moving parts

"You translate everything, whether physical, mental or spiritual, into muscular tension." — F.M. Alexander

Movement is the lifeforce in performing, it is the thing that makes movies, tv, or theater fun to watch. It is what makes the difference between a still life and performative action. 

I had a teacher once tell me that acting is doing, that is such a simple and concise way of looking at it because it takes down all the bullshit of physicality in acting and asks you as the performer a very simple question.

What are you doing?? 

I’ve recently (the last 6-9 months)  been looking into different movement techniques, I’ve even went as far to take an intro to Alexander technique class. See I’m kind of using this book writing process as another learning opportunity and really dive into the questions I have about techniques that I either only had a class or two or ones that I disagree with, just because a technique doesn’t work for me, doesn’t mean it doesn’t work for everyone. (Unless it’s method acting, I wholeheartedly hate it and find it unsafe <3) 

So in my research & my experience coaching and directing, I am under the opinion that knowing where you are holding tension is one of the most important things to know. Not even in acting.

I feel like knowing that will help your life improve in general. 

I was working with a student once and he was having a hard time with the weight of the scene and the circumstances. He is an incredible actor, but he was having a hard time making it feel real for both the audience as well as himself.

I had him do a body scan and I had him isolate the tension in his body, he held tension in his shoulders, which I wanted to use in the scene. He was performing a Shakespeare piece and the thing I like the most about Shakespeare’s work (I viscerally hated his work before I really understood) is there is intention written into the scripts. 

I had the student of mine hold sand bags on his shoulders to mimic the tension and that would help anchor him into the scene, and it would serve as a reminder for the tension when he needed the substitution. 

Using these skills, you can perform more sustainably and safely.

The difference between good and great is consistency and sustainability.

I turned to The Suzuki Technique and my experience with it because I know its value.

When I was training in Suzuki at acting school, I learned that you can pull emotional intensity through body discipline or (for lack of a better term) pain. I learned that it’s more sustainable and easier to derole or let go of.  I have realized on sets and stages that it’s a good anchor when you can’t drive something more. Every acting book or teacher says that “good acting is good acting.”

I find it's more sustainable and, more importantly, more repeatable. It’s safer to do than trying to play mental gymnastics (most things are safer than that), and it’s simpler than most techniques out there.

I want it known that I agree with Tadashi Suzuki on the basis of what the technique stands for, but wholeheartedly disagree with his purist beliefs and his beliefs on “Animal energy” vs. “Non-animal energy.”

In my research of The Alexander Technique, I have really enjoyed what Betsy Polatin, Boston University said, “it increases well being through neuro-muscular re-education or mind-body re-eduction.” 

She goes on to say, “You learn to pay attention to your mind-body interaction, how you think affects your body, and how your body works affects your mind.” 

It’s much more than just where in your body you hold tension, it’s about awareness of your body and the way you hold your body and letting that affect and inform you.

Jesse Garlick, actor says, “It helps you live more truthfully in the given imaginary circumstances by taking away the artifice one creates around acting and just puts you on display as yourself truthfully in the space.”

I find being more open and willingly in your body to accept the circumstances and really let the given circumstances affect you and (more importantly) your body, you are able to be more honest in your performance. You are able to access more of that catharsis because you are able to live truthfully in your body in the given imaginary circumstances. You are able to give your body permission to feel and be more open.

When I directed an Arthur Miller piece, I put nuts and washers in a girls shoes, so she would be irritated every time she walked. That triggered her emotional response in the scene. Her performance became more honest and effective because she didn’t have to try to be irritated or exhausted, she was. This also again made her performance more sustainable and repeatable.

This is safer and more consistent and repeatable.

“Existence is movement. Action is movement. Existence is defined by the rhythm of forces in natural balance.” -Ruldolf Von Laban