Born to Sing (Like It or Not)

Singing BirdI auditioned for a play earlier this week, and after surviving the first cuts, the director said to those of us remaining, “You can all sing, right?” The beautiful young actress to my left immediately replied, “Yes!” I felt my eyes get really wide as I nodded my head mutely and thought, “Please don’t make me sing right now because all I can think of is The Alaska Flag Song and I’m terrified of singing.”

She didn’t make us sing. Crisis averted, at least for now. But Alexander exhorts us to, “…Meet a stimulus that always puts you wrong and learn to deal with it,” not to avoid the stimulus. So the fact remains that I’ll probably have to sing in an audition eventually. I’ve taken a look back at Ron Murdock’s wonderful essay Born to Sing (from the book Curiosity Recaptured, edited by Jerry Sontag, Mornum Time Press), and the passage that inspires me the most discusses singing as springing from a desire to communicate and to express beauty.

This is very different from my view of singing as a struggle, but actually communicating is much harder than it sounds. I’ve been practicing singing and meeting my own eyes in a mirror (as advised by Murdock in his essay), and I found that I’m awfully shy, but little by little it has become easier. The next step will be to sing in front of others and actually look at them instead of at the floor, or off into the space above their heads, which is what I would usually do. Baby steps.

The full text of Murdock’s essay is available here.

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“The Freedom is There to Play It”

Sir Colin DavisSir Colin Davis is an amazing character, but he became even more compelling when I heard him say, in response to comment about his calm and “suppleness” as a conductor, “It may have something to do with the fact that I sleep with my Alexander Technique teacher.” He was referring to his wife Shamsi Davis, who passed away in 2010. Davis made this remark in a radio interview with Christopher Lydon from 2008, in which they discuss many aspects of music-making, but only after a chat about the Alexander Technique and its benefits for musicians.

Davis was introduced to the Alexander Technique when he was 28 years old. As he recollects it, “An English conductor came to my concert and said, ‘Oh young man, you’ll be a cripple if you go on like that. I’ll send you to someone.’” Davis began taking Alexander Technique lessons, and is now (in his 80s) known for his poise and grace as a conductor.

Davis sums up the Technique beautifully by saying, “The interesting thing about the Alexander Technique is…you let things happen. If you start doing things, you’ll screw up.” Later in the interview he comments on having the freedom to play the music, and to really hear the music. He observes that orchestra musicians have a difficult life, are “constantly on trial,” and a tense conductor only makes things worse. We can make the most beautiful music possible by not “doing things.”

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New Large-scale Study of the Alexander Technique

A new three-year trial involving 450 participants will examine the effectiveness of acupuncture and the Alexander Technique in alleviating chronic neck pain.  Study leader Hugh MacPherson from the UK’s Department of Health Sciences says, “If the evidence from the new trial justifies it, then both interventions should be offered routinely as referral options to patients within the NHS [National Health Service, England's publicly-funded health care system], which would mean that patients would no longer have to pay for these interventions themselves.”

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Songs About the Alexander Technique

Alexander Technique Awareness Week continues, today with a song about an essential Alexandrian principle as sung by Erasure.

 

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Try Not

In celebration of Alexander Technique Awareness Week (what? it’s not on your calendar?!) I’ll be talking like Yoda during lessons. This video is worth another viewing, I promise.

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Dance and the Alexander Technique

Paige dancingI want to share this article on the Alexander Technique from Dance Magazine. I came to the Alexander Technique as an injured dancer, and looking back I often wish I had come across it earlier. Not only that, but I wish someone had taken me aside and said, “What you are studying with your AT teacher is so profound that it will transform not only your dancing but your entire existence. Stop taking yoga and Pilates. Take a few weeks off from dance classes and rehearsals. Just study Alexander, because it will pay off big-time in the end.”

No one ever said that, and I wouldn’t have taken their advice anyway. Endgainers that we are (especially as dancers – it’s a competitive field and we feel pressure to reach our goals before we get too old, something I’m thinking about a lot lately) we truly believe that more is better. More dance classes, more yoga, more Pilates, more acupuncture. We just add more and more to our schedule.

To everyone, including myself, I issue a challenge to do less. More isn’t always better; it’s okay to not be crushingly busy; it’s okay to not be in pain. Maybe if we give up the quest to do more we can attend to the quality and process of our activities.

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Love and Hostility

Foreman Poster

That's me in the pink and gold

I’m in the throes of creating a short performance piece based on selected writings from Richard Foreman’s online notebooks. Because the biggest rule of the game in the Richard Foreman Mini-Festival is that the creators get only 10 days to prepare, I had some time over the past couple of weeks to read up on Foreman and his work. There are far too many gems to share all of them, but here are a few, culled from “Unbalancing Acts: Foundations for a Theatre,” by Richard Foreman, edited by Ken Jordan.

“I hate seeing people onstage reaching across the footlights, asking for love.” I am guilty guilty guilty of this. The thought of performing and not being liked isn’t that bad, but I wouldn’t mind your adulation. Not one bit.

“Here are a number of things I often tell performers during rehearsal: 1) Be hostile toward the audience. Don’t make them love you.” I’m not sure how I would go about being hostile toward an audience, but I’m absolutely dying to give it a shot. Audience-hate has never come up in my rehearsals or technique classes, and I think that should change.

“7) Always believe that when you have a line, you are saying the most intelligent thing in the world but that only a few people in the audience are going to get it…the audience, save for a few, are vulgar hooligans to whom you have no desire to present your wonderful insights.” This seems to ask me, if I may presume to be the performer in this imaginary conversation, to a) posses insight, and b) believe that most of the audience members are imbeciles. It could make for a stimulating experiment.

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Filed under Choreography, Performance Quality

Watch and Wonder

Back in the Dark Ages (1973 to be precise), the Dutch ethologist and ornithologist Nikolaas Tinbergen devoted half of his Nobel Prize acceptance speech to describing and praising the Alexander Technique. According to Tinbergen, FM Alexander’s remarkable story – of losing his voice, observing himself closely over a long period of time, and ultimately arriving at the conclusion that by preventing the tendency to pull his head back and down he could improve his overall use of himself AND teach others to do the same – was “one of the true epics of medical research and practice.”

What was so amazing about this, other than the fact that this careful and ground-breaking research was carried out by a man with no medical or scientific training? Regardless of education or background, Alexander had embodied the scientific principle of “watch and wonder” which, according to Tinbergen, was sorely lacking in the contemporary medical and scientific communities.

His assertions probably didn’t endear him to his colleagues, especially not this one:

Medical science and practice meet with a growing sense of unease and of lack of confidence from the side of the general public. The causes of this are complex, but at least in one respect the situation could be improved: a little more open-mindedness, a little more collaboration with other biological sciences, a little more attention to the body as a whole, and to the unity of body and mind, could substantially enrich the field of medical research. [Text and video of the speech are available here.]

Medical science, in some cases, has taken this message to heart. Click here for a listing of recently completed scientific studies on the Alexander Technique’s benefits for people with Parkinson’s Disease and back pain.

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