Over the last few months, I’ve had a number of students (acting and music) articulate their ideas about an upcoming performance in the following way:
- The performance is on x date
- I shall work on the process of learning the music/lines, experimenting with interpretation, and exploring the music… until the date of x.
- On x date, I will perform the piece.
In other words, I think it’s very easy for actors and musicians to go very happily through the process of rehearsing, learning, experimenting and exploring – until the performance. Then it can be every so tempting to believe that the process that led you to that point is over, and that your job is to deliver a finished product.
Speaking for myself, I know that I have often fallen into the trap of thinking of the actual performance as an end point. I have been very happy to go through a process involving thinking and learning about the music/script during rehearsals, but with the view that I am doing so in order to have a completed product to put in front of the audience at opening night. But what if the performance isn’t an end point or anything to be gained/achieved?
What if it is just another part of the process? In fact, what if the performance is the same process?
Performance as process
When I teach actors or singers, they often ask me to help out with improving a monologue or a solo; often the performer says they are having trouble with nerves or concentration. For example, if I am helping a young actor, I will watch them perform a scene, and often proceed as part of my lesson design to ask them some basic questions: Who are you? What are you doing? What do you want? Where are you going? Who are you talking to? After answering these questions, frequently the scene improves greatly without the need for any Alexander Technique hands-on work. But why?
Simple. By asking the questions, I remind the actor that performance is process. I have reminded them of the work that they did in rehearsal. To answer my questions, the actor has to recall both the content and the quality of thought and concentration that they used when they first created their interpretation. The answers are, in effect, recreated. And so when the actor performs the scene, they place themselves in the creative process that enables them to work moment by moment, line by line.
This was exactly the problem that FM Alexander discovered when he was trying to find a solution to his vocal problems. He had formulated a new plan for how to use his mechanisms (his body!) in speaking, and had practiced and practiced. But he realised that, at the critical moment of going to speak, he threw it away and reverted to his older manner of use. It was only when FM found a way of continuing to think about the process he had designed up to and through the critical moment of beginning to speak, that he began to experience sustained improvement.
So how do we as performers achieve similar sustained improvement?
Ideas to promote performance as process
- Remember that the performance isn’t the end point. It’s just another stage along a journey. If you’re an actor, the likelihood is that you’ll be performing the same words again the following night. If you’re a musician, you’ll have that piece of music in your repertoire for a long time. Play the long game.
- To play the long game, set goals for yourself that aren’t related to that particular performance. For example, for my next performance with my group Pink Noise, because we are playing a piece we know fairly well, my goal is to listen more to my colleagues and match intonations more closely.
- If you’re an actor, keep working on those basic questions: who are you? What are you doing? What do you want? Keep looking at the script. Sometimes it will surprise you, and you’ll find something that you’ve never noticed before!
Most importantly, keep remembering that the performance is no end point. When we view performance as process, we stay in tune with our words and music, we stay in the present moment, and we will be so busy that we’ll have no time for nerves! Try it, and let me know how it turns out.
 FM Alexander, The Use of the Self in the IRDEAT complete edition, p.428.