Alexander Technique

Registration deadline

February 1, 2026, at midnight

Schedule and exact locations

• Group session #1: Monday, April 13, from 1:30 p.m. to 4:30 p.m. (Studio A, Conservatoire d’art dramatique de Montréal, 4750 Henri-Julien Ave., Montréal)
• Group session #2: Monday, May 4, from 1:30 p.m. to 4:30 p.m. (Atelier lyrique, Conservatoire d’art dramatique de Montréal, 4750 Henri-Julien Ave., Montréal)
• Group session #3: Monday, May 25, from 1:30 p.m. to 4:30 p.m. (Studio A, Conservatoire d’art dramatique de Montréal, 4750 Henri-Julien Ave., Montréal)
• Group session #4: Monday, June 1, from 1:30 p.m. to 4:30 p.m. (Atelier lyrique, Conservatoire d’art dramatique de Montréal, 4750 Henri-Julien Ave., Montréal)
• Group session #5: Monday, June 8, from 1:30 p.m. to 4:30 p.m. (Studio A, Conservatoire d’art dramatique de Montréal, 4750 Henri-Julien Ave., Montréal)

The five (5) three-hour group sessions are interspersed with eight (8) hours of individual coaching, which will take place at the Alexander Technique Studio, 911 Jean-Talon Street East, Suite 135, Montréal.

Description

Wanting to do well, doing too much, or acting too quickly often leads to engaging in action with unnecessary tension. Acquiring a technique that optimizes physical posture, breathing, coordination, and bodily balance will have a direct impact on the quality of your artistic performance. Becoming aware of the mental and physical processes that lead to negative tension during performance is an essential key to finding solutions adapted to your challenges. Releasing harmful tension enhances the ability to improve stage performance and progress in one’s professional practice.

Origins of the Technique

Originally an actor with vocal problems, Frederick Mathias Alexander (1869–1955) developed a teaching method that encourages individuals to refine their sense of movement. A contemporary of Stanislavski and Copeau, some principles of his approach align with those advanced by these theatre practitioners. Alexander recognized the inseparable link between body and mind and promoted principles that foster better use of oneself.

The Alexander Technique is recognized by thousands of health professionals, athletes, dancers, and performing artists as one of the most advanced forms of psychophysical work.

Objectives

This training aims to improve the performance of stage artists through mastery of a postural re-education technique that helps avoid unnecessary tension.

By the end of the training, participants will be able to:

• Develop awareness of their body in motion in space.
• Recognize unnecessary tension associated with habitual daily patterns.
• Act with improved coordination by applying the principles of pause and direction.
• Assert a strong quality of presence in action through better breathing and stress management.
• Better protect themselves against workplace injuries.
• Increase versatility.
• Choose efficiency and simplicity of movement.
• Expand availability in performance situations.
• Deepen the integration of Alexander Technique principles through situation-based practice specific to each participant (e.g., manipulating a puppet, singing, performing a scene excerpt, etc.).

Overall, participants will experience greater availability to themselves, others, and their environment, directly enhancing the quality of their presence in performance contexts.

Topics Covered

• Basic concepts of postural anatomy.
• Application of directions and their impact on breathing.
• Exercises to develop awareness of three-dimensionality.
• Improvement of overall coordination.
• Awareness of the relationship to the ground in balance and imbalance.
• Active rest and its effects on releasing unnecessary tension.

Who Is This Training For?

This training is open to members of the Regroupement québécois de la danse (2 reserved spots), Regroupement du conte au Québec (3 reserved spots), and ACTRA members (3 reserved spots).

Artists who are not members of the UDA must contact Geneviève Laflamme Cormier directly by writing to formation@uda.ca to learn about the registration process.

Required Materials

Participants must bring their own yoga mat.

Instructors

Johanne Benoit

Johanne Benoit was an actress and later Artistic Director of Théâtre La Grosse Valise, specializing in the creation of masked theatre productions for various audiences. She studied with Monika Pagneux and Guy Freixe, both disciples of Jacques Lecoq, and holds a Bachelor’s degree in Drama Education from UQÀM.

A graduate of the Canadian Society of Teachers of the Alexander Technique (CANSTAT), she integrates Alexander Technique principles into her theatre pedagogy, offers individual AT lessons, and provides coaching for performing artists. Since 2006, she has co-directed Alexander Technique classes within the UDA’s continuing education program. She also teaches at the École de théâtre professionnelle du Collège Lionel-Groulx. In 2017, she directed Trois petits vieux qui ne voulaient pas mourir, a production by Théâtre du Frèt.

Suzanne Jacob

Trained and certified in England in teaching the Alexander Technique in 1983, Suzanne Jacob has been practicing both individual and group instruction since that time. She is a member of STAT & CANSTAT (British/International and Canadian Societies of Teachers of the Alexander Technique) and RES (Regroupement pour l’éducation somatique). She also holds a DESS (Graduate Diploma in Somatic Education) from UQÀM (2006).

In addition to teaching future massage therapists body awareness through somatic education, her practice also works extensively with performing artists—singers, instrumentalists, dancers, and actors—through experiences including the Shaw Festival (Niagara-on-the-Lake, Ontario), St. Andrews Arts Council (New Brunswick), UQÀM, Agora de la danse, Université de Montréal (Department of Music), and CAMMAC (vocal performance).

Since 2012, she has had the great pleasure of co-directing the Alexander Technique classes within the UDA’s continuing education program.

Questions ?

Contact Geneviève Cormier-Laflamme
514 288-7150, ext. 1152
formation@uda.ca

This training is contingent upon receiving funding from the Intervention-Compétences program of Compétence Culture.