Alexander- TechniqueBreathing CoordinationCranioSacral Therapy

Breathing Coordination

The body is designed in a particular way to move air out of and into the lungs. Although the diaphragm’s movement is involuntary, it can be redeveloped and strengthened. When the diaphragm is developed to its maximum potential, respiratory issues can be corrected.

Individual coaching: 60 minutes
Cost: EUR 60.-
Cancellations: possible up to 24 hours before the appointment

The work that Beate Mathois and I have done together in New York City, at various times between 2011 and now, has prepared her to offer excellent information about the Practice and Principles of Breathing Coordination to many interested students - people in the performing professions, as well as people from any aspect of life who would like to improve their breathing efficiency. Beate combines solid functional information from her superb experience as an Alexander Technique teacher, as well as a teacher of the Practices and Principles of Breathing Coordination, along with her experience as a theater director. She is dedicated to the success of her students and will guide them with full attention and care for their individual development.
for whom

Breathing Coordination can help with all respiratory problems, allowing for ease in breathing.
A natural frequency sound of the voice is the “by-product” of Breathing Coordination. Therefore, it is helpful for singers, actors/actresses and public speakers.
Musicians, especially brass instrumentalists, gain ease and lightness in playing which improves musicality and sound.
Breathing is central for the functioning of the body and therefore everyone can benefit greater coordination in breathing.

Ich habe vor meiner Diplompruefung in Schauspiel 10 Einheiten "Breathing Coordination" bei Beate Mathois besucht. Das hat mir geholfen, trotz grosser Nervositaet waehrend der Pruefung, ueber die Atmung zur Ruhe zu kommen. Es war ein grossartiges Gefuehl.
by whom

Carl Stough (1926–2000), an American choral conductor and breathing specialist, developed and taught Breathing Coordination in New York City.
After graduating from Westminster Choir College in New Jersey, where he studied choral conducting, Stough was hired to conduct the chorus of The First Presbyterian Church in Rocky Mountain, North Carolina which quickly became very successful and known for its acclaimed sound. After moving to New York City to continue his conducting work, he became firmly established in the musical life of New York City.
Through his observations and research, he was able to refine his understanding of how the breathing mechanism can work optimally. He applied this knowledge to professional and amateur singers and speakers, people with lung diseases (especially emphysema) and other pathologies, dancers, actors and athletes connecting them to their optimal breathing.
Even though Stough did not train practitioners in his method, a few of his disciples have incorporated his work into their practices and continue to do so.
Carl Stough and Reece Stough wrote the book “Dr. Breath” about how Breathing Coordination was developed.

Breathing Coordination and me

During my study of the Alexander Technique in New York City I became aware of the work of
Carl Stough. Breathing Coordination is often integrated into the Alexander Technique practice, since breathing is also a central theme in the Alexander Technique. The opportunity to directly improve the coordination of the respiratory system sounded very interesting to me.
Since 2011 I have been studying the Principles of Breathing Coordination with Lynn Martin.

Lynn Martin has been teaching the Principles of Breathing Coordination, functional anatomy, Ideokinesis, and therapeutic exercise in New York City for more than 35 years. Lynn has presented the Principles of Breathing Coordination at New York University, the Laban-Bartenieff Institute of Movement Studies, the Westchester Conservatory of Music, the National Association of Teachers of Singing and the Alvin Ailey American Dance Center.
A summa cum laude graduate of Fordham University, Lynn began Breathing Coordination studies with Carl Stough in 1975. She has also studied functional anatomy and Ideokinesis with Irene Dowd and Dr. Drid Williams; and voice with Conrad L. Osborne. Encouraged by her progress in Breathing Coordination, Lynn joined the Cecilia Chorus in 1980. With that chorus, she has performed much of the great choral-orchestral repertoire at Carnegie Hall and Lincoln Center.

for whom
by whom
Breathing Coordination
and me
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