In the Bedford lecture FM Alexander said: “We ourselves are the instrument - each one of us is the instrument - by means of which whatever we are going to do is done.” (1934, Articles and Lectures, p. 170). What is the “instrument” that we are warming up? What are the relationships between us and an instrument? What are the ties between a warm-up and a performance?
In this workshop we will explore ways to warm ourselves up. I will suggest ways to apply Alexander principles to the warm up so that it is not mundane or pedestrian but a part of our artistic exploration, as we attend to how we use ourselves. I will illustrate this approach working with an opera singer, Brittany St. Clair.
You are invited to share your own experiences and questions working on a warm up.
This workshop is relevant to teachers, trainees, students and anyone interested in performance.
About Gabriella
Gabriella Minnes Brandes, Ph.D., has been teaching the Alexander Technique for over 35 years. She has maintained an active practice at the Alexander Technique Centre in Vancouver. She has been invited to run Alexander workshops for musicians, singers, and horseback riders, engineers (among others) as well as workshops for Alexander teachers. For over a decade she taught the Alexander Technique in the Theatre department at Capilano University. She was the founder and co-director of the Vancouver School of the Alexander Technique, a CANSTAT recognized school that ran for close to twenty years.
Her research interests focus on connections between creativity, performance and the application of concepts of the Alexander Technique in different contexts. Her current research is a collaboration with Alexander teachers from the US, UK and the Netherlands to study the Alexander Technique and Mindfulness-Based Approaches in Stress Management.
Informed by her Ph.D. in education, Gaby works extensively with musicians, actors and voice, movement and acting instructors, exploring the bridges between the practice room and the stage. She is continuing to hone her skills as a teacher and communicator.
She is the current co-chair of Alexander Technique International (ATI). She is also a member of the Canadian Society of Teachers of the Alexander Technique (past president), the Society of Teachers of the Alexander Technique (UK), and the American Society of Teachers of the Alexander Technique and the Professional Association of Alexander Teachers (UK) .
About Brittany
Filipino-American Brittany St. Clair is a dynamic and versatile soloist, performing in orchestral concerts, operas, and chamber ensembles. Among her favorite opera roles, Pamina in Mozart’s Die Zauberflöte and Despina in Così fan tutte hold a special place. Her passion for early music led her to the UK, where she performed in Purcell's The Fairy Queen as part of the Cambridge Early Music Summer Programme.
Dedicated to bringing the Baroque and Renaissance eras to life, she explores historical performance through Baroque dance, period costume design, and collaborations with music ensembles across Canada. Recent highlights include performing in The New France Dance Project, a Baroque dance ball in Montréal, Quebec, under the direction of Thomas Baird, as well as singing with the Gallo Chamber Players in Vancouver, BC.
Beyond the stage, Brittany’s artistic and personal journey has been deeply shaped by the Alexander Technique, which she first encountered in 2017. Studying with Gabriella Minnes Brandes over the past four years has enriched her performance experience, guiding her through her Master’s in Opera Performance and supporting her as she continues to perform through both her first and second pregnancies. Now expecting her second child, she finds joy in gardening, running with her dog, and cherishing precious moments with her son, Bradley.
