I am a proud evangelizer of the Alexander Technique as a way for actors to develop greater body-mind integration. I asked Bay Area Alexander teacher Constance Clare to write a piece on how she uses the Alexander technique to work with actors. Here it is!–Andrew
The most common starting point is teaching the student how to come to a balanced neutral. Not too much tension, and not too little. Just the right amount of tension creates a lively, dynamic state of being.
Cultivating this dynamic neutral usually means that the student needs to “relax” some parts of herself and enliven other parts. Most people have habits and patterns of posture, movement, gesture, breath and voice that are out of balance.
As the student and I explore the student’s “postural set” we find out where the bones are mis-aligned and where the muscles, tendons and ligaments can release out of either tightening or collapsing. We look in the mirror to see the postural set and how it changes with my hands-on guidance. As muscles release into length and lively tone, the bones find a more efficient balance. It’s typical for students to feel “weird” or like they are almost falling forward when they come out of their habitual postural pattern. Often when I ask about that feeling, it’s a “good weird” or a “floaty falling” sensation.
The use of hands is one way that an Alexander lesson is different from other methods or techniques in actor training. As the student learns to refine her kinesthetic and proprioceptive senses, she is able to work with the principles on her own. But at first the teacher’s hands help the student understand the teacher’s verbal guidance, and help her actually experience her own proprioceptive sensations.
As students progress, we work on releasing excess tension in action. Here’s a typical example:
Mark is learning a role that requires anger and upset. As Mark goes over his lines for the first time in his Alexander lesson, he pushes his face forward and contracts his jaw and neck muscles. He is over-acting because he is over-efforting. His lines are strong enough; he doesn’t need the extra tension. The tension causes his voice to rise. The tension in his face and jaw make his expression look forced.
I suggest that he try the lines while staying in a more neutral state, as I use my hands to help him notice what he is doing muscularly with his neck and jaw. I suggest that he let the lines evoke some of that anger in him, but not force it.
This time, Mark’s voice is fuller, he becomes more intimidating as he retains his stature and his strength without contracting. Dynamic tension is there, but it is there in the right amount.
Another common Alexander lesson is in the realm of excess preparation before an activity. Before speaking or moving, actors will often “prepare” themselves by contracting and “getting ready”—thereby coming out of their neutral state.
Marla is working on a new monologue. Marla begins from a dynamic neutral state of being ready for action, but whenever Marla starts to speak, the area just under her skull at the top of her neck contracts. As I work with Marla, I put my hands gently on the back of her neck, where most people have excess tension. My hands helps her to notice when the muscles contract. Marla practices not tensing as she begins to speak. She continues to notice the area under her skull and can begin feel it tense even when my hands are not there.
I have her practice speaking without any concern for what her words mean. She counts to ten. Marla needs to soften and slow down so much that she feels like she is slurring, but we get her to make sounds without activating those necks muscles. I then have her practice normal conversation. She slows down to about 70% of her normal speaking pace, and I encourage her to allow her skull to be mobile as her neck remains free of extra tension as she speaks. When her neck muscles are too tense, her skull won’t move. When she has released some of the tension, she lets her head move freely.
When we progress to speaking her lines, Marla once again goes back to tensing her neck. And now she adds a new habit—she takes a short, quick breath each time she begins.
We go back to not-tensing, and not-preparing, and this time we bring in not-gasping before the speaking. Because we’ve now been working on releasing tension while speaking, working with the breath is easier. As Marla practices not adding the extra effort of the quick intake, she continues to allow her head to float easily, her neck muscles to be long and lively, her jaw to be easy and mobile. It is a lot to think about! Changing ingrained habits takes time, but more than that, it takes awareness and clarity of intention.
Marla now can speak her lines without excess tension, and her whole state of being shows the change. Her voice is clear and not rushed or raised. The lack of excess tension and effort shows in her spontaneous choice to move with her lines, which excites her. With more openness, she feels a fuller expression and more freedom as she explores her role.