| Acknowledgements | viii |
| Foreword | ix |
| An Introduction to The Actor and the Alexander Technique | xiii |
| Introduction | xv |
| F. M. Alexander's Story | xviii |
Part 1 | The Alexander Technique in the Theatre | 1 |
| How the Alexander Technique Became My Vocation | 3 |
| The Alexander Teacher's Role in the Production of a Play | 6 |
| The Principles of the Alexander Technique | 11 |
1. | Recognition of Habit | |
2. | Inhibition--Pausing for an Instant to Arrest a Habit | |
3. | The 'Primary Control' | |
4. | Giving Direction--Learning to Use Your Thinking to Make a Change | |
5. | 'Feelings' May Give Unreliable Feedback | |
6. | End-gaining | |
7. | Non-doing--'Less is More' | |
| The Anatomy Lesson | 29 |
| The Actor Prepares--Warming Up | 37 |
| Preparing the Actor for Rehearsal or Performance | |
| Warm-up Exercises | |
1. | Stretching on the Mat--Lying on the Back in the Semi-supine Position | |
2. | Engaging the Adominal Wall and the Back Muscles | |
3. | A Shoulder Stretch | |
4. | Getting Up Off the Floor | |
5. | Finding Balance or 'Centre' | |
6. | Arm Stretching | |
7. | Undulating Through Centre | |
8. | Find the Hip Joint | |
9. | The Rolling-over Exercise | |
10. | Balancing into Walking | |
11. | An Open-leg Stretch | |
Part 2 | Putting the Alexander Technique to Work | 55 |
| Partner Work--Moving in Relationship | 57 |
| Partner Work and Spatial Awareness Exercises | |
1. | Spatial Awareness Exercises | |
2. | Endowment--Observing the Other | |
3. | Stage 2 of Spatial Awareness | |
4. | Contact Partner Work | |
5. | Centrifugal Force and Opposition Exercises | |
6. | A Mirroring Exercise | |
7. | Status Work--Playing the High and the Low Brows | |
8. | Tableau Exercise--Learning to Survive a 'Freeze' | |
| The Table Work and the Alexander Technique | 79 |
| Lesson One | |
| Lesson Two | |
Part 3 | Alexander Technique and Voice Work | 85 |
1. | Alexander's Discovery | |
2. | Voice Work and the Alexander Technique | |
3. | Musical Theatre | |
4. | Opera Singing and the Alexander Technique | |
5. | The Whispered 'Ah' Exercise | |
Part 4 | The Alexander Technique and Acting Challenges | 99 |
| Relevance of the Alexander Technique to Acting | 101 |
1. | The Actor and Fitness | |
2. | Character Work and the Alexander Technique | |
3. | Playing Another Gender--from the 'Trouser Role' to the Drag Act | |
4. | Imitation--Mirroring | |
5. | The Kissing Class | |
6. | Nudity | |
7. | Alexander with Costumes, Wigs and Period Accoutrements | |
8. | Mask Work | |
9. | The Zoo Project--An Animal Study | |
10. | The Lion King | |
11. | An Elizabethan Bear | |
12. | The Injured Actor | |
13. | Understudies | |
14. | The Ageing Actor | |
15. | Falling and Fainting On Stage | |
16. | Drunkenness | |
17. | Martial Arts and the Alexander Technique | |
| The Stage--How the Actor Adapts to Playing the Space | 140 |
1. | The Proscenium-arch Stage | |
2. | The Raked Stage | |
3. | The Thrust Stage | |
4. | Theatre In the Round | |
5. | Outdoor Theatre | |
| Epilogue | 145 |
| Addresses | 147 |