Lets's talk about the t-word...

Photo by Becca A. Lewis

Even the word has an impact.

It’s time to normalize it, versus stigmatize.

Trauma.

Particularly as artists, we are hyper-sensitive: it is our superpower. We don’t want to diminish it, rather we want to replenish it, regulate it, and support our growth.

Let’s think about archaeologists on a dig: once they feel something beneath the surface, the first thing they do is put away their tools for digging and bring out the soft brushes. There is a care and delicacy in a nursing whatever it is that is unknown beneath the surface. The goal is not to destroy what is unknown, nor the very foundation exists, but instead to slowly and gently unearth what is there so that we can learn from, and eventually, access from it.

This may seem counterintuitive to many of us given our previous trainings, but this is exactly what we want to be able to do with our own nervous systems. We do not want to destroy the foundation in order to dig into the unknown; rather, we want to slow down, put the big tools away, and bring out our brushes, so that we treat ourselves with gentle care in order to learn, process, and-especially as artists- eventually have access to whatever is within our own foundations.

For clarity’s sake, in this work, let’s define trauma:

Trauma is defined simply as “an incomplete threat response”, or “fight or flight” cycle (Peter Levine, Somatic Experiencing) or “A lasting experience after an event that negatively affects impacts self or psyche.” (World Health Organization)

*Big-T trauma vs. little-t trauma: What’s the difference?

The longer you’re on the planet, the more inevitable trauma becomes. In the day-to-day, there is no escape from it. Big T Trauma is determined by global experiences (combat/war, natural disasters, etc) whereas Little t trauma is more localized or personal ( sickness, accidents, falls, birth, divorce, etc.) It’s important to note that the “Big” and “little” here only describe the type of trauma, but not the impact it has on the individual: all traumas feel big, by definition.

*What causes trauma? Is it the same for everyone?

We talk about the three E’s of trauma: event, experience, and effect. The key component that determines whether or not something is traumatic is not simply the event alone, but how we perceive and experience that event which determines its ultimate impact. Two people can experience the same event: for one person, it can be a difficult time that was unpleasant, for another it can be a traumatic event for which they feel stuck and cannot move past. The difference is in their experience moving through it, and their sense (or the absence) of support and mobility both as the event occurs, and beyond.

So, I have trauma? What do I do now?

The goal of trauma work is not to move further into the trauma, but rather the opposite: to soften and supplement around the edges of the trauma and help restore mobility and integration. so that we are once again whole. In my work, I do this by inviting you to widen, by gently guiding your attention to soft things, pleasant things, supportive things (what we call Resourcing) in order to restore our system’s natural pendulation and balance (what we will call Self-Regulation) to a restore a sense of safety and trust of support.

A healthy functional nervous system will flow back-and-forth from activation to regulation; A dysfunctional system gets stuck. What I teach is observing and identifying the signs of Activation and Immobilization (or stuckness) and locate where these places of stuckness might be, and how to increase the flow (or turn up the sensory volume) of movement.

We access this ability of moveable attention (or awareness) through our sensory system: 

1-visual

2-auditory

3-olfactory (nose)

4-taste

5-touch

6-kinesthetic (the sixth sense that brings all the senses into relationship)

*****A Note to consider when working with Ourselves*********

Any exercises or explorations on this site are not meant as a replacement for private or individual work with a therapist or somatic professional.  

I encourage you to stay open and anchored in your space as you hold space for yourself-and remember that it is OK to know for yourself when enough is enough for this moment, and invite yourself to do less. It is also important to remind yourself to recognize when we need help beyond our own support.

I invite you to explore supportive movement, functional release, and to consciously cultivate joy, safety, and peace for your system. No one is asking you to lean into anything that is uncomfortable or feels “too much”: Let this simply be a visit with our Self: say hello, have a cup of tea or coffee, like an old friend, and remind our Self that we are here— and that we will continue to visit and keep these small appointments with ourselves. as we begin the journey to restoring our own sense of trust and the most important relationship we have: our own.  

Alexander Technique for the Actor now Offered at The Boston Conservatory

An Update for AT Offerings (and a warm “Hello!” to the training-both current students and graduates!) 

Photo Credit: Bianca Riveria-Irions

Pictured here is a screenshot of the very first zoom Alexander for the Actor class...and hopefully also some future trainees to the course..

I am a proud graduate of the very first Alexander Technique Teacher Training class (2015), and almost 6 years later, I am still reflecting and deepening the foundation of that incredible learning ( led by the incredible Debi Adams, and with the equally incredible support of Bob Lada and Jamee Culbertson.) It was through my training at BoCo that I had the opportunity to intern and assist with Tommy Thompson (Alexander Technique Center of Cambridge), while he taught at the ART Institute, as well as interned, subbed or assisted in Alexander Technique-based or dedicated AT classes in every single division of The Boston Conservatory and The College except the Theatre Division. Yes-you read that accurately: in 15+ years, the Theatre division did not have its own Alexander offering-until Fall of 2020! I am thrilled to announce that after numerous meetings, and student, faculty and staff support, the Theatre Division is now offering Alexander Technique for the Actor at The Boston Conservatory at Berklee.

Modeled after Debi’s AT class for musicians, Tommy’s workshops and teaching through ART, and richly infused with Betsy Polatin’s The Actors Secret Training, the Alexander Technique for Actors provides a safe and supportive space for actors to learn and explore their instrument--which is the full psycho-social-physical Self--and learn ways to support, regulate, and enrich their artistry without harm through demos and activity work, specifically tailored to each student. Much like the first year of my training course, there was a tremendous amount of learning for both the students and for me. To say the class was successful is an understatement: registrations doubled for this semester’s class, so Paul D’Agostino now joins me in teaching the second section.

There is a special feeling with firsts: it is a special honor to graduate from the very first training course here at Boston Conservatory, and to have the opportunity to directly give back the life-changing work that I learned to the first AT for Actors is more than I can put words to. This was the one goal that I had upon graduating: to create the opportunity to experience this learning, and specifically tailor the work to help navigate and support the unique use of a theatre artist. It is my continued goal to make this work available and accessible to all students who are interested; And so that’s where I will continue to work, both within the division, and my private practice.

Everything I am able to teach my students, both within the Conservatory and my private practice, is a direct reflection of the opportunities made available through the specific and unique curriculum of the The Boston Conservatory at Berklee’s AT Teacher Training program. So thank you Debi, and Bob, and Jamee, and Tommy, and Aline—and my inspiring fellow graduates and trainees-I am grateful to be a part of this legacy, and this community, and I am humbled to complete part of our mission by sharing the work throughout the Theatre division.

I have so much gratitude for the incredible students of AT for the Actor Fall 2020 (Zoom edition!) for their commitment and dedication to me, to the work, and to each other, and for their willingness to make this class the incredible celebration and support of artistry and self that it became.

Once again, a huge thanks from the whole of my heart to all of you for your continued commitment and support to the work and to each other. Please don’t hesitate to reach out to me with thoughts or questions, or just keep in touch (and I promise to be better about that, too!)

With Love and Support,

-Jessica Webb

Taking Space--Audio Recordings: Now Available FREE (see Menu)

Over the years, I found that I wanted to supplement the studio and classroom experience with recordings my students could access on their own and from anywhere.

My son Henry, at just over 2 years old, we getting very frustrated one afternoon. To my amazement, I watched him pause, and then turn and walk to his room. When I asked him what he was doing, he answered, “Taking Space.” 

Whether it’s the sense of compression we feel when we’re activated or from the weight of our own thoughts, sense of the space within us , or the relationship to the external space we occupy, I couldn’t think of a better way to describe it. So thank you , Henry, for this and for all the incredible lessons you continue to give me.

Let’s all take some space.