Interesting piece on NPR this morning about a photographer who has photographed every New Hampshire primary since 1980.
What caught my interest was this:
Cole has a rule he follows when out on assignment: No matter how crowded the press gaggle gets, he never takes a picture while he’s touching another photographer. The point is to force himself to think of a different approach to each shot.
Take, for instance, a campaign appearance by George H.W. Bush at Nashua Airport in 1988: All of the other photographers followed the then-vice president on board an airplane.
Vice President George Bush waves from the cockpit of a World War II B-17 bomber at a quick campaign stop at Boire Field in Nashua, N.H. on Wednesday, July 15,1987.
“I stayed outside, and with all the luck in the world, Bush stuck his head out the pilot’s window and waved to everybody,” said Cole. (click here to view the picture)
With this rule, which does not allow him to take a picture if he is touching another reporter, (in other words if he is stuck in a scrum of reporters all taking the same picture ) Cole is practicing what in the Alexander technique is called inhibition. While inhibition might not sound like a good thing, in the context of the Alexander technique, it is. In the Alexander technique, inhibition is the ability to suppress one’s habitual response to things in order to open up the possibility of a different kind of response. Since many of our physical habits are the results of trauma or other kinds of negative input, it’s important for actors to engage with their physical habits and develop new habits that maximize expressive capacity and presence.
While the Alexander technique works with physical habits, in class at Andrew Wood, we work in part with mental habits, particularly the habits that we have involving how we understand and frame human motivation. Knee-jerk attempts at stating the motivations of characters often entail negative judgments and are focused on goals about the future (what we call plot objective), rather than on the present moment. At Andrew Wood, we learn to “inhibit” these initial ways of looking and thinking, and to find ways of understanding and framing what characters are after that are empathic and oriented towards the here and now of relationship rather than the future. Actors are forever enjoined to “be in the moment”, but aren’t asked to think about motivation in ways that promote this focus them on the here and now of interpersonal dynamics.
It’s what makes this kind of difference.