What a wonderfully inspiring week I have had with this delightful group of young dancers at La Biennale College Danza in Venice. I wish I could stay longer but hope to see you all again someday somewhere. Until then keep freeing your necks and think up! Ciao for now! #biennalecollegedanza
I love teaching at this wonderful annual intensive with Anouk van Dijk, Nina Wollny in Melbourne. To see a large group of young dancers transform their thinking and movement is such a short time is inspiring, often mind-blowing, and more fun for me than a barrel of monkeys. I can’t wait! The deadline for applications is this coming Sunday, the 15th! For applications: http://ift.tt/2iaeVoy
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Register now for the Early Bird discount! Join me and Anouk van Dijk, Nina Wollny and Niharika Senapati in July for the next edition of One Body One Career in beautiful Melbourne, Australia. And please share now with you dance friends!
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Initially, Irons had two separate dressing rooms for each character, both with their own wardrobe, but he soon realized that “the whole point of the story is you should sometimes be confused as to which is which.” From that point onwards, he used a single dressing room and mixed the wardrobes together, finding an “internal way” to play each character differently. Irons cites the Alexander technique as the reason he was able to give the characters “different energy points”, weighting one brother on the balls of his feet and the other on his heels. He developed different postures and voice modulations for each as well.
Friday 11 March is the deadline for applying for One Body One Career 2016 in Melbourne.
Due to the limited number of places, candidates are asked to submit a personal motivation statement and CV for consideration in PDF format and not exceeding 3 pages. An additional online show reel is recommended. Returning participants do not need to submit a motivation statement.
For full details and a downloadable application form, check out the Chunky Move website. This program is very popular and space is limited, so don’t wait till the last minute!
Rickman has spoken of how he used the Alexander Technique — pioneered by Shakespearean orator Frederick Matthias Alexander in the late 1800s — to create a “balanced sense of tension rather than relying on creating tension to do something in order to produce a sound or an act that is preconceived.”
Rest in peace, Mr. Rickman. At least we can still hear you in film.
In a recent interview for the Daily Telegraph, John Cleese reveals his "secret ritual" for preparing to perform: the same "constructive rest" Alexander Technique procedure I teach all my students.
“I lie on the floor with a book under my head, my knees up and my feet flat on the floor, very, very quiet for about half an hour.” ... “If I do that then I always go on stage feeling good. It is one of the reasons I am not terribly keen on having people visiting me before the show, I like that period of absolute quiet to get completely relaxed. Then when I go on stage I am going to be much funnier if I’m relaxed than if I’m still a bit wound up.”
Another fine actor uses the Alexander Technique to discover how his character should move.
Jonathan Tucker, on preparing for his role of Boon in the final season of Justified:
To take on the role of Boon, Tucker used the Alexander Technique, which puts a premium on the physical aspects of a character. “It puts you into a physical place from which the rest of your choices are informed,” he says. “Everybody walks differently and talks differently. It’s important to incorporate that. Teaching actors how to find their neutral spine allows them to make choices from there.” http://www.ew.com/article/2015/12/10/jonathan-tucker-kingdom-hannibal-roles