In terms of what we’re doing with students, when you’re dealing with something that is so brief and so short, the beginning and the end are the same. It’s something that is doable. It’s concrete. You can rehearse it and they can deliver it.
They’re also developing their identities of self at that age. So as their voice gets stronger, as their persona on stage becomes more vivid, there’s more room for flexibility. So if a student were doing something longer, and they had maybe three points they wanted to get out, I would focus them on learning the three points, and then memorizing the last sentence.
Andrew: Something that had never occurred to me until I sat in on your classes was that talking from the stage could transition into the performance itself. You really emphasized that the ending of the talk could match the energy of the next piece on the program.
Adam: That came from my own exploration. When I first started speaking at my concerts, I would have all this energy. I really like talking spontaneously. And I would have all of these ideas and my mind would be racing and then I would sit down at the piano and I would think, “Wait, I have to be calm and still now.” It would be very very difficult.
So I started to map out the experience that I wanted to have on stage. I would think about the performance as a whole: how I wanted my time to be. I’m responsible for that time. And I realized, the more you put these things together—speaking and performing—the stronger they both are.
Andrew: As much as you start with meaning, that doesn’t mean that you neglect technique. And I think that this is one of the connections between how you teach public speaking and how I approach teaching Alexander, that the physical coordination is there in support of the meaning, the need to express something.
Adam: Yes, I mean, we speak every day. It’s our primary means of communication. We get nervous when it becomes performance. So when we figure out everything around the presentation before dealing with the technical, we tap into that everyday experience as opposed to creating an artifice. And that’s a perfect connection to Alexander. Alexander is about finding the natural movement and releasing the unnecessary things that we have built up to create a more natural flow in your body. Am I right?
Andrew: Yes. And just as there’s a widespread fear of public speaking, there’s also a widespread policing of posture. So it was exciting to be able to address how the students were, as Alexander teachers like to say, “using themselves” when they were up speaking before the class. And make that a hopefully more positive experience.
Adam: You brought a vocabulary to the classroom that I’ve never gotten to work with in real time with students. I do address the physical on a very basic level. For you to have your laser-cat eyes on that kind of stuff and to help people release in a very physical way, it just changes things so much. And I felt that what you were doing was so complementary.
Andrew: Yes, there was this basic compatibility of approach. I mean, if you take a student standing in front of the classroom, preparing to speak: head forward, shoulders rounded, and hips cocked at an angle. This is clearly not a great place to connect with people as a speaker or as a performer.
Well, why do they have that pattern? The typical way that people talk about it is that there’s apathy, they’re checked out as a teenager. It’s this typical teenage angst.
But it’s not really: It’s a lack of organization in the body, and it’s a lack of organization that comes from sitting all day, and becoming the shape of the furniture that you sit in—or even the shape of the instrument that you play.
You can’t really change the shape that you see by just “standing up straight.” They need to really perceive where their support is coming from. They need to notice how they might be interfering with their breath, that when they let the breath recover, now they have the air they need to speak. But it’s not something that’s put on. It’s an experience of the coordination that supports what they have to say.
Adam: It’s supporting something greater. I think that everybody needs a reason to do something new or to do something different. And in a classroom setting, they can get feedback about what’s changing about their presentation. Physically, verbally, musically. The more we unite all of those things, the better.
People aren’t going to a festival to learn how to have better posture, or learn how to speak in public. They’re learning how to be better musicians. And these things help you be better musicians. When they realize that, that’s where the buy-in comes from. But it takes time. It’s a luxury to have a couple weeks.
Andrew: Yes, and like you said at the beginning, the speaking connects the performers to the audience. I can’t even tell you how many audience members came up to me after the final concert at Music in the Mountains last summer—I think one literally had a tear in her eye—and said, “The students! They’re so well-spoken!”
Praised as an “excellent pianist” with “titanic force” (New York Times), Adam Marks is an active soloist, chamber musician, and educator. He has appeared as soloist with the Mission Chamber Orchestra, Manchester Symphony Orchestra, the National Repertory Orchestra, and at notable venues including Salle Cortot, Carnegie Hall, Miller Theatre, Logan Center for the Arts, Millennium Park, Ravinia, and the New World Symphony Stage. He was a laureate of the 2008 Orleans Competition for contemporary music in Orleans, France. Recent performances include recitals in Brazil, Singapore, and Croatia. Highlights of the 2014-2015 season include a residency with Yale University composers, appearances with the Pittsburgh New Music Ensemble, and a return to the Dame Myra Hess Recital Series and live broadcast on WFMT. Adam is currently appearing on stage in Fiasco Theatre’s critically-acclaimed revival of Into The Woods at Roundabout Theatre off-Broadway. To learn more about Adam, visit adammarks.com.
The Music in the Mountains Conservatory is a summer festival for high school and college-aged classical musicians. It runs from July 12 to August 1, 2015. The application deadline is March 16, 2015.
Related posts from the Alexander & blog: Finding the Story and When a Slump Becomes a Slouch: How Much Should We Read Into Posture?