Performers of all kinds use the Alexander technique
Over the past 20 years I have had the pleasure to teach many different types of peformers. For a number of years I taught at the Market theatre laboratory, which was the acting school in the centre of Johannesburg. Alexander started out being an actor. The technique has impact on voice production. This could also pertain to singers. Alexander said that the primary control, or the connection between the head and neck and back was all important. When this went out of alignment, then the rest of the body would change shape. In my experience, the musicians I have worked with, all of whom held their instruments, i.e. flute, violin, viola etc. all lacked upper body strength. They then compensated for the lack of this strength by using their neck and shoulders to hold up their instruments. From my point of view it is as important to build the body strength as it is to align it. I think these two factors go together and have a lasting effect on the musician.
My one student was a flautist and she had so much pain in her back, arms and neck when playing she had all but given up by the time I met her. We began with Alexander lessons, and I also gave her a very gentle strength programme for her upper body. After three months she was able to return to the flute. We worked for a few years together, and by the time we parted ways, she was playing full time for an orchestra and was totally out of pain.
I have a personal passion for the performing arts, not that I am a performer in any way, but I just do appreciate what they can do. I adore dance, especiallly ballroom and Latin American. I used to give my dance teacher Alexander lessons, so that he could impart the knowledge back to me. I have worked with concert pianists and the greatest joy is to attend their concerts and watch what they have learnt, in action.
My one student was a flautist and she had so much pain in her back, arms and neck when playing she had all but given up by the time I met her. We began with Alexander lessons, and I also gave her a very gentle strength programme for her upper body. After three months she was able to return to the flute. We worked for a few years together, and by the time we parted ways, she was playing full time for an orchestra and was totally out of pain.
I have a personal passion for the performing arts, not that I am a performer in any way, but I just do appreciate what they can do. I adore dance, especiallly ballroom and Latin American. I used to give my dance teacher Alexander lessons, so that he could impart the knowledge back to me. I have worked with concert pianists and the greatest joy is to attend their concerts and watch what they have learnt, in action.
All types of movement can be enhanced by using your body to it's best capacity. We think we are doing the best for ourselves, however, we are often unaware of how movement affects us, and we usually cannot feel precisely what is happening in our body. We are sure that we can feel what we are doing, but after one Alexander lesson, I assure you that you will come to realise how little we really are aware of ourselves. Patrick Macdonald said in his book, "The Alexander Technique As I see it", "If your right is wrong, then it follows that any attempt on your part to be right will produce the wrong result. " I had to read this a couple of times to understand it, but it explains how we try to be right without really knowing what 'right' is. My suggestion is have a few lessons, and this will all become clear.
