QUALIFICATIONS for COACHING
1. AEA, AFTRA, SAG 21 years. Experience: stage, film, TV, commercials, print, voice-over, animation, radio. For RESUME and 79
REVIEWS (including 4 in The New York Times)  see http://www.LSW-NYC.com/12ruth.html (keep scrolling)
2. Six years coaching experience. See "You've Got Fan Mail"  below.
3. Theatre / Film training in England and USA (British coaches). Stage, TV, & film work  from Utah to Amsterdam, from Maine to
Florida. 
4. Ph.D. English Lit. (Good background for teaching text work!) 20 years teaching literature in college. Followed the delayed
dream of acting only after I retired from teaching. My resume reflects work done during the 21 years after retirement.
5. Ten years as assistant to Personal Manager. Know the "business of the business" completely.
6. Published 40 popular weekly articles for an actor’s e-zine with 45,000 circulation.  These have been copied/blogged all over the
Internet. 
7. MY PERSONAL PHILOSOPHY ABOUT AUDITIONING? I walk in saying to myself  while smiling nicely: "I am as good as the best and
better than most." And then  I make sure  that the statement is true! How? Preparation and Presentation. These I emphasize in my
coaching: PREPARATION  is text, technique, imagination, practice. PRESENTATION is confidence that comes from knowing what
you are doing, why you are doing it, and having the guts to do it!
   
                                                    BRITISH TECHNIQUE
                                                           In miniature and over-simplified
Specifically, what is the focus of British technique?
BRIEFLY: British acting greatly emphasizes words (meaning and sound and feelings created from and by the word) and delivery of a
line so that it is utterly believable AND interesting. It is text, text, text. Not me, me, me. The British trained actors aim for fascination
not merely through their own unique personality but also from their language delivery (how they say a line). The British trained actors
whom you admire all sound "real" but not one of them is dull. You learn how to sound as if you are feeling something even if you,
the actor, do not feel it. This requires strong dependence on the imagination. British coaching emphasizes variety and vitality
even in the quietest of scenes. It is the actor’s job to deliver that word/phrase/ sentence so that the audience experiences the
feelings inherent in the language. The actor doesn’t cry. The audience must. Or laugh or be horrified. To the Brits, acting classes
are not a substitute for psychoanalysis. There is, instead, an emphasis on learning to read a text and learning how to deliver that
text believably while staying within the setting of the play/film. I, as a coach, may say to an actor, "Find a different sound for the
end of that sentence or for the rhythm of that sentence. It does not sound real." Or, "That sounds actory. Take the ending up, not
down." There is a great emphasis on stillness rather than the arm / hand waving and head wagging which run rampant in
American acting classes. What the actor "feels" is always important, but it is secondary to what the text calls for. First the words
(meaning and emotion), then the sound of the words so they express the meaning and emotion, and then the actor's feelings,
either from personal experience or from imagination. Then finally comes that magic when words and actor become one. They
are YOUR words, not words memorized. Yours. Hamlet’s advice to the Players is true today:  "Hold the mirror up to NATURE."
Acting is an imitation of nature. That is, it must ring real whether it is  Lear, Tennessee Williams, NCIS, or Harry Potter. And to ring
real, it must SOUND real. Hence the emphasis on line delivery. If you can imitate the pattern of hands clapping a rhythm, if you
can hear when a singing note goes up or down or remains the same, if you know which words in a sentence carry the emotional
content,  then British training might be the thing that makes an adequate actor good and a good actor great. All acting -- American
or British -- aims for "real." British technique adds "fascinating" to "real."
    The greatest security in acting is "I know what I am doing." That is what British technique gives you.
   British technique may not be for everyone but it works for everyone, if you allow it to.

"Talent" Requirements? A good Ear, Energy, Intelligence, Imagination, Intuition.
"Personal" Attributes? The drive to succeed. The skin of an alligator and the soul of an angel. A love for acting,
a passion for acting that hurtles you past any inhibitions, past any self-doubts,  past any fear. A focus on the goal and the
willingness to work hourly to achieve that goal. And LOTS of Kleenex for the inevitable tears and rejection.  

Recognition from student Souleymane Sy Savane (lead role in 'Goodbye Solo,' directed by Ramin Bahrani. The film won the International Critics' Award at the Venice Film Festival. Roger Ebert called Souleymane's performance "a force of nature" and in the same year Souleymane was nominated for Best Breakthrough Performance by the Gotham Awards as well as an Independent Spirit Award for Best Male Lead.)
From an interview: In 2005 I started training in New York with this lady called Dr. Ruth Kulerman. I trained with her for about two years, and right after that I got "Goodbye Solo."
From his IMDB bio: He studied British technique under Dr. Ruth Kulerman in New York.

 YOU'VE Got FAN MAIL: Some Unsolicited Notes from Students
Also see www.ActingCoachNYCBritishTechnique.com
 
2011-2012
 Before I say how it went, can I just say how much you have changed my acting. I can't believe how
     different I sound and feel.
 I learned at least two things for this audition. I really want to be an actress and I can do this. Thank you
     so much for all your time, wisdom and encouragement. I'm looking forward to seeing you Thursday.
 Your lessons were amazing. I consider myself so lucky having an amazing teacher and inspiring person like you.
 I finally settled in southern California and am living with my girlfriend.  When someone mentions NYC and asks me if
    I miss it I tell them yes and no; the thing I miss the most is our weekly session.
 I am enjoying the lessons tremendously! Thank you.
 I just want to thank you for giving me the privilege and the opportunity to be your student.
 I have no words to describe how glad I am to finally found a  wonderful teacher and amazing  person as you are.
     I will do my best to  improve my English and my acting.  I look forward to learn more and more from you. Thank you
     also for gave me the Monologue. (acting and accent student)
It was really good to work with you this month and I'm glad we had that time. I will let you know if I'm coming back
    [to NY[ any time soon. Stay well and energized as you always are.                                                   
I really do enjoy your classes and your good energy!!
I just want to thank you for giving me the opportunity of being your student. 
When you speak and teach the technique of acting I hear the passion and energy in your voice.  As if  you are
    radiating with electricity.
Thanks for the wonderful class today.
It is amazing how you've helped me understand what good acting is. I know I still have a ways to go, but at least I
   understand why something is bad or why it doesn't sound right. The sad thing is most teachers can tell you that it is
   bad but can't tell you why or help you improve. You truly are the best kept secret in NYC.