Alexander Technik für Schauspieler

Lee Strasberg | Stella Adler | Juilliard

Die Alexander Technik ist weltweit ein fester Bestandteil in unzähligen Schauspielschulen.

Renomierte Schulen wie Lee Strasberg, Stella Adler, Juilliard uvm haben ausgebildete AT-Lehrer in ihrem Lehrpersonal um ihre Studenten in dieser Technik zu unterrichten.

 

Mithilfe der Technik lernen SchauspielerInnen sowohl körperliche als auch psychische Gewohnheiten zu erkennen und zu verändern. Sie entwickeln ein solides, neutrales Fundament und erweitern so ihr Handlungsrepertoire. Durch das Wegfallen von eingelernten Gewohnheiten kann eine natürliche Präsenz und einer verfeinerte Wahrnehmung des eigenen Körpers entstehen.

 

"Von all den Disziplinen, die das Trainingsprogramm für Schausspieler  bilden, ist keine wichtiger, bereichernder und transformierender als die Alexander-Technik."

Harold Stone, ehem. stellvertretender Direktor "The Juilliard School" New York, USA

 

 "Trotz der besten Bestrebungen kann das Schauspielen zu einer Darstellung angesammelter, schlechter Gewohnheiten, verschütteter Instinkte und blockierter Energien werden. Das Arbeiten mit der Alexander-Technik, um die Fäden zu entwirren, hat mir Einsichten anderer Art gegeben; Geist und Körper, Arbeit und Leben beieinander. Wirkliche imaginative Freiheit."

Alan Rickman, Schauspieler

 

Schauspieler und Filmschaffende über die AT

“I can immediately tell the difference between actors who have studied the Alexander Technique, and those who haven’t”

 Sam Mendes, Oscar prämierter Regisseur (American Beauty)

 

“I really like to look into the physical acting characteristics of my character, because it helps me to transform. The Alexander Technique helps me to burrow into roles like gay cowboys and drug addicts by focusing on my posture, movement, and presence.”

 Health Ledger, Schauspieler

 

"The Alexander Technique helped a long-standing back problem and to get a good night’s sleep after many years of tossing and turning."

Paul Newman, Schauspieler

 

“[The Alexander Technique allows] you to feel what it’s like to stay open physically, and also stay fully involved in whatever you’re supposed to be doing. ”

Annette Benning, Schauspielerin

 

The Alexander Technique has helped me to undo knots, unblock energy and deal with almost paralysing stage fright.

William Hurt, Schauspieler

 

“I was very enthusiastic about the value of the Alexander Technique and I made it possible for all members of the “Richard III” and “The King Lear” companies to have lessons whilst rehearsing.”

Sir Ian McKellen, Schauspieler

 

“Using the Alexander Technique empowers me and gives me 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. I realized that I cannot control a set of circumstances outside of myself so I can go on a journey relying on the state of mind and body that the Alexander Technique gives me.”

Alan Rickman, Schauspieler

 

“I find the Alexander Technique very helpful in my work. Things happen without you trying. They get you to be light and relaxed. You must get an Alexander teacher to show it to you.”

John Cleese, Schauspieler

 

“The Alexander Technique is unquestionably useful and applicable to directors and other Director Guild members who must spend their day standing up, enduring enormous stress and pressure, under difficult conditions. Those aspects of the Technique I have been able to integrate with my life have been most useful in alleviating muscle tension and improving my endurance and carriage.”

Lawrence Kasdan, Film Director

 

“The many benefits that the Alexander technique afforded us as actors included minimized tension, centeredness, vocal relaxation and responsiveness, mind/body connection, and about an inch and a half of additional height. By balancing and neutralizing tensions, I’ve learned to relieve as well as to avoid the aches and pain caused by the thousands of natural shocks that flesh is heir to.”

Kevin Kline, Actor

 

"I was born with no natural aptitude. I wasn't pretty. I moved with no grace at all. I auditioned for the London Academy of Musical and Dramatic Arts but was not accepted. When I was finally admitted to Central School of Speech and Drama and showed up at my first movement class with my hump back and wearing a leotard, the movement teacher said, "Oh God." He sent me to the head of the school who then sent me to study the Alexander Technique with Dr. Wilfred Barlow. That whole semester I took Alexander lessons instead of attending movement classes which helped me enormously in my training and in subsequent years in my acting work. Now I can play people who are graceful and beautiful."

Lynn Redgrave, Schauspielerin