In acting, body and mind must become a finely tuned instrument.

In my many years as an actor, director and acting coach, I became increasingly clear about the connections between the Alexander Technique and the acting trade. Permeability and the control of body, mind and soul is what a good actor needs. And precisely what the Alexander Technique teaches.

Now many actors will say that too much consciousness is dangerous, that acting should be free and intuitive.

I agree with that. But Stanislavsky already wrote in Work on the actor, it is about “using conscious, indirect means to awaken the unconscious and involve it in the creative process” to “stimulate the unconscious work of nature through the conscious psycho technique of the actor.
So the Alexander technique is more than just a training in which the body of the actor is made more flexible, it is not only a supporting minor class, it is a acting principle.

According to this principle I teach acting and song interpretation.

If you play “always the same” or if you simply don’t make visible what you are so sure of playing, then it’s worth looking at the subconscious patterns, playing habits and decisions.

“There’s nothing right nor wrong but thinking makes it so.”

Hamlet, Shakespeare