‘Art and the fearless brain’ by Joseph Sanders proposes a seven-fold ‘performance-centred learning’ model in order to move away from fear-inducing concentrative models.[1]
‘The vitality and grace of the performing artist’ by Nadia Alexandra Kevan; observations on teaching freedom of movement for performers, with reference to the psycho-physical support system and the body awareness course she taught for 20 years at the Folkwang University of Arts, Essen.[2]
‘Reflective practice, the Alexander Technique and technology’ by Judith Kleinman; on the use of a Performance Simulator (which provides a virtual audience) in the Centre for Peforming Science department at the Royal College of Music.[3]
‘Confident creativity’ by Corinne Cassini describes four of the practices the author offers in her classes for musicians, e.g. identifying thought and belief patterns which get in the way of performing well.[4]
‘Engaging the expert performer’ by Kate Conklin; on learning from others, from multiple sources, identifying what works for them, their strategies, and rehearsing and evaluating.[5]
‘Of testing times and hoped-for miracles’ by Robert Schubert; on using the Technique to change performance anxiety (especially exams) for clarinet players, focusing on the use of the self instead of being attached to the outcome.[6]
‘Creating dynamic learning communities for performing artists’ by Ariel Weiss argues for the value of teaching the Technique to performing artists in groups, giving an example of an experiential learning model, and discusses group dynamics.[7]
See also Stage fright.
