Each of the first-generation teachers gave to the Alexander work a particular emphasis, based perhaps on a particular need – or a strong interest – in themselves which was related to just such an aspect or aspects.
Many of the second generation teachers tended to particularly focus on those aspects mastered by their own teachers and then, by a kind of psycho-physical synecdoche, took that for the whole.
It is a consequence of our discipline’s somewhat tribal history and development that many teachers today find it difficult to exchange on more than a superficial level with someone from another lineage.
I will in another post (Systems, Schools and So-called Styles) attempt to explore some of the reasons why these difficulties exist, but here I want to look at some of the problems which I have observed which, though different in many ways, have a common source; an over-emphasis of the sensory side of Alexander work.
The huge amount of hands-on work which takes place in training courses can, of course, be transforming. There is, however, a flip-side to this, which is that a student’s nervous system becomes accustomed to certain sensory experiences, and sensory experiences are, like many other repeated activities of a pleasant – or even unpleasant – nature, addictive.
Alexander warned us about this in a little known passage in MSI (See Equilibrium: Mind, Body and the Thing about Feelings).
Here are some of the more common traps that one might fall into:
- The “up-junkie”; i.e. someone who is end-gaining for direction, always seeking the experience of “going up” for its own sake – with a corresponding over-stimulation of the nervous system
- The “release-junkie”; endlessly looking for excuses to lie down and do nothing in the hope that some muscular tension may be released
- The Alexandroid Mark 1: who attempts to inhibit by blocking the flow of vitality in the body and suppressing natural impulses (see Spontaneity). This is usually brought about by trying to feel oneself being very still.
- The Alexandroid Mark 2: who attempts to hold onto “good use” by feeling oneself in a certain posture or tonal state.
Most of the above can be recognised by a certain glazed look which appears in the eyes, together with one or another kind of fixity of body (see £10,000 chest).
Of course in time many people are able to let go of these imposed controlling mechanisms, but to what extent they might be avoided in the first place is certainly a question worthy of consideration.
“Control should be in process, not superimposed.”1 F M Alexander
1. Teaching Aphorisms: The Alexander Journal No 7, 1972, published by the Society of Teachers of the Alexander Technique. Also published in Articles and Lectures by Mouritz (1995).
© 2015 John S Hunter