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Integrative Alexander Technique Practice for Performing Artists

Onstage Synergy

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 presents 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, discipline-specific 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. 

235 pages | 7 x 9

Art: Art--General Studies


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Table of Contents

Acknowledgements

Introduction

Part One: Performing Artists’ Foundation for Using the Alexander Technique

Chapter 1: An Actor Began This

Chapter 2:  How Does the Alexander Technique Work?

Chapter 3:  The Design of Our Instrument: An Introduction

Chapter 4:  First Experiments in the Alexander Technique

Chapter 5:  Concentration is a Lousy Word for All Performing Artists! (And All People!)

Chapter 6:  Congruency: Relax is a Lousy Word for Performing Artists

Chapter 7: The Omnisensory Experience (Including the Kinesthetic Circus and a Look at Emotions)

Chapter 8:  Psychophysical Definitions

Chapter 9:  Constructive Planning

Chapter 10: Freedom of Choice

Chapter 11: Integrating the Alexander Technique with Your Technique

Chapter 12: Some Discipline-Specific Notes Regarding Technique

Chapter 13: F.M. Alexander’s Story

Part Two: Alexander Technique Revivification of the Journey of Performing

Chapter 14: The Journey of Performing: Defining Performance Basics with the Alexander Technique

Chapter 15: The Journey of Performing: The Specific Circumstances

Chapter 16: The Journey of Performing: When the Journey Is in a Fictional World

Chapter 17: The Journey of Performing: Beginning, Middle and End

Chapter 18: The Journey of Performing:: The Psychophysically Phrased Active Verb

Chapter 19: The Journey of Performing: Coordinating Together (Performer-to-Performer Relationships)

Chapter 20: The Journey of Performing: Coordinating with the Audience

Chapter 21: The Journey of Performing: Stage Readiness (no more ‘stage fright’!)

Chapter 22: The Journey of Performing: Constructive Critic and Celebration

Chapter 23: The Journey of Performing: Coordinated Creativity

Part Three: Onstage Synergy

Chapter 24: Onstage Synergy: Template Variations and Studied Rehearsed Plans

Chapter 25: Onstage Synergy: Preparation and Warm-Ups

Chapter 26: Onstage Synergy: Rehearsing

Chapter 27: Onstage Synergy: Performing

Chapter 28: Onstage Synergy

Appendix One: AT Rehearsals Reference Guide

Appendix Two: Finding an Alexander Technique Teacher

Appendix Three: Performance Chroniclers

Appendix Four: Keynote Address, Alexander Technique and Performing Arts Conference

Works Cited

Index

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