|
Alexander Technique: its
application in education and acting
An evening
with Penny O’Connor: Friends Meeting House, London, 24th November
2010
By
Stella Weigel
Penny began the evening by
briefly introducing her Alexander Technique teaching of both
BA and MA student actors at ArtsEd, particularly the
challenges which working within such a qualification-driven
establishment presents, such as the marking system (it was
stated that most students obtain a good pass). She mentioned
that she had been observing students during performance that
afternoon, making brief notes about specific aspects of
their use which she would later be able to use in her
ongoing work with them.
Penny then asked us to jog
around the room, touching the floor, lifting an arm, jogging
backwards, and so on, and then asked us to stop and remain
in the position at that particular moment. Upon stopping, we
were then encouraged to think about the space around us,
above, below and behind, about releasing at our ankles and
freeing our hips and knees; we then commenced jogging around
the room again and again we were asked to stop as we were
and to give our directions. It was noted that whilst one was
standing in such an unusual position, one nevertheless was
freeing oneself at the same time and also the unspoken drama
which occurred as a result of adopting such a position and
taking on all the characteristics of this. It certainly
created a powerful atmosphere which remained in the room.
Penny then introduced some small
balls, with which we played around for quite some time, thus
demonstrating how this helps students to explore the
concepts of stimulus and response/inhibition and direction.
Lined up in two rows of six, we threw a ball between pairs,
without saying anything and then saying the words “stimulus”
as the ball was thrown and “response” upon catching the
ball. Direction and inhibition were then introduced by using
one’s choice as to how one threw the ball, did one throw it
immediately, under one’s leg or when the other person was
least expecting it?
This theme was continued when
Penny asked six of us to line up in pairs and throw a ball
to their partner upon asking a question, any question which
came into their mind, such as “Are you happy” or “Are you
hoping for Santa to come down your chimney this Christmas?”.
Upon catching the ball, the partner was asked to provide an
answer, and, importantly, Penny mentioned that this
choice/pause upon receiving a stimulus and the subsequent
reaction, is that very same choice which actors have at
their disposal whilst performing. The partner was then asked
to return the answer followed by another question and a
throw of the ball, thereby encouraging another
answer/question and so on. As the questions/answers
unfolded, so did each story and atmosphere, just as a story
unfolds within a play, just as a ball had been thrown to and
fro previously.
The final section of Penny’s
talk covered her work with students at ArtsEd in more
detail. She provided us with an “Alexander Quiz” given to
students which chiefly covers a basic knowledge of anatomy.
Penny also provided us with an overview of the assignments
which are expected of the BA and MA students during their
study of the Alexander Technique. The BA students study the
Technique for two terms, whereas the MA students study for
one year. Given the relatively short period of time
available, certainly all the main Principles of the
Technique are covered using a variety of learning tools:
·
a review of a
chapter from an Alexander-related book demonstrating the
student’s understanding of the Technique and how this
relates to their work in and out of class and their work as
an actor;
·
writing
observational notes about themselves in respect of their
habits during hands on sessions; this demonstrates that the
student recognises personal habits that might impede their
performance, that they have experienced themselves out of
habit through ‘inhibition’ when working with a teacher, with
good practice strategies being developed for themselves;
·
creating a
presentation in pairs or groups of three that will
demonstrate that the student has an accurate knowledge of
the vocabulary and a clear understanding of the Principles
(Primary Control, Use, Inhibition, Direction, Ends and
Means, the Unified Field of Attention and Faulty Sensory
Appreciation), differentiating between them and connecting
them;
·
Balanced Resting
State Report: students are expected to lie in semisupine
every day during a vacation period and write a report on
their experiences that will demonstrate that the student has
had good insights into the regular practice of the
semisupine position and the effects of this practice on
their general use during this time;
·
Regular Individual
hands-on work – two students to one teacher per half hour,
during which students become familiar with their own habits
and begin to come out of them. Students make notes on their
discoveries each lesson which are handed in for assessment
at the end of the first term.
·
Students meet in
large groups for body-mapping and group experiments.
·
A week is
dedicated to Alexander Thinking and students write a report
on the results of this experiment.
Penny mentioned that she also
used video at the start and end of the course to show
students their habits, a medium which is used by other
teachers in other areas of use of the Technique and it came
as no surprise that it was also useful with acting students.
On completion of the Alexander
Technique component a student should be able to demonstrate:
1.
An understanding
of Alexander’s Principles;
2.
An accurate
body-map of the self with rudimentary knowledge of how the
nervous system and muscles work together to create our
natural balance and habits;
3.
A recognition of
personal habits which impede the co-ordination of mind and
body;
4.
The means to work
on these, thereby developing insights on how to apply the
Technique to their personal needs as an actor.
©
Stella Weigel
2009
Articles
|
