Holiday weekend…

Gator homecoming and Veterans Day make a four-day weekend. But I still must keep up the daily journal for Alexander Technique. I’ve been working the Jacob Marley Christmas Carol lines in rehearsals that are getting better and better. And some of the pressure is off, but financially, I’m feeling what it is to be a serious actor…that’s okay…power through. I will not compromise.




One of the things I’m going to incorporate into my demonstration of kinesthetic sense as it relates to Alexander Technique is an easy way for people to immediately understand what kinesthetic sense is. I’ll be mentioning our example from the text in which one knows and can sense the exact shape of their hand, in any position, when the hand is out of view. The thing I admire about the Alexander Technique is that the core principles are simple. It is the results that can be elaborate. Example, knowing where the spine is, that there is a joint at the clavicle, that we do not have a ‘waist’ but we have hips and joints…you get this into your head in about ten minutes, and then, for the rest of your life, if we remain conscious of those simple facts, it can have complex and long-ranging beneficial effects over a lifetime. Ten minutes for a lifetime…pretty good profit margin. So as simple as it is, I will also use this little demonstration:


* Blindfold


STEP 1: Cover your eyes using the blindfold.

STEP 2: Using your hand touch your ear, now your eye, now your nose, now your lips.


Thanks to your kinesthetic sense you never made a mistake. We have senses of touch, hearing, taste, sight, smell and another one called the kinesthetic sense that lets you know the location of every body part.”

I found this little test here:



Tom Vasiliades in his article, “The Alexander Technique: An Actor’s Approach”, he says this: “…actors often have an unreliable sensory appreciation of their performance.” Today, my research focus was Alexander as it applies to acting, and this made much sense. David Mamet often talks about Actors doing all kinds of preparation for a role vs. Actors who just inform themselves with the information of the script, and how he believes there is very little difference. Mamet discussed about an Actor who feels he’s had a terrible performance, one which the audience thought highly of, and there might be this exchange:

Audience Member: “You were wonderful.”

Actor: “You should have seen me yesterday.”

And of course yesterday, it may be that the actor thought he or she was outstanding when in fact they were horrible. This kind of thing relates directly to Alexander’s Debauched Kinesthesia. And it makes so much more sense that if your body and mind are in tune with your kinesthetic awareness and these are trained in, an actor should be less a victim of his own subjectivity. Rather than misread or misinterpret what he is doing, has done, will do on stage, he can be be more directly truthful because he has explored in ways unaccustomed and tested those waters. By analogy, someone who does not have their vision and who has trained in kinesthetic awareness of their surroundings will more easily navigate the terrain than someone who simply has not felt around, explored the space, and walked the pathways. This will go into my report.


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