The Actor and the Alexander Technique by Kelly McEvenue

Author:Kelly McEvenue
Language: eng
Format: epub
ISBN: 9781466886339
Publisher: St. Martin's Press

6. A Mirroring Exercise

In this classic theatre exercise, we can use the Alexander Technique to observe habits of movement in ourselves and others. Having information as to the primary control and organization of an actor’s coordination, we can consider the notion of walking a mile in another man’s shoes. Observing habits of movement gives an actor insight into the character. Actors love mimicry and on the strength of a few beers there is no greater amusement than to do a ‘piss-take’ of another actor’s acting. Usually the imitation is a composite of the actor’s habit and tension, intensified by the mimic. With the mirroring exercise, the actor will gain awareness of how others observe his movement, his rhythm and, foremost, his identifiable habits. It is painfully informative for a group of actors to learn just how imitative and habitual their movement can be. No actor wants to be identified or recognized by a quirky movement habit when he makes an appearance on stage. The skills of observation and evocation can be vital tools for character acting. Mirroring is a classic theatrical device used in many plays, which will be discussed further in Part 4.

• The mirroring exercise is done in partners, A and B.

• Begin by simply observing the skeletal and muscular organization of the other actor. When observing, ask yourself several questions about the shape and organization of the body of the other.

• What is the relationship of the head to the neck? Does it pull forwards, backwards, or is it tilting to one side?

• Observe where the weight is held. Is the person sitting in one hip more than the other? Is their weight distributed over the front of the foot, or does it seem to be more in the heels?

• Look at the arms in relation to the shoulder and back. Do the hands turn inwards or outwards? Are the fingers open or closed?

• Are the knees locked?

• Do you get a sense of a three-dimensional body?

• Partner A then begins to move around the room, walking, sitting and standing, while partner B moves about with partner A, observing specific details of the body and movement.

• Then partner B begins to allow the detailed observations of partner A to infiltrate and manifest themselves in his own body.

• The point of entry in capturing the ‘other’ may be a small detail: the swing of an arm, the lead of a foot, the movement of the head, or the drop of a shoulder.

• By allowing the rhythm of this foreign body to move through the actor, partner B is able to capture the manner of use of partner A.

• Then have partner A fall out to the outskirts of the studio in order for them to observe. The B partner continues moving, evoking the movement of partner A without the immediate visual aid and reference of A.

• There will be lots of giggles as the As observe the partner Bs’ renditions of themselves and their inimitable movement.

• Partner A

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