Nisha Foerstner (Entrepreneur, actor, teacher)
What I got from Alexander Technique is a sense of freedom of movement but equally, a sense of integration. I felt that my life was not integrated and not flowing. As a matter of fact, I felt everything was in conflict! Not two weeks ago, I was still feeling scattered and completely frustrated. I felt I was a few blotches of paint in this corner of the canvas with another blotch here and another one there. There was no connection between the attempts but the canvas itself.
But I was told not to worry. "It all comes together." And so, I relaxed as much as I could. I remained aware of Alexander Technique principles, meditated every day and took baby steps. My biggest challenge was pulling myself away from the negative and focusing on what is effective. And now, "poof", I am beginning to feel the pieces of the puzzle fitting together - the painting is taking shape. What a lovely feeling! And I'm mostly happy. Excited. It's a nice place to be.
Sandra Head (Singer, Actor, Composer, Musical Director and Singing Teacher)
I met Dr. Minnes Brandes in 1995 as I was preparing to write my Masters paper in Music Education at the university of British Columbia. She was the second reader for that paper entitled, "How the Alexander Technique Informs the Teaching of Singing". The paper is now distributed by AmSAT Books and copies of it are available in post secondary institutions in North America. My lessons in the Alexander Technique began in 1994 when I was suffering from inordinate head/neck/back tension which was seriously affecting my ability to sing and hence my ability to demonstrate what I taught. After experimenting with many kinds of therapy, far too numerous to detail here, I found that the Alexander Technique provided me with exactly the kind of help I needed. After three months of lessons, highly noticeable ease began to return to my posture and my singing. I felt that my singing voice, stamina, energy had been given a new "lease on life". Since 1995, Dr. Minnes Brandes has been my Alexander Technique teacher, and I still take lessons periodically. I find her to be a remarkable teacher and an invaluable colleague. What she and the Alexander Technique have to offer is of great value to singers.
Caroline Cave (Actor, Fitness Trainer, Pilates Instructor)
I am a professional actor, who works across the country in classical and contemporary theatre, and I would recommend Gaby to any performer seeking greater knowledge of their own coordination and physical presentation, and ultimately greater freedom, depth, and flexibility in their work. Further, I have an extensive background in dance, and I'm a certified personal fitness trainer and pilates instructor, and I would recommend Gaby to the individual seeking to correct postural misalignment, or to relieve many forms of back, knee, neck and other orthopedic pain or disfunction. Gaby and I met while I was performing a demanding one-woman show at The Vancouver Playhouse. Upon our first lesson, I found Gaby perceptive, clear, articulate and warm. Regarding my skills as an actor/singer Gaby helped me to find greater efficiency and ease of movement, fuller breath and greater emotional authenticity in my work. As an individual, Gaby helped me to discover residual tension related to old injuries, illuminated the positive elements of my carriage and posture, and directly facilitated the release of habits which were limiting and perhaps, eventually impeding. Gaby's work also helped me to see where tension and misuse of my body reflected distracted, anxious, and muddied thinking. Gaby is exceptional in her field; her experience is wide and varied, and her knowledge extensive and practiced. Our work together was and will continue to be a source of inspiration and insight to me, and I feel honoured to be her student.
Extended Testimonial: It was my privilege to meet Gaby in the spring of 2007, when I performed at The Vancouver Playhouse, in a one-woman play called The Syringa Tree. It is a particularly demanding piece in which I portray twenty-four characters of varying race, age and gender. I adjust my physicality, most specifically my posture, I make large jumps in my vocal register, and I also sing. I perform for an hour and forty-five minutes, and the emotional and athletic demands of the piece are great. Gaby came to the rescue, as it were, the night before opening, when I was physically drained, and nervous about my growing vocal fatigue and some vocal loss. I had studied Alexander at theatre school, at The Shaw Festival, in Toronto, and in London, England, and yet I had never before felt such an immediate connection to a teacher. Gaby's touch is truly perceptive and clear and her work had an immediate impact upon me in our first hour together. We did some table work, at my request, and Gaby helped me to once again find my alignment, my breath, and to release tension of which I was not aware due to the stress if opening week. We then progressed into character work and movement from the play, and Gaby was obviously invigorated by the specific demands of my shifting, as completely as possible, between characters. Ultimately, her work brought me to a state of relaxation, and of being present, which I carried on to the stage that night and to the next, my opening. Her knowledge of the voice, both as a speaking and singing instrument, is extensive. I found her approach to the voice direct and refined, and I reconnected most efficiently and effectively with an easy and supported breath and sound. Gaby greatly respects the performer and live performance, which I believe, enhances her facility and curiosity for the performer's specific challenges and for their artistic and technical aspirations. I feel my work in The Syringa Tree moved to a richer and freer place with Gaby's help. My experience in front of the audience was always more joyful, more present and more inventive after our sessions. And most rewardingly, my voice became more flexible and I was able to breathe more fully and with much greater ease. Further, I was able to perform and then recover quickly, from tiring two-show days, because of our twice weekly appointments throughout the run. She is a master of the art of pedagogy. Her instruction is affirmative, her directions positive, and she has an assured and caring manner. She emphasizes intention and exploration rather than inhibition and restriction, which I feel further sets her apart in her field. I was moved and impressed by Gaby's level of concern for my experience on stage, and the attention and thought with which she prepared for our lessons together. I plan to continue to study with Gaby whenever I'm in Vancouver and I believe our relationship has just begun. Our work together had a greatly positive impact upon me and I hold her and her practice in the highest respect. Aspiring artists would be in the best of hands under Gaby's instruction, and I will continue to recommend her to colleagues and to students alike.