creating and working


The Technique is a tool for improving the quality of any creative act. Its study is mainly popular among creative people and artists, who feel that stubborn habits hamper the quality of their performance: musicians, actors, dancers, singers and more. In this context, it has been taught for years in leading schools of music, dance and drama in Britain, the US and elsewhere, from the Juilliard in New York to the Royal Academy of Music in London. The Technique generally draws those who are moved by harmony, elegance, poise and the aesthetics of creativity, movement and sheer presence.

In order to enhance quality of performance, and as a tool for the prevention and healing of injuries, the Technique also serves both amateur and professional athletes, including Olympians from various fields: swimming, athletics, golf, horse riding, rowing and more. For this purpose, Alexander integrates naturally with other performance enhancement techniques. For several years now, I, for instance, have combined the Technique with the Total Immersion method when swimming.

What we are after is to prevent waste of energy through misdirections.

Frederick Matthias Alexander


From my own experience and that of many others, the Technique is very helpful for people sitting in front of a computer for long hours every day, both in preventing back, neck and joint problems, etc., as well as from the broader perspective of enhancing performance quality. After all, the writing of a code, a contract or a business plan is also a creative act with a natural connection between its quality and the freedom, balance and inner order of the person creating it.

For advanced students, the Technique is also an effective tool for decision-making, crisis management, investment management and more. The Technique is taught at a number of leading international firms in the fields of technology, finance, law and the media, primarily in the USA and UK and, I believe, will in time become a sort of best-practice in leading firms in Israel as well.

We ourselves are the instrument—each one of us is the instrument—by means of which whatever we are going to do is done.

Frederick Matthias Alexander