| The Alexander Technique can be particularly | | | | become extremely stiff from playing a certain |
| helpful to musicians and actors because many of | | | | character, so that they hold themselves |
| them unknowingly hold far too much tension while | | | | unconsciously in a very rigid position. The harmful |
| playing their instrument or when playing a | | | | effects of this tension may not be felt for years, |
| particular character. The musician, for instance, | | | | when they start to suffer from pain or restricted |
| may be unconsciously gripping his or her | | | | movement, but eventually, in extreme cases, a |
| instrument while the actor may also be taking on | | | | performer may have to give up their career |
| the postural traits of a particular character even | | | | altogether. |
| when they are off stage. Many of the major | | | | The Alexander Technique can help musicians and |
| music and drama colleges throughout the world | | | | actors to be aware and let go of the muscle |
| employ Alexander Technique teachers to help to | | | | tension that is at the root of their problem. This |
| combat these types of problem. | | | | will be achieved by verbal instructions and with |
| The Technique can help musicians or actors to | | | | help from the teacher's hands. Students will be |
| become more aware of balance, posture and | | | | taught new ways of playing a musical instrument, |
| co-ordination while performing. Being aware of | | | | or of projecting their voice, that will put less |
| tension and strain is the first important step in | | | | pressure on the joints and muscles. Learning new |
| being able to let go of the nervousness that | | | | ways of moving while performing can help |
| interferes with performance. The technique can | | | | dramatically to reduce the strain on the body, |
| engender a sense of calm that can help a | | | | thus helping it work more efficiently. F. M. |
| performer to act or play with greater spontaneity | | | | Alexander himself was an actor whose own |
| and freedom of expression. | | | | tension caused him to lose his voice while |
| We all have a series of reflexes throughout the | | | | performing, and this is where the Technique first |
| body that support us against the force of gravity | | | | originated. By becoming aware of how he |
| and naturally co-ordinate our movements with the | | | | performed was able to return to the stage with |
| minimum of effort. Unfortunately because of the | | | | renewed confidence. |
| way many musicians hold their instrument, or | | | | In fact, many people who practice the Technique |
| actors play a part, these natural reflexes may be | | | | experience a general feeling of lightness |
| obstructed to such an extent that a performer | | | | throughout their bodies and even describe the |
| can hold four or five times more tension in their | | | | sensation as 'walking on air' or moving with no |
| bodies than is really necessary. In fact, without | | | | effort. Since our physical state directly affects our |
| realising it, they make the work of performing | | | | mental and emotional well-being, people often say |
| much harder than it really needs to be. | | | | that they feel much calmer and happier even |
| I have worked with violin or guitar players whose | | | | after just a few Alexander lessons, often |
| shoulders have become permanently hunched, or | | | | resulting in a greater ability to cope with life in |
| with actors and actresses whose necks have | | | | general. |