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Integrative Alexander Technique Practice for Performing Artists

Integrative Alexander Technique Practice for Performing Artists

Catherine Madden

(2017)

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Book Details

Abstract

An educational method used to improve performance, the Alexander Technique teaches people to replace unnecessary muscular and mental effort with consciously coordinated responses, maximizing effectiveness while also relieving, if necessary, any chronic stiffness or stress. Integrative Alexander Technique Practice for Performing Artists brings together the empirical research of Cathy Madden, a teacher and coach with more than thirty-five years of experience with the technique. She addresses common concerns, such as concentration, relaxation, disciplinespecific techniques, warm-ups, performer/audience relationships, stage fright, and critical responses, and explores the role of the senses, emotions, learned behavior, human consciousness studies, and neuroscience in the application of the techniques.

Table of Contents

Section Title Page Action Price
Cover Cover
Half Title i
Title iii
Copyright iv
Contents v
Acknowledgements ix
Introduction 1
Part One: Performing Artists’ Foundation for Using the Alexander Technique 9
Chapter 1: An Actor Began This 11
Chapter 2: How Does the Alexander Technique Work? 19
Chapter 3: The Design of Our Instrument: An Introduction 33
Chapter 4: First Experiments in the Alexander Technique 49
Chapter 5: Concentration Is a Lousy Word for All Performing Artists! (And All People!) 59
Chapter 6: Congruency: Relax Is a Lousy Word for Performing Artists 71
Chapter 7: The Omnisensory Experience (Including the Kinesthetic Circus and a Look at Emotions) 81
Chapter 8: Psychophysical Definitions 95
Chapter 9: Constructive Planning 105
Chapter 10: Freedom of Choice 119
Chapter 11: Integrating the Alexander Technique with Your Technique 129
Chapter 12: Some Discipline-Specific Notes Regarding Technique 143
Chapter 13: F.M. Alexander’s Story 159
Part Two: Alexander Technique Revivification of the Journey of Performing 167
Chapter 14: The Journey of Performing: Defining Performance Basics with the Alexander Technique 169
Chapter 15: The Journey of Performing: The Specific Circumstances 181
Chapter 16: The Journey of Performing: When the Journey Is in a Fictional World 201
Chapter 17: The Journey of Performing: Beginning, Middle and End 209
Chapter 18: The Journey of Performing: The Psychophysically Phrased Active Verb 223
Chapter 19: The Journey of Performing: Coordinating Together (Performer-to-Performer Relationships) 233
Chapter 20: The Journey of Performing: Coordinating with the Audience 243
Chapter 21: The Journey of Performing: Stage Readiness (no more 'stage fright'!) 255
Chapter 22: The Journey of Performing: Constructive Critic and Celebration 267
Chapter 23: The Journey of Performing: Coordinated Creativity 279
Part Three: Onstage Synergy 291
Chapter 24: Onstage Synergy: Template Variations and Studied Rehearsed Plans 293
Chapter 25: Onstage Synergy: Preparation and Warm-Ups 311
Chapter 26: Onstage Synergy: Rehearsing 323
Chapter 27: Onstage Synergy: Performing 335
Chapter 28: Onstage Synergy 345
Appendix One: AT Rehearsals Reference Guide 353
Appendix Two: Finding an Alexander Technique Teacher 359
Appendix Three: Performance Chroniclers 363
Appendix Four: Keynote Address, Alexander Technique and Performing Arts Conference 367
Works Cited 375
Index 383