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Alexander technique

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Title: Alexander technique  
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Subject: List of forms of alternative medicine, Mindfulness, Dance and health, Mind–body interventions, Vocal coach
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Alexander technique

The Alexander technique, named after Frederick Matthias Alexander, teaches people how to avoid unnecessary muscular and mental tension during their everyday activities. It is an educational process rather than a relaxation technique or form of exercise. Most other methods take it for granted that 'one's awareness of oneself' is accurate, whereas Alexander realized that people who had been using their bodies wrongly for a long time could not trust their feelings (sensory appreciation) in carrying out any activity.[1] Practitioners say that such problems are often caused by repeated misuse of the body over a long period of time, for example, by standing or sitting with one's weight unevenly distributed, holding one's head incorrectly, or walking or running inefficiently. The purpose of the Alexander technique is to help people unlearn maladaptive physical habits and return to a balanced state of rest and poise in which the body is well-aligned.[2]

Alexander developed the technique's principles in the 1890s[3] as a personal tool to alleviate breathing problems and hoarseness during public speaking. He credited the technique with allowing him to pursue his passion for Shakespearean acting.[4]


  • History 1
  • Process 2
  • Uses 3
  • Method 4
  • Effectiveness 5
  • Influence 6
  • See also 7
  • References 8
  • Further reading 9


Frederick Matthias Alexander (1869-1955) was a Shakespearean orator who developed voice loss during his performances. After doctors found no physical cause, Alexander reasoned that he was doing something to himself while speaking to cause his problem. His self-observation in multiple mirrors revealed that he was contracting his whole body prior to phonation in preparation for all verbal response. He developed the hypothesis that this habitual pattern of pulling the head backwards and downwards needlessly disrupted the normal working of the total postural, breathing and vocal mechanisms. After experimenting to develop his ability to stop the unnecessary and habitual contracting in his neck, he found that his problem with recurrent voice loss was resolved. While on a recital tour in New Zealand (1895) he began to realise the wider significance of head carriage for overall physical functioning. Further, Alexander observed that many individuals commonly tightened the musculature of the upper torso as he had done, in anticipation of many other activities besides speech.

Alexander believed his work could be applied to improve individual health and well being. He further refined his technique of self-observation and re-training to teach his discoveries to others. He explained his reasoning in four books published in 1918, 1923, 1931 (1932 in the UK) and 1942. He also trained teachers to teach his work from 1930 until his death in 1955. Teacher training was interrupted during World War II between 1941 and 1943, when Alexander accompanied children and teachers of the Little School to Stow, Massachusetts to join his brother, A. R. Alexander, who also taught his brother's technique. In the 1960s, there was enough interest to start the first dedicated school, called The American Center for the Alexander Technique, in New York City.[5]

Famous people who have studied the Alexander Technique include actors Roald Dahl, Robertson Davies, and Aldous Huxley; and Nobel Prize winner for medicine and physiology Nikolaas Tinbergen.[6][7][8][9][10][11]


Alexander's approach emphasizes mindful action. The technique is applied dynamically to everyday movements, as well as actions selected by students.

Actions such as sitting, squatting, lunging or walking are often selected by the teacher. Other actions may be selected by the student, tailored to their interests or work activities such as hobbies, computer use, lifting, driving or performance in acting, sports, speech or music. Alexander teachers often use themselves as examples. They demonstrate, explain, and analyze a student's moment to moment responses as well as using mirrors, video feedback or classmate observations. Guided modelling with light hand contact is the primary tool for detecting and guiding the way past unnecessary effort. Suggestions for improvements are often student-specific.[12]

Exercise as a teaching tool is deliberately omitted because of a common mistaken assumption that there exists a "correct" position. There are only two specific exercises practiced separately; the first is lying semi-supine; resting in this way uses "mechanical advantage" as a means of releasing cumulative muscular tension. This position is sometimes referred to as "constructive rest", or "the balanced resting state". It's also a specific time to practice Alexander's principle of conscious "directing" without "doing." The second exercise is the "Whispered Ah," which is used to co-ordinate and free breathing & vocal production.

Freedom, efficiency and patience are the prescribed values. Proscribed are unnecessary effort, self-limiting habits as well as mistaken perceptual assumptions. Students are led to change their largely automatic routines that are interpreted by the teacher to currently or cumulatively be physically limiting, inefficient or not in keeping with anatomical structure. The Alexander teacher provides verbal coaching while monitoring, guiding and preventing unnecessary habits at their source with a specialized hands-on assistance. This specialized hands-on requires Alexander teachers to demonstrate on themselves the improved physical co-ordination they are communicating to the student.[13]

Alexander developed terminology to describe his methods, outlined in his four books that explain the sometimes paradoxical experience of learning and substituting new improvements.

Constructive Conscious Control
Alexander insisted on the need for strategic reasoning because Short-sighted habits that have become harmfully exaggerated over time, such as restricted breathing or other habitually assumed adaptations to past circumstances, will stop after learning to perceive and prevent them. [14]
Another example is the term "end-gaining". This term means to focus on a goal so as to lose sight of the "means-whereby"[15] the goal could be most appropriately achieved. According to Alexander teachers, "end-gaining" increases the likelihood of selecting older or multiple conflicting coping strategies. End-gaining is usually carried out because an imperative priority of impatience or frustration justifies it.
In the Alexander technique lexicon, the principle of "inhibition" is considered by teachers to be the most important to gaining improved "use." F.M. Alexander's selection of this word predates the meaning of the word originated by Sigmund Freud. Inhibition, or 'intentional inhibition', is the act of refraining from responding in one's habitual manner - in particular, imposed tension in neck muscles (see Primary Control). Inhibition describes a moment of conscious awareness of a choice to interrupt, stop or entirely prevent an unnecessary habitual "misuse". As unnecessary habits are prevented or interrupted, a freer capacity and range of motion resumes, experienced by the student as a state of "non-doing" or "allowing."
Primary control
This innate co-ordination that emerges is also described more specifically as "Primary Control". This is a key head, neck and spinal relationship. The body's responses are determined by the qualities of head and eye movement at the inception of head motion. What expands the qualities of further bodily response is a very subtle nod forward to counteract a common backward startle pattern, coupled with an upward movement of the head away from the body that lengthens the spine. Students gradually learn to include their whole body toward their new means of initiating motion.
To continue to select and reinforce the often less dominant "good use", it is recommended to repeatedly suggest, by thinking to oneself, a tailored series of "Orders" or "Directions." "Giving Directions" is the term for thinking and projecting an anatomically ideal map of how one's body may be used effortlessly. "Directing" is suggestively thought, rather than willfully accomplished, because the physical responses to "Directing" often occur underneath one's ability to perceive. As freedom of expression or movement is the objective, the most appropriate responses cannot be anticipated, but are observed and chosen in the moment.
Psycho-physical unity
Global concepts such as "Psycho-physical Unity" and "Use" describe how thinking strategies and attention work together during preparation for action. They connote the general sequence of how intention joins together with execution to directly affect the perception of events and the outcome of intended results.[16]


According to Alexander Technique instructor Michael J. Gelb, people tend to study the Alexander Technique either to rid themselves of pain, to increase their performance abilities, or for reasons of personal development and transformation.[17]

As an example among performance-art applications, the Alexander technique is used and taught by classically trained vocal coaches and musicians. Its advocates claim that it allows for the free alignment of all aspects of the vocal tract by consciously increasing air-flow, allowing improved vocal technique and tone. Because the technique has allegedly been used to improve breathing and stamina in general, advocates also claim that athletes, people with asthma, tuberculosis, and panic attacks have also found improvements. The technique has been used by actors to reduce stage fright and to increase spontaneity. By improving stress-management, the technique can be an adjunct to psychotherapy for people with disabilities, Post-traumatic Stress Disorder, panic attacks, stuttering, and chronic pain.[18]

The technique is a frequent component in acting training. It is part of the curriculum in many conservatory programs.


The Alexander Technique is most commonly taught privately in a series of 10 to 40 private lessons which may last from 30 minutes to an hour. Students are often performers, such as actors, dancers, musicians, athletes and public speakers, or people who work on computers, or who are in frequent pain for other reasons. Instructors observe their students, then show them how to hold themselves and move with better poise and less strain.[19] Sessions include chair work and table work, often in front of a mirror, during which the instructor and the student will stand, sit and lie down, moving efficiently while maintaining a correct relationship between the head, neck and spine.[20]

To qualify as a teacher of Alexander Technique, instructors are required to complete at least 1,600 hours, spanning at least three years, of supervised teacher training. The result must be satisfactory to qualified peers to gain membership in professional societies.[12][21]


The Alexander technique is cost-effective in the management of chronic pain.[22]

There is moderate evidence that the technique helps reduce the disability associated with symptoms of Parkinson's disease.[23]

Evidence suggests that Alexander technique lessons may help performance anxiety in musicians, but studies of the technique were inconclusive in improving music performance, respiratory function and the posture of musicians.[24]

No adequately designed clinical trials exist that allow evaluation of claims that the technique helps people with their asthma.[25]


The American philosopher and educator John Dewey became impressed with the Alexander technique after his headaches, neck pains, blurred vision, and stress symptoms largely improved during the time he used Alexander's advice to change his posture.[26] In 1923, Dewey wrote the introduction to Alexander's Constructive Conscious Control of the Individual.[27]

Aldous Huxley had transformative lessons with Alexander, and continued doing so with other teachers after moving to the US. He rated Alexander's work highly enough to base the character of the doctor who saves the protagonist in 'Eyeless in Gaza' (an experimental form of autobiographical work) on F.M. Alexander, putting many of his phrases into the character's mouth.[28] Huxley's work 'The Art of Seeing' also discusses his views on the technique.

Sir Henry Irving and other stage grandees, Lord Lytton and other eminent people of the era also wrote positive appreciations of his work after taking lessons with Alexander.

Since Alexander's work in the field came at the start of the 20th century, his ideas influenced many originators in the field of mind-body improvement. Fritz Perls, who originated Gestalt therapy, credited Alexander as an inspiration for his psychological work.[29] The Feldenkrais Method and the Mitzvah Technique were both influenced by the Alexander technique.

See also


  1. ^
  2. ^
  3. ^
  4. ^
  5. ^ In 1987, The North American Society of Teachers of the Alexander Technique was established to maintain high teaching standards.
  6. ^
  7. ^
  8. ^
  9. ^
  10. ^
  11. ^
  12. ^ a b
  13. ^
  14. ^ Body_Learning – An_Introduction to the Alexander Technique, Macmillan, 1996 ISBN 0805042067, quote p. 74, an article in New Scientist by Professor John Basmajian entitled "Conscious Control of Single Nerve Cells"
  15. ^ The subject of "Means whereby, rather than the end, to be considered" is discussed many times in Man's Supreme Inheritance, typically Chapter VI, p. 263
  16. ^
  17. ^
  18. ^
  19. ^
  20. ^
  21. ^
  22. ^
  23. ^
  24. ^
  25. ^
  26. ^
  27. ^ F. M. Alexander, Constructive Conscious Control of the Individual, E. P. Dutton & Co., 1923, ISBN 0-913111-11-2
  28. ^ Aldous Huxley, Eyeless in Gaza, Chatto & Windus, 1936 ISBN 978-0-06172-489-3 F. M. Alexander is named in the last section of Chapter 2. Miller, the character whose description immediately resembles Alexander, appears at the beginning of Chapter 49.
  29. ^

Further reading

  • Alexander, FM Man's Supreme Inheritance, Methuen (London, 1910), revised and enlarged (New York, 1918), later editions 1941, 1946, 1957, Mouritz (UK, 1996), reprinted 2002. ISBN 0-9525574-0-1
  • Alexander, FM Constructive Conscious Control of the Individual, Centerline Press (USA,1923), revised 1946, Mouritz (UK, 2004) ISBN 0-9543522-6-2
  • Alexander, FM The Use of the Self, E. P. Dutton (New York, 1932), republished by Orion Publishing, 2001, ISBN 9780752843919
  • Alexander, FM The Universal Constant in Living, Dutton (New York, 1941), Chaterson (London, 1942), later editions 1943, 1946, Centerline Press (USA, 1941, 1986), Mouritz (UK, 2000) ISBN 0-913111-18-X, ISBN 978-0-913111-18-5, ISBN 0-9525574-4-4
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