Compliments

What People are  SayIng….

Nancy Houfek, American Repertory Theatre, Head of Voice and Speech, 2010 –“I had the great pleasure of working with Margaret at the American Repertory Theater/Institute for Advanced Theater Training at Harvard University.  What she accomplished with students, faculty colleagues and professional actors was exceptional. Every day, Meg made my work as a teacher of voice a little easier by helping our graduate students to breathe fully, freely and efficiently. Her deep body knowledge allowed everyone she worked with to experience themselves physically in a new, optimal and healthful way.”

Scott Zigler, Director of Institute for Advanced Theatre Training, Harvard University, 2010–“Having taught with Margaret Eginton since 1987, I have seen her movement work with actors have a more profound effect on the actor’s spontaneity, honesty, and emotional depth than any acting technique being taught. She is absolutely one of the world’s experts on the intersection of physicality and performance.”

Katie Bull, Broadway Vocal Coach/Jazz Singer/ATC Head of Voice, 2010 — Meg Eginton offers a deep journey to her students through layers of compensating external muscles into the subtler, yet more powerful kinesthetic sense of core strength and range. In contrast to many body strengthening approaches available and in vogue, Meg balances all strengthening work with lengthening and range.  Access to the deeper core activates and liberates movement flow, breath, and range of motion. From the perspective of this vocal coach, Meg’s body work is comprehensive and coherent – it is key work.   Also, Ms. Eginton is a glowing, free spirited, and wise woman, having performed for many years, she walks the talk, lives and laughs with gusto and is just plain cool to be around.

Patricia Delorey FSU/Asolo Conservatory, 2010–“In my work with graduate level Conservatory students, Eginton Alignment dovetails beautifully with the vocal production work that I am doing in theVoice studio. Eginton Alignment accelerates the actor’s progress toward physical openness, teaches the actor physical awareness, and increases strength and muscle differentiation which prepare the actor’s body for Fitzmaurice’s technique of Restructuring the voice .”

What Students Say….

Alison Frost, Tallahassee, 2007–“Thank you for the gift of the Daily Dozen. My back feels better!”

Jamie Tintor, Los Angeles, 2010– ” The subtle placement of your pinky finger, the adjustment of a lone vertabra, or the angle of your calf. Margaret works with your body at such a subtle level that after a while you’ll get to know every inch of your form so well that you are able to create subtle characters out of relative stillness. At the same time, you will have the physical intelligence to craft extreme characters while still maintaining a sense of control and precision. In the British farce, “Tom, Dick, and Harry” my director exclaimed after one very intense physical comedy scene. “Jaime, you’re acting with your fingertips. I love it!” And, I thought to myself, “there’s Margaret still at work.”

Lauri Christi, Los Angeles, April, 2010–“Julianne is able to immediately identify, after one session, where you are holding tension, placing your weight or are otherwise out of alignment. After brief table sessions, she is able to release tension and allow you to experience a perfect alignment so that you can revisit that state later using your own muscle memory. This work helps you to approach creative endeavors and even life itself from the best possible state: one that is aware, grounded and open. I highly recommend this practice to anyone who wishes to work from a deeper, more relaxed and more honest place.”

Angela Sauer, Sarasota, 2009–“I have to say, our alignment work is really working. The last few class days, when I’ve gotten in my car at lunchtime, I’ve had to adjust my rear view mirror up (and then down a little the next morning). I didn’t really think about it…but then I realized: after alignment work I’m TALLER. My spine is lengthened or straightened or something. If that’s not proof that our alignment training works, then I don’t know what is.”

Dylan M., New York, 2010–“This work is going to wake the spine up. It puts you in touch with a lifetime of holding habits and tensions, while opening you up to greater flexibility, freedom, grace and energy. It’s a subtle work-out that energizes you for the stage but also carries over into daily life. You can’t compartmentalize it. And you wouldn’t want to, because this work beautifully complements so many other techniques for movement, breathing and voice.”

Sandrine Cohen, Paris, 2006–“Margaret, you are a genius about bodies!”

Nissa, Sarasota, 2010–“Thanks to Margaret’s coaching on Miss Julie in our Conservatory Season I would often cross back over the threshold at the end of the night without a clue as to what had happened on the stage, as if my body had made and acted upon the decisions all on it’s own. And if that’s not following your impulses without reservation: Then what is?”

Jessica Kinsella, NYC, 2010–“The tools I have learned from Eginton Alignment have truly made me a better actress. My breath has deepened, my understanding of my body’s organization has expanded, and I have finally habitualized keeping my head on top of my spine! The convenience of being able to work on my alignment at home with a clear and concise set of exercises has been invaluable to my training and I wholeheartedly recommend Eginton Alignment to every actor. It works!”

move smarter, feel more

photograph©Devereau Chumrau

One response to “Compliments

  1. Kirstin Franklin

    Thanks to 2 years of study with Margaret and Eginton Alignment, I have a clearer understanding of where my body is, day to day. Because of this work, and my dedication to it…I am an inch taller, and walk with more confidence and freedom than I ever have before.

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