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time to integrate the work at a deeper level. Others suggested that text analysis or detailed notes during the early rehearsal period may not be the most productive time for them. If in doubt, ask.

DIRECTORS AND COACHES
Many actors requested on-going com-munication among the director, actor, vocal coach and any other coaches involved with the production. (fight director, movement coach, etc.)

Actors need to know that the director and the vocal coach are in alignment on voice/dialect issues. This will allow the actor to focus his energy on his acting. Remember that the actor is often getting suggestions and notes from two or more people, and may be challenged to integrate all of these at once. Don't take it personally if the actor doesn't incorporate your notes immediately.

ON SENSITIVITY
Actors requested coaches to remember that "actors are sensitive human beings under a lot of pressure, doing the best they can." "Remember how many different elements the actor is trying to deal with while on stage." Treat actors as individuals. Always relate coaching to the production. Dialogue. Keep options open. Share your observations. Offer more than one approach to solving a voice/text issue.

When under pressure actors trust their habitual instincts, over an idea they haven't yet embodied. "Remember that our vocal habits are connected to our emotions and how we portray ourselves vocally and physically to others. Undoing this can bring up fear. Changing our voices means changing ourselves." One actor reminded us that from an actor's perspective, vocal habits are not necessarily a bad thing, and can sometimes get them work. This can influence how open they are to trust you as you suggest other possibilities. Disagreement between an actor and a coach is to be expected at times; use tact and sensitivity in moving toward a solution or compromise.

Actors want consideration that their creative contribution is an important part of the work. Ask the actor what he's working on and give suggestions and observations (voice, breath, text, that will

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further his development of the character. Actors requested that coaches "work with, rather than on" them, and to "invite rather than confront."

UNDERSTANDING ACTING
Actors said that they appreciate when a coach has an understanding of a role and the process of acting, but doesn't try to interpret the text for them. Ask questions. Discuss vocal possibilities, class and character. Try to understand the actor's choices and support him vocally. There's often an acting issue behind a voice issue - share what you're hearing as an observation.

Problem-solve with the actor and collaborate on possible solutions. One actor said she appreciates any hook into the character in terms of vocal placement, breathing, dialect, etc., that may help her integrate voice, body and acting. Focus on the acting process. Learn when your notes can free the actor to act, or when they may "bog" her down. Tune into how actors are working from day to day. The actor may be trying to integrate a note from the director.

Let actors know that they can approach the coach as a resource. Find ways to encourage the actor to get sensuously involved in language. Frame critiques and feedback positively. Stress that vocal work is an on-going process. Reinforce the actor when she's "doing something well." Some actors need a more organic approach, others want and need more detail.

PREVIEWS AND OPENINGS
Toward previews and opening begin to let go of the work. Support the performance as you continue to share your observations. Communication about work process is crucial at this stage. Become aware of the actor's state of mind - for some actors, a note can take on huge proportions at this time. Actors said they want to be aware of what's happening vocally without "having it take over your brain." Some actors said they have difficulty integrating a large number of notes during previews - "I can't act and think at the same time." Prioritize notes, giving the most important ones first.

Most actors appreciate knowing whether they are being heard. Details can have a greater weight a

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