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Private Lessons with Suzanne
Through "hands-on work" as well as verbal guidance, the Alexander teacher leads the student to become more aware of and to change habits of tension and misuse. The educational process of the Alexander Technique trains your kinesthetic coordination and enables you to begin to free patterns of tension to access your underlying support. Experience more effortless and efficient movement to support your daily activities (ie. walking, computer work, chores etc.) and/or performance (music, dance, acting, etc.). Cost: $85.00 - 60 min. lesson $70 - 45 min. lesson $55.00 - 30 min. lesson Some sliding scale slots are available. Fees are tax deductible for performing artists as “Professional Development”. * You can cancel or reschedule your lesson with 24 hours or more advance notice. Location: 124 Morrison Ave., Toronto, Ontario, M6E 1M4 I am available to teach private lessons and/or small group classes in my home studio in Toronto. Please contact me directly to book a session. Suzanne Liska 416 704-8096 suzliska@yahoo.com |
Group AT Workshops
AIM - Alexander Technique Informed Movement 7-9pm Jan 10, Feb 7, Mar 7, Apr 4, May 2, Jun 6 2019 Location: IGAC Artscape Youngplace Centre Studio 103 – 180 Shaw St., , Toronto (South Dundas) Cost: $30/wkshp $25/wkshp cada/act/stud $20/wkshp for 3 or more *Open to all levels of experience **Max. 8 students for more individualized learning Work better. Perform better. Feel better. Whether it is your daily activities (walking, computer work, housework etc.) and/or performance (music, dance, acting, etc.). There will be opportunities to receive “hands-on-work” by Suzanne. The workshops will include discussion, observation, movement, and individual activities. |
What is the Alexander Technique?
Alexander Technique (AT) is a somatic educational theory and method developed by F.M. Alexander in the 1890s. AT supports students to access their underlying support and experience more effortless, efficient, and coordinated movement in daily activities (ie. walking, computer work, chores etc.) and/or performance (music, dance, acting, sports, etc.).
The somatic pioneer, F.M. Alexander suffered from ongoing respiratory and vocal problems starting from birth in 1869, and continuing into his life as an actor in the 1880s. He sought medical advice, receiving some temporary relief, but his recurring vocal problems would immediately return during performances. Frustration, determination, and curiosity led him on a journey of self-observation to gain awareness of how his movement and thought patterns were interfering with his innate and underlying support
Working with an Alexander Technique Teacher
Alexander Technique (AT) teachers work with students to provide a more accurate sensory awareness of how our bodies move efficiently. Working with the principles, facilitates more kinesthetic and cognitive understanding to use the optimal amount of muscular effort required for a particular activity. AT scholars write, and I witness in my students, that working with the AT principles heightens awareness and desire. Through regular lessons students experience an overall physical fluidity, an ease of breathing, increased trust in themselves and others, and a feeling of satisfaction while engaging in performance and/or daily activities. The principles support us to make more efficient choices in the moment, by accessing our ongoing support and freedom.
-Suzanne Liska "Choreographic Research Combining Contact Improvisation and the Alexander Technique: Somatic, Practice-Based-Research, and Ethnographic Inquiry" MFA Thesis, York University, 2017.
Recommended AT Scholarship
Alexander, F. Matthias. The Use of the Self. London, Chaterson, 2001 ed (1932).
___________________. Constructive Conscious Control. Mouritz, Lon, 2004 ed (1923).
Bales, Melanie, and Rebecca Nettl-Fiol. The Body Eclectic: Evolving Practices in Dance Training. Urbana: University of Illinois Press, 2008.
Conable, Barbara, and William Conable. How to Learn the Alexander Technique: A Manual for Students. 1995.
Gelb, Michael. Body Learning: An Introduction to AT. Macmillan, 1995.
Jones, Frank Pierce. Body Awareness in Action: A Study of Alexander Technique. Schocken Books, 1979.
Madden, Cathy. Integrative AT Practice for Performing Artists: Onstage Synergy. Intellect Ltd, 2014.
Meade Andrews, published "An Étude a Day" in Direction, A Journal on the Alexander Technique, 3.6, 2009.
Nettl-Fiol, Rebecca, and Luc Vanier. Dance and the Alexander Technique: Exploring the Missing Link. Urbana: University of Illinois Press, 2011.
Useful Websites
Susan Sinclair's AT Teacher Training Certificate Program Toronto www.sinclairstudio.com
Sakiko Ishitsubo AT Teacher Training Certificate Program Tokyo www.sakiko-alexander.com/home-1
Alexander Technique International ati-net.com/ati-artl.php
Alexander Technique (AT) is a somatic educational theory and method developed by F.M. Alexander in the 1890s. AT supports students to access their underlying support and experience more effortless, efficient, and coordinated movement in daily activities (ie. walking, computer work, chores etc.) and/or performance (music, dance, acting, sports, etc.).
The somatic pioneer, F.M. Alexander suffered from ongoing respiratory and vocal problems starting from birth in 1869, and continuing into his life as an actor in the 1880s. He sought medical advice, receiving some temporary relief, but his recurring vocal problems would immediately return during performances. Frustration, determination, and curiosity led him on a journey of self-observation to gain awareness of how his movement and thought patterns were interfering with his innate and underlying support
Working with an Alexander Technique Teacher
Alexander Technique (AT) teachers work with students to provide a more accurate sensory awareness of how our bodies move efficiently. Working with the principles, facilitates more kinesthetic and cognitive understanding to use the optimal amount of muscular effort required for a particular activity. AT scholars write, and I witness in my students, that working with the AT principles heightens awareness and desire. Through regular lessons students experience an overall physical fluidity, an ease of breathing, increased trust in themselves and others, and a feeling of satisfaction while engaging in performance and/or daily activities. The principles support us to make more efficient choices in the moment, by accessing our ongoing support and freedom.
-Suzanne Liska "Choreographic Research Combining Contact Improvisation and the Alexander Technique: Somatic, Practice-Based-Research, and Ethnographic Inquiry" MFA Thesis, York University, 2017.
Recommended AT Scholarship
Alexander, F. Matthias. The Use of the Self. London, Chaterson, 2001 ed (1932).
___________________. Constructive Conscious Control. Mouritz, Lon, 2004 ed (1923).
Bales, Melanie, and Rebecca Nettl-Fiol. The Body Eclectic: Evolving Practices in Dance Training. Urbana: University of Illinois Press, 2008.
Conable, Barbara, and William Conable. How to Learn the Alexander Technique: A Manual for Students. 1995.
Gelb, Michael. Body Learning: An Introduction to AT. Macmillan, 1995.
Jones, Frank Pierce. Body Awareness in Action: A Study of Alexander Technique. Schocken Books, 1979.
Madden, Cathy. Integrative AT Practice for Performing Artists: Onstage Synergy. Intellect Ltd, 2014.
Meade Andrews, published "An Étude a Day" in Direction, A Journal on the Alexander Technique, 3.6, 2009.
Nettl-Fiol, Rebecca, and Luc Vanier. Dance and the Alexander Technique: Exploring the Missing Link. Urbana: University of Illinois Press, 2011.
Useful Websites
Susan Sinclair's AT Teacher Training Certificate Program Toronto www.sinclairstudio.com
Sakiko Ishitsubo AT Teacher Training Certificate Program Tokyo www.sakiko-alexander.com/home-1
Alexander Technique International ati-net.com/ati-artl.php
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Alexander Technique with Marjorie Barstow, the first graduate of FM Alexander's training course.
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Peter Nobes 2018. The Alexander Technique: so much more than posture.
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Luc Vanier and Rebecca Netl-Fiol discuss their work on applying the Alexander Technique to dance. Directed by Amie Segal. 2012
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College of Fine Arts School of Theatre master lecturer Betsy Polatin teachers Benjamin Stanton (CFA 2014) and students the Alexander Technique.
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