Description
Book SynopsisAn 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, discipline-specific techniques, warm-ups, performer/audience relationships, stage fright and critical responses, and explores the role of the senses, emotions, learned behaviour, human consciousness studies and neuroscience in the application of the techniques.
Trade Review'What makes this book unique is that it is written in Cathy’s own clear, direct and inviting voice. It is not laden with theory, but offers a very practical way for performers to practice.'
-- Judith Shahn, Voice and Speech Trainers Association
'This book is a practical and hands-on work, inviting the reader to enter into an experiment in active practice and exploration rather than passive study [...] Onstage Synergy is a gift from an extraordinary teacher to all of us.'
-- Julie Guichard, Voice and Speech Review
Table of ContentsIntroduction
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
