Alexander Technique

"THE ARTS IN LATIN AMERICA, 1492-1820" OPENS AT LACMA AND IS ORGANIZED BY ILONA KATZEW, STUDENT OF THE ALEXANDER TECHNIQUE AND CURATOR OF LATIN AMERICAN ARTS AT LACMA

Kristof Konrad, Ilona Katzew, and Jean-Louis Rodrigue at the Los Angeles County Museum of Art

The encounter between European and indigenous cultures was among the most cataclysmic events in world history. The richly diverse art forms subsequently produced throughout this vast region not only reflected the resulting seismic changes but were also central to the development of new identities. This exhibition presents magnificent, sometimes startling, and largely unknown works of art in all media, created by Europeans, indigenous, and mestizo artists and craftsmen, and outline how the mix of cultures was expressed in the arts in novel mediums and styles. The exhibition has already traveled to Philadelphia, Mexico City, and New York. As Christopher Knight, art critic of the Los Angeles Times wrote in his review of the exhibition, "curator Ilona Katzew has opted for a thematic presentation, unlike the "treasure house" approach taken in Philadelphia. With sections devoted to documentary aspects of painting, society portraiture, functions of devotional imagery, comparisons between Mexico and Peru and more, the beautifully installed show makes sense out of art that might otherwise be unfamiliar. This installation does not obscure the pomp and circumstance typical of Latin American colonial art. Meanwhile, its inventive, sometimes even trippy strangeness is revealed."

Ilona Katzew came to study the Alexander Technique with Kristof Konrad because of a back problem; "I began studying Alexander Technique after a friend suggested that it could help heal a lower back injury. Studying Alexander allowed me to become more aware of how I moved and how, when stressed, I tended to contract my body. It was a gradual process of retraining my neurological system, eventually allowing me to heal."

Thank you Ilona for this extraordinary exhibition and gift to the whole Los Angeles community. We encourage everyone to see this groundbreaking event because it gives you a unique opportunity to understanding how the mix of cultures and races shaped the history of the New World.

The Arts in Latin America 1492-1820
August 5 - October 28, 2007
Los Angeles County Museum of Art

www.lacma.org

MICHAEL RODGERS, EXCELLENT ACTOR AND CONSISTENT STUDENT OF THE ALEXANDER TECHNIQUE, IS STARRING IN TENNESSEE WILLIAMS' "THE MILK TRAIN DOESN’T STOP HERE ANYMORE" AT THE FOUNTAIN THEATRE

Michael Rodgers as Christopher Flanders in "The Milk Train Doesn't Stop Here Anymore" by Tennessee Williams at The Fountain Theatre

This is the Los Angeles revival of Tennessee Williams’ rarely-produced black comedy. Flora Goforth, an immensely wealthy and outrageous woman living high atop her Italian villa overlooking the Mediterranean and the Divina Costiera, dictates her memoirs to her secretary, Blackie, when they are disrupted by the violent and mysterious arrival of a handsome and charismatic poet known as the “Angel of Death.” Mrs. Goforth wants him as a lover, but he’s there for other reasons. Fountain Theatre’s production of “The Milk Train Doesn’t Stop Here Anymore” by Tennesee Williams is directed by Simon Levy and stars Lisa Pelikan, Karen Kondazian, Scot Presley, and Michael Rodgers.

The Milk Train Doesn't Stop Here Anymore
By Tennesee Williams, Directed by Simon Levy
September 28 – November 4, 2007
The Fountain Theatre

http://www.fountaintheatre.com/whatcoming.html

KRISTOF KONRAD HELPS ELISA BOCANEGRA TO FLY HIGH WITH THE ALEXANDER TECHNIQUE AT THE HARTFORD STAGE IN LUIS ALFARO’S NEW PLAY "BREAKFAST, LUNCH & DINNER", March 1- April 1, 2007.

Felix Solis as Al and Elisa Bocanegra as Minerva. Photo by T. Charles Erickson

Elisa Bocanegra lengthens and widens to the max with the Alexander Technique, and she glides like a feather! She recently came to work with Kristof Konrad to develop the character physicality for the leading role of Minerva in Luis Alfaro’s new play. The challenges of the role included wearing an enormous fat suit and a flying harness. The Huntington Herald described Elisa’s work in the following review: "You’ll laugh out loud, cry inside, and feel for Minerva, who is buoyantly portrayed by Elisa Bocanegra. How this engaging actress manages to float high into the rafters, smiling all the while, is remarkable."

Kristof previously coached Elisa for another role in Alfaro’s play "Electricidad" at the Mark Taper Forum in 2005.

www.hartfordstage.org

JAMES FRAIN PLAYS THOMAS CROMWELL IN SHOWTIME "THE TUDORS" TO AIR IN SPRING 2007.

Photo courtesy of James Frain

The Tudors will air on Showtime in spring 2007. The first season deals with the early years of Henry VIII, his love affair with Anne Bolynn and his subsequent divorce from Katherine of Aragon. It details how this motivated the seismic split of the English Church and State from Rome and changed the character of England from Catholic to Protestant. The foundations were laid to the American Revolution 250 years later. In ten one hour dramas we delve into Henry's court and private chambers and discover a world of intrigue and power that revolve around a ruthless and charismatic ruler with extraordinary sexual charisma. Henry is usually portrayed as the overweight figure familiar from his later years. The Tudors shows the athletic and youthful star king of Europe at the begininning of his ascent to total power over his reign. Jonathan Rhys-Myers plays Henry, Sam Neil plays Cardinal Wolsey and Jeremy Northam plays Thomas More.

Frain plays Thomas Cromwell who rose to prominence after Thomas More was executed for opposing the King's wishes and refusing to recognize the divorce from Katherine. Cromwell was a primary influence in using the King's "great matter" as leverage to institute the Protestant Reformation of England. He instituted the revolutionary seizure of land and wealth from the monasteries and instituted an unsurpassed series of reforms in Parliament. He was either a Tudor Tyrant or an early forefather of the commonwealth according to your perspective. He is a controversial and complicated character to unravel.

Frain says "I started working with Jean-Louis on the Alexander Technique last year while shooting Invasion for ABC. I have been particularly concerned to use the Alexander principles while working on The Tudors to find an ease and grace in the movement of Cromwell. The costumes are restrictive if not inhabited as they were designed to be worn - with an uprightness of posture - and I am keen that there is no stiffness to Cromwell's physicality. I find that the consciousness of upwardness, expansion, inhibition and release I am learning from the Alexander Technique are crucial in imagining myself into the world of the Tudor court. Cromwell was a social outsider who had to learn to adapt to aristocratic mores and my sense is that he would have wanted to be more gentlemanly than the gentlemen "to the manor born" and not display any awkwardness. I have a sense of him gliding through the court almost effortlessly - a man at home with the machinations of power."

"In my own life the experiences of release I am having with the technique are revelatory. I have studied Alexander Technique before but much less successfully than with Jean-Louis who has helped me unlock years of habit with comparative ease. I am discovering an economy of expression and a freedom from pain and tension that I had not thought possible and it is transforming my own sense of comfort in myself. I was intrigued to hear from Jean-Louis that some other actors I admire use Alexander Technique in their character preparation. I feel I have had a glimpse into the secret of their poise and confidence onscreen and I look forward to developing my understanding of the practice further. The Alexander principles are, slowly, subtly, with consistent and gentle encouragement, lodging in my body and mind. I am determined that they are here to stay!"

RODRIGUE IS PART OF THE FACULTY FOR THE INTENSIVE ACTING TRAINING AT SHAKESPEARE SANTA MONICA, June 1st – June 13th, 2007.

Shakespeare Santa Monica

In 2006, John Farmanesh-Bocca, the artistic director of Shakespeare Santa Monica invited Jean-Louis Rodrigue to teach the two week intensive classical acting program which is associated with the repertory of plays by Shakespeare. Once again this summer Jean-Louis joins the faculty which includes: Voice and Speech with Natsuko Ohama, Master teacher of the Linkletter voice technique, Currently Head of Voice at the USC Graduate Acting Program. Natsuko has worked with Peter Brook’s Acting Company and is a Co-Founder of the famed Shakespeare and Co. in Upstate New York. Alexander Technique with Jean-Louis Rodrigue, master teacher of the Alexander Technique at UCLA Grad Acting, and a highly regarded celebrity coach. Acting and Text with Louis Scheeder. Chair of the Classical Studio of New York University’s Tisch School of the Arts (TSOA), and currently the Associate Dean of Faculty. Author of the book, ’All the Words on Stage,’ a complete pronunciation dictionary for all of Shakespeare’s plays. Physical Approach & Ensemble Building with John Farmanesh-Bocca, Directing Fellow at the Juillard School (03'-05’) and faculty at the Classical Studio at New York University’s TSOA.

For more information visit: www.ShakespeareSantaMonica.com

E-mail: ShakespeareSantaMonica@gmail.com