Frederick Matthias Alexander (1869-1955) was born in Tasmania, Australia. He became a successful Shakespearean actor, but developed serious voice problems that interrupted his performing career. When medical doctors couldn’t help him, other than prescribing rest, he was unsatisfied with this result, so he began considering alternative solutions.
In one of those game-changing light bulb moments, he realised that since this debilitating condition showed up only when he went into performance mode, but didn’t present itself through normal conversing, it must be something he himself was doing that was interfering with his use of his voice. He decided to investigate, to see if he could uncover what exactly he was doing.
Using strategically-placed mirrors, he soon found the problem. In preparation for oration, he’d throw his head back, take in a huge gasping breath, and grab the floor with his feet. But that information in itself didn’t make any difference. Each time he went to perform, even though he had firmly decided not to do those things, in the very last moment his old habitual ways kicked right back in.
He did finally figure it out, how to stop himself before those habits had any chance, and after years of investigation, he made a discovery that led to much more than just fixing his vocal problems. He distinguished the crucial relationship between the head, neck, and back, and its role in the optimal functioning of the body.
This most significant connection is crucial for optimal functioning, such that when it is brought about, it is sensed as
“… an integrating force that preserves freedom of movement throughout the system, so that energy can be directed to the place where it is wanted without developing strains either there or elsewhere.”
– Collected Writings on the Alexander Technique,
A Technique for Musicians,
Pt.1 Awareness, Freedom & Muscular Control,
by Frank Pierce Jones