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Through a process of self-observation and experimentation, Alexander saw that the effective functioning of his voice depended on the correct relationship between his head, neck and back and that this relationship could only be maintained through conscious attention and control. By maintaining this relationship, Alexander was able to prevent the unnecessary tension during his performance. He also noticed improvement in his overall muscular co-ordination and in many other functions such as breathing and circulation. He became calmer, and was able to maintain good overall health. With his voice problems resolved, Alexander went on to develop his Technique so that others could benefit. In 1904, Alexander travelled to London and within a few years he had established a large and successful practice, teaching many celebrated actors of the day such as Lily Langtree, Matheson Lang and the politician Stafford Cripps. His work continued to receive admiration and support from writers such as Aldous Huxley and George Bernard Shaw, both of whom had lessons with him. He also enjoyed support from the American educational philosopher John Dewey, one of his most ardent advocates of the Technique. FM Alexander died at the age of 86. Although he suffered from a stroke some years before, he was still teaching his Technique until a couple of weeks before he died. After his death, his training course was taken over by Walter Carrington who continues his work at the Constructive Teaching Centre in London. The number of lessons you have will depend on your individual needs and goals. A series of lessons are recommended for continuing self-improvement, but even a few lessons can make a lasting difference.
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email: deborah.coote2@btopenworld.com Copyright
© 2007 Deborah Coote |
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Frederick Matthias
Alexander (1869-1955) was an Australian whose promising career as an actor was
threatened by vocal hoarseness, a condition which doctors were unable to
diagnose. As there was no clear medical cause for his problem, Alexander reasoned
that he must be doing something wrong when reciting, leading him to strain or "mis-use"
his vocal organs.