Rosemary Moone BSc MSc, Alexander Teacher, Cork has been teaching for over 20 years. She is a member of the Society of Teachers of the Alexander Technique (STAT) and the Irish Society of Alexander Technique Teachers (ISATT). Her clients have included  MSD Brinny, Kinsale Further Education College, Cork School of Music, the Institute of Choreography and Dance, Ballymaloe Cookery School , Apple and various theatre companies in the Cork area. While in London she taught at RADA and the Guildhall School of Music and was also teacher-in-residence at the Nordoff-Robbins Music Therapy Centre. Since moving to Cork in 1995, Rosemary has also studied with Glenna Batson, Barbara Conable, Penelope Easten, David Gorman, Patrick Gundry-White, Sue Holland, Vivien Mackie, Carolyn Nicholls, Giora Pinkas, Rosa-Luisa Rossi, Don Weed and Wolfgang Weiser. As well as taking Pilates classes she has also participated in Feldenkrais ATM weekends in Cork with Gunther Bisges. Most recently she attended a Linklater Voice course with Regina Crowley, Ireland's first accreditated Linklater teacher. 

Even an Alexander Teacher has use for the Alexander Technique!

This year, when the drama students put on their end of year show, 'The Milk of Human Kindness' by Ian Wild, they were short of tramp characters for the final scene - twenty actors squeezed onto the tiny stage of the CAT Club in Cork. Rosemary was asked to play Scary Mary 'who runs a distillery in the women's toilets near Covent Garden'. Quite a contrast to her next role as Lady Bracknell in 'The Importance of Being Earnest' by Oscar Wilde. In the rehearsal photo Scary Mary has a rounded back (kyphosis), yet has to dive under a table and climb in and out of a cardboard box. Lady Bracknell, however, being a member of the aristocracy has an upright carriage and moves elegantly without unnecessary fidgeting. As one pupil remarked 'What a makeover! Who would have thought posture would make such a difference?'

Rosemary Moone had a fabulous opportunity to play the Dwarf in the Cork Opera House production of 'The Lion, The Witch and The Wardrobe'.The RSC had commissioned Adrian Mitchell to turn the book into a musical.
"It was quite a challenge physically. I was pretending to be a four-foot malevolent creature stooped with servility and resentment, yet still had to sing from G below middle C up to a top B and dance while sweating in a big furry white coat."

"The entire experience put my mastery of the Alexander Technique to the test, from the nerve-wracking auditions, through the rehearsal process and on to the Opera House stage. How does one maintain a free neck, open throat and working lungs, while sounding bitter and looking as twisted and mean as it's possible to make oneself?"

Before the performance the Alexander Technique can help performers cope with nervousness. Afterwards, it helps them to unwind and leave the performance behind.

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boy bouncing on yellow physio ballRosemary Moone has extended her professional development by attending a Body Mapping Course. This was given by an American teacher of the Alexander Technique, Barbara Conable.

We all have Body Maps but if this internal representation is
out of sync with reality, there will be faults in co-ordination and movement.

Here Rosemary was able to mingle with horse-riders, Pilates' instructors, dancers, an archer, a tennis player, a singer and both traditional and classical musicians.

It was amazing to see how they were each helped by corrections of their individual body maps", says Rosemary.
"I was also reminded of how adults enjoy the gym ball just as much as children".

Rosemary is available to teach individual lessons and group workshops, and to give talks and demonstrations. 
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