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| Acknowledgements | |
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| Foreword | |
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| An Introduction to The Actor and the Alexander Technique | |
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| Introduction | |
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| F. M. Alexander's Story | |
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| The Alexander Technique in the Theatre | |
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| How the Alexander Technique Became My Vocation | |
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| The Alexander Teacher's Role in the Production of a Play | |
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| The Principles of the Alexander Technique | |
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| Recognition of Habit | |
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| Inhibition--Pausing for an Instant to Arrest a Habit | |
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| The 'Primary Control' | |
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| Giving Direction--Learning to Use Your Thinking to Make a Change | |
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| 'Feelings' May Give Unreliable Feedback | |
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| End-gaining | |
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| Non-doing--'Less is More' | |
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| The Anatomy Lesson | |
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| The Actor Prepares--Warming Up | |
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| Preparing the Actor for Rehearsal or Performance | |
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| Warm-up Exercises | |
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| Stretching on the Mat--Lying on the Back in the Semi-supine Position | |
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| Engaging the Adominal Wall and the Back Muscles | |
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| A Shoulder Stretch | |
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| Getting Up Off the Floor | |
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| Finding Balance or 'Centre' | |
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| Arm Stretching | |
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| Undulating Through Centre | |
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| Find the Hip Joint | |
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| The Rolling-over Exercise | |
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| Balancing into Walking | |
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| An Open-leg Stretch | |
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| Putting the Alexander Technique to Work | |
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| Partner Work--Moving in Relationship | |
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| Partner Work and Spatial Awareness Exercises | |
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| Spatial Awareness Exercises | |
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| Endowment--Observing the Other | |
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| Stage 2 of Spatial Awareness | |
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| Contact Partner Work | |
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| Centrifugal Force and Opposition Exercises | |
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| A Mirroring Exercise | |
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| Status Work--Playing the High and the Low Brows | |
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| Tableau Exercise--Learning to Survive a 'Freeze' | |
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| The Table Work and the Alexander Technique | |
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| Lesson One | |
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| Lesson Two | |
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| Alexander Technique and Voice Work | |
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| Alexander's Discovery | |
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| Voice Work and the Alexander Technique | |
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| Musical Theatre | |
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| Opera Singing and the Alexander Technique | |
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| The Whispered 'Ah' Exercise | |
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| The Alexander Technique and Acting Challenges | |
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| Relevance of the Alexander Technique to Acting | |
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| The Actor and Fitness | |
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| Character Work and the Alexander Technique | |
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| Playing Another Gender--from the 'Trouser Role' to the Drag Act | |
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| Imitation--Mirroring | |
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| The Kissing Class | |
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| Nudity | |
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| Alexander with Costumes, Wigs and Period Accoutrements | |
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| Mask Work | |
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| The Zoo Project--An Animal Study | |
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| The Lion King | |
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| An Elizabethan Bear | |
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| The Injured Actor | |
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| Understudies | |
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| The Ageing Actor | |
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| Falling and Fainting On Stage | |
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| Drunkenness | |
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| Martial Arts and the Alexander Technique | |
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| The Stage--How the Actor Adapts to Playing the Space | |
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| The Proscenium-arch Stage | |
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| The Raked Stage | |
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| The Thrust Stage | |
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| Theatre In the Round | |
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| Outdoor Theatre | |
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| Epilogue | |
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| Addresses | |