The dancer breaks down the movement in the solo and emphasizes how the Alexander Technique allows the movement to be fuller and more integrated expression. The principle also focuses on extending throughout the entire body. He presents his old dance habits and demonstrates how using Alexander Technique changes his functioning and execution of the movement. He uses the sequences of the pathways and sensation to move through his forearm, extending through his fingertips. In executing a flat back, instead of using his back muscles to hold the position, he extends the joint in his hip and extending through the top of his head. This enables a flat back that is flatter as compared to how he previously did when he engaged the muscles in his lower back. His pen-like writing gestures are taken up forward into the air with a relaxed posture. In his ‘king’ pose, he pushes his hips forward to create the same pose, and there was no tension in his neck when he lifted his head. This creates space in his spine and frees his neck from tension. When he used his hips, knees, and ankles to walk forward and back, his movement became continuous and integrated with a relaxed shape, comfortable in the body. His use of the primary control allows him to achieve the same position required for the choreography, and the result was a more embodied movement.
The use of the principles of Alexander Technique can protect the dancer’s body, and add an embodied, emotional and fuller movement quality in the dance. The dancer can achieve the same movement with less muscular effort required.
Reference:
Louis Gervais (2009) Alexander 1. Available at: https://www.youtube.com/watch?v=iG3JhthquCo [Accessed 1
The use of the principles of Alexander Technique can protect the dancer’s body, and add an embodied, emotional and fuller movement quality in the dance. The dancer can achieve the same movement with less muscular effort required.
Reference:
Louis Gervais (2009) Alexander 1. Available at: https://www.youtube.com/watch?v=iG3JhthquCo [Accessed 1