~Cl. Alexander Technique Llf'z- flor k SkJ I Pedro de Alcantara l=>~cl The Crowood Press First published in 1999 by Photo Credits and Acknowledgements The Crowoo d Press Ltd Drawings ©Alexis Niki, by permission, with warmest Ramsbury, Marlborough thanks. Photographs of F. M. Alexander ©1999 The Wiltshire SNS 2HR Society of Teachers of the Alexander Technique. Cheetah: ©Fritz PoLking/ Agence J acana, by permis sion. Baseball players: ©Frank GLU11Ai/ P, by permis sion. Caroline: courtesy of Catherine de Chevilly, with warm thanks. Iolane Luahine: ©Topgalant © Pedro de Alcantara 1999 Publishing Co., with warm thanks to Sandra Kwock Silve. 'The World is a Harmony ofTensions': ©Has All rights reserved. No part of this publication may san Massoudy/Editions du Desasu-e, by kind be reproduced or transmitted in any form or by any permission of the artist, with warm thanks. 'Jumping means, electronic or mechanical, including photo over a boy's back': from Animal Locomotion by Ead copying, recording, or any information storage and weard Muybridge, ©Dover Publications, Inc., by retrieval system, without permission in writing kind permission. Boy in a deep monkey: with warm from the publishers. thanks to MicheL!ea nd Bernard. Girl lunging: cour tesy of Brigitte Cavadias, with warm thanks. Boy at British Library Cataloguing-in-Publication Data the beach: courtesy of JoeL!e Schneider, with warm A catalogue record for this book is available from thanks. lvo playing soccer, and at the end of the the British Library. book: courtesy of Magdalena Pasikowska, with warm thanks to Jorg Schnass. Stills from "Min Ag! Hobbi" ISBN 1 86126 286 8 and "Risalat Gharam": ©Institut du Monde Arabe, by kind permission of Films Regent. Aung San Suu Kyi: ©Tom Pilston/The Independent, by permission, with thanks and much affection to Marjorie Hodge. Artur Rubinstein: ©Lotte Meitner-Graf, courtesy of die Rubinstein family. Annie, aged six: courtesy of Richard Beavin and Aimie Robinson, widi warm dianks. Despite his best efforts, die author was unable to contact die copyright holders of d1e pho tos of Alfred Cortot and Yuk.iyoshiS agawa. Typefaces used: Galliard and Franklin Gothic. Excerpt from World of Wonders by Robertson Davies (Penguin Books, 1977), published in The Typeset and designed by Deptford Trilogy(Penguin Books, 1983), copyright D & N Publishing ©Robertson Davies, 1975. Reproduced by permis Membury Business Park, Larnbourn Woodlands sion of Penguin Books Ltd. and Pendragon Ink. Hungerford , Berkshire. Portions of Phyllis Richmond's essay, The Actor and the Character, appeared originally in Curiosity Printed and bound in Great Britain by Recaptured , edited by Jerry Sontag (San Francisco: WBC Book Manufacturers Ltd, Mid Glamorgan. Mornurn Time Press, 1996). Contents Acknowledgements 4 Introduction 5 1 First Principles 8 2 The Use of the Self 20 3 Inhibition and Direction 27 4 The Lesson 34 5 Emotions 49 6 Health and Well-Being 66 7 Sports and Exercise 84 8 The Performing Arts 100 9 The Teacher 113 10 Conclusion 118 Bibliographical Notes 122 Further Reading 124 Index 126 Acknowledgements In the summer of 19941 received an invitation of this book; without her intervention I would from Editions Dangles, a French publishing have given a coUective heart attack to the mem house, to write an introductory book on the bers of the Academie Frarn;:aise.( Come to think Alexander Teclmique for their catalogue . I of it, that would not be such a bad thing.) owe this invitation to my colleague Annie My friend Alexis Niki has played a pivotal Mote"i, and the existence of my French book, role, supplying drawings for the book, a testi La Technique Alexander: Principes et Pratique, monial about her Alexander experiences, and to the perseverance of the late Jean-Yves her unwavering support for my work. I wish Anstet-Dangles, who prodded me along - no, to thank Jean 0. M. Fisher for putting me in who threatened me - when I started doubting touch with The Crowood Press. Mr Fisher's that I could write a book in French. Since The company, Maur itz, publishes some of the Alexander Technique is a younger brother to finest books about the Alexander Technique. Principes et Pratique, I owe its existence too to When I set out to write this book, I had the Annie and Monsieur Anstet-Dangles. clever idea of asking my pupils and my feUow Several of my pupils and friends, including Alexander teachers to write most of it for me; Ap1il Cowan, Katherine Fredrickson, Melanie their generous contributions have become the Meunier and Edward L'l.mont, read excerpts backbone of the book. To Alexis, Alison, from my manuscript and offered invaluable Edward, Genevieve and Liz, and to Malcolm comments. I have received notarized statements Balk, Patricia Boulay, Catherine de Chevilly from most of them swearing that they are not and Phyllis Richmond I wish to dedicate The responsible for my book's glaring defects. My Alexander Technique. wonderfully literate friend Claire de Obaldia midwifed both the French and English versions Paris, 30 January 1999 4 Introduction 'My back is hurting me, I think my bed is too other way around. Each phrase is based on soft.' objective observations and highlights a fact, a 'My son is so stubborn, he never obeys me.' reality or a truth. 'You breathe badly; you should do some It is true that life in the country is easier breathing exercises. Go on, take a deep breath.' than life in a big city. It is true that old peo 'That man is irritating.' ple are naturally round-backed. It is true that 'My shoulders are tight. ' a soft bed can cause back a·ouble. It is true 'I have scoliosis.' that everybody should sit up straight. It is true 'Grandma is getting older; it is natural for her that deep breathing is good for you. back to become a bit round.' Observations, thoughts, words, and actions 'Life in a big city is so stressful, I wish I could are all intimately connected. People observe move to the country.' this or that fact - a reality or truth - and draw 'I hate my body.' conclusions from their observations, such as 'I love my body.' 'x' causes 'y'. They then act upon those con 'That is just the way I am, there is nothing I clusions: can do about it.' 'He is so intelligent, what a pity he beats his 'My mother-in-law is mean. Eveiybody knows wife.' that. Well, I have to defend myself, and the 'Relax.' only way with her is to be as mean as she is.' 'Sit straight.' 'My back is hurting me. My bed is obviously 'Swimming is the best exercise.' too soft, so I am going to buy a firm mattress.' 'My mother -in-law is horribly unpleasant. I 'My shoulders are tight. That is because I am detest her.' under a lot of stress at work. I need a good 'I try my hardest, but I lack willpower.' massage.' 'Stop crying, for heaven's sake1' In the last example, the diagnosis includes a You have undoubtedly used similar phrases, description of symptoms ('shoulders are and heard them used: by a friend, in school, at tight' ), an analysis of their cause ('stress'), and the gym, at the doctor's surgery. Such phrases a proposed remedy ('a massage'). Nmv it is describe a situation, a person's character, or an possible to draw a general principle. For each attitude . Many of the phrases evoke a prob problem there is a corresponding description, lem; some of them point to a solution too. In an analysis, and a solution. Living means fac certain phrases, the problem is explicit, while ing problems, analysing and understanding the solution is implicit; sometimes it is the them, and finding solutions for them. This 5 INTRODUCTION may be done consciously or subconsciously, are your own reactions to the world around using intuition, reason, imagination, intellect, you. Indeed, you will not succeed in loosen and other faculties; however it is done, every ing your shoulders and, most importantly , in one does it constantly. keeping them loose, until you change the way But what if a problem is misunderstood? you react. Alexander would describe this as What if the description of a problem is based the way you 'use yourself'. on false perceptions, and the analysis on 'Sit straight.' This simple command reflects flawed assumptions? What if the remedy a world of assumptions. There is a good posi aggravates the problem? This book will show tion tl1at you must hold, which is, of course, how, in fact, the great majority of people's straight. It implies a certain relationship perceptions, suppositions, descriptions, anal between tl1e body and the will, and a course yses, diagnoses, and solutions are incorrect. of action that flows from their interaction. If When someone says, 'My shoulders are you have a physical problem ('bad posture' ), tight', this is not exactly true. It would be take care of it by doing sometlung ('sit more accurate - and ultimately more useful - straight' ). All you have to do is apply your will to say, 'I am tightening my shoulders.' Simi to it. If you cannot manage to sit straight, it is larly, when people complain about back pain, because your will is weak. it is they who are hurting their backs, not tl1eir Frederick Mattl1ias Alexander - actor and backs tliat are hurting them. pedagogue, savant and visionary, rogue extra 'My work is a lot of stress.' Four people in ordinaire - says, first and foremost, that body tl1e same stressful situation will reaction in four and mind are inseparable. We used to tl1ink of different, if not opposing, ways. For example, the body as a car, and the mind as its driver. in a typical office after tlie boss announces a Today, we compare the body witl1 a comput new development, Peter becomes mute, Jean er, and tl1e mind with a programmer . Botl1 worries, Harry gets to work, while Anna rings metaphors are wrong. For, in human beings, her sister to gossip and laugh for a minute. the thing contro lled, the force tliat contro ls it, Stress is not a stimulus, but a reaction to it, and tl1e control itself are one. Therefore, the whetl1er it is a situation, a person, or an idea. mind cannot be master of tl1e body; rather, (The imagination is tl1e source of many trou - the mind is tl1e body, and the body is tl1e bles.) Peter and Jean react in a manner tliat is mind. Regardless of the problem ('bad pos neither constructive nor practical, and are ture'), a will that is weak or insufficient can therefore likely to consider tl1emselves to be not be the cause of the problem. Neitl1er can 'under stress'. Anna and Harry react different strengtl1 of will be a solution in itself, as long ly, and would probably talk differently about as problem and solution botl1 imply a separa the situation as welJ. tion between tl1e body and the mind. ( See 'I need a good massage.' At tl1e end of an especially Chapter 1.) hour under tl1e massage practitioner's hands, On tl1e subject of 'sitting straight', Alexan you feel deliciously relaxed. Next morning , you der says tl1at tl1ere are no good positions, but go back to work to find tl1at your boss is still only directions , which make a given position alive and kicking. How do you deal witl1 that? healtl1y or unhealthy. The idea is not to seek Some people react to certain situations by a position ('sitting straight'), but a direction contracting their shoulders. A massage may ('upwards', for example). He would add that help you feel good temporarily, but it will not a problem cannot be solved by doing the right alter tl1e root cause of your tensions, which thing, but by stopping doing tl1e wrong one. 6 INTRODUCTION When you 'sit straight', you are trying to do are not what you think tl1ey are, and to pro the right thing, but this is sure to lead to fail pose simple and efficient solutions wl-uch bear ure, as everyone who has ever tried to improve witness to tl1e genius of a great man: Freder his or her posture would testify. (Chapter 2 ick Matthias Alexander. discusses posture, while Chapter 6 offers a tes timonial from a woman who once laboured under the notion that her posture was bad and her will weak.) Instead of sitting straight (something that you do), it would be better to stop slumping (somethin g that you stop doing). Stop doing what is wrong, and the right thing will do itself. A source of great rev elation and equally great difficulty, this prin ciple - which Alexander named 'Inhibition' , thereby perplexing the uninitiated - is the cornerstone of the Alexander Technique. (Inhibition and its counterpart, direction, are discussed in Chapter 3.) Alexander would also recommend that you do not try to change the habits of someone else - a member of your family, a colleague at work, a close friend - by nagging, and giving instructions such as 'sit up straight', 'relax', 'calm down', or 'use your brain'. All your relationship s start with the way you present yourself to others, and you should therefore aim to become a living model of that which you wish to see in others. This golden rule, made all the more resplendent by your non doing, is bound to change the dynamics of your relationships, thereby indirectly affecting the behaviour of the people around you. (Find out tl1e trutl1 about your motl1er-in-law in Chapter 5.) The fundamental unity of every human being; our habits, behaviours, suppositions, and judgements; tl1e difference between 'nor mal' and 'natural'; ergonomics and physio tl1erapy; posture , attitude, movement, tension and relaxation, inhibition and direction; social and professional relationships, sports and exer cise, music, theatre, and dance: in sum, healtl1 and well-being are tl1e objects of tl-us study. My aim is to convince you that your problems 7 CHAPTER 1 First Principles A MISDIAGNOSED PROBLEM is a structura l problem somewhere in the vocal mechanism. However, Alexander sus To understand the principles of the Alexander pected that his vocal problems were due nei Technique, it is useful to look back at what ther to his over-using his voice, nor to a defect F. M. Alexander himself set out to do. He of his vocal mechanism itself. Rather, he rea described his journey in detail in the first chap soned that the source of his difficulties was ter of The Use of the Self, the third of his four actually the way in which he used his voice. books. The ethologist Nikolaas Tinbergen, This may seem obvious to the modern read winner of the 1973 Nobel Prize for Physiolo er, but in turn-of-the -century Ausu·alia most gy or Medicine, dedicated part of his Nobel people would either have persisted with the oration to Alexander and his work. Alexander's rest cure or agreed to undergo surgety, with story, Tinbergen wrote, 'of perceptiveness, of out daring to contradict the view of a doctor. intelligence, and of persistence, shown by a Alexander's outlook was well al1ead of his time. man without medical u·aining, is one of the Second, even today many people are still true epics of medical research and practice'. 1 reluctant to accept that tl1e cause of their Frederick Matthias Alexander was born in problems is something that tl1ey do to them 1869 in Tasmania, off the south coast of Aus selves. In this instance, medicine plays a role, tralia. A young man of promise, he hoped to as it did a centmy ago. One example is carpal pursue a career as a professional actor. His tunnel syndrome, a painful and possibly dis great passion was Shakespeare, which he abling condition that affects musicians, key declaimed in the dramatic recitals that were board operators, and other people in various popular at the time. Despite his acting talent, occupations and circumstances. When diag his career was threatened by a recurring vocal nosing carpal tunnel syndrom e, doctors speak problem - on stage, he tended to become of over-use of the wrist, and prescribe rest. If hoarse, sometimes even losing his voice. rest fails, medicine offers tl1e choice of surgery Alexander sought medical advice and was told or injections of cortisone. Cortisone acts tem to rest his voice. While his voice was protect porarily upon a symptom of the disease, ed as long as he refrained from using it, the namely the pain, and it may have dangerous hoarseness returned as soon as he began to side-effects too. Surge1y is not free from risk work on the stage again. He was then advised and does not offer guaranteed results. In any to under go surgery, the diagnosis being that case, doctors' current understanding of dis his uvula was too long. ease and cure shows tliat Alexander's insight Resting the voice is sensible if it is over - original and revolutionary as it was a hun used. An operation is equally sensible if there dred years ago - today remains as pertinent as 8 FIRST PRINCIPL ES ever. Even more 'modern' solutions to carpal to the whole person at once. Even to speak of tunnel syndrome - physiotherapy, in the form body, mind, and spirit working together of exercises for the wrist, and ergonomics, implies some separateness between the parts. which alters the work environment - fail to This has important practical consequences. If diagnose and treat the problem adequate ly. you think that you are composed of separate parts, you are likely to conceive of the source of some difficulty or shortcom ing as one of THE UNITY OF BEING those parts and to seek solution s specific to each part, and in isolation from the workings To have a better appreciation of Alexander's of the whole. understandin g of the cause and effect in volved in his voice loss, it is useful to read his own words: When I began my investigation, I, in common with most people, conceived of 'body' and 'mind' as separate parts of the same organism, and consequently believed that human ills, diffi culties, and shortcomings could be classifieda s either 'mental' or 'physical' and dealt witl1o n specifically'm ental' or specificaJJy'p hysical'l ines. Alexander went on to say that he soon aban doned this point of view, stating that his expe riences led him to believe that 'it is impossible to separate "mental" and "physical" process es in any form of human activity.'2 In its tl1eory and its practice, the Technique highlight s the ever-present connection that exists between body and mind - indeed, their very inseparability. Alexander was keenly aware of the links between the way we tl1ink and the way we speak, and he avoided - in his teaching as well as in his writings - using terms such as 'body mechanics' or 'mental complexes'. Instead, he referred to the human psycho-physical organ ism in its entirety as 'the selr, and spoke of how this 'self' 'reacts' and 'functions '. The term 'self, as employed by Alexander, does not have the connotations tl1at are now attributed to it by psychoanalysts ( as in tl1e opposition between 'self' and 'otl1er', for instance). Ratl1er, it is a simple way of referring Deeply rooted, the plant grows ever upwards. 9