What is the
Talmi-Methode®?

Experience the life-long joy of being flexible, balanced and energetic.

Originally Martin Gruber developed theTalmi-Methode® for anyone in the performing arts facing the extremely high demands of work on the stage; meanwhile the Talmi-Methode®  is successfully practiced outside this originally targeted group of professionals. In the decades of working with performing artists the Talmi-Methode® evolved into a self-determined, active exchange at eye level between the practicing and the receiving party. The Talmi-Methode® consists of different components; a well-balanced posture and freedom of movement focussing on improving presence, voice, breathing and last but not least reducing physical exhaustion. The Talmi-Methode® is designed to precisely and effectively remove impeding patterns, tension and the results of unbalancing strains. Already the Talmi-Methode® is practiced successfully at leading drama schools in Europe, in training performing artists and in physical and speech education.

In addition the Talmi-Methode® has become of importance in assisting with medicinal and therapeutic work, as a method of coaching, as individual work on posture and in dealing with extreme physical demands. As Martin Gruber was a pupil of Alon Talmi he named this method of training after him with the Functional Integration® lessons according to Alon Talmi at the very core of the Talmi-Methode®. Elements of body work from Western traditional methods like Rolfing®,Feldenkrais, Zen Triggerpoint Anatomy®, Zen Bodytherapy® and from Asian traditional methods such as Japanese forms of osteopathy and exercises derived from Japanese stage techniques and martial arts are combined, modified and expanded resulting in lessons tailored to the specific needs of performing artists thus achieving the perfect posture for work on stage. Furthermore different components were used at drama schools in conceiving lessons for teaching groups.

TREATMENT with the Talmi-Methode®

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“The body’s decision is just as valid as the mind’s decision.”

 

Albert Camus
“A mime should be able to move with a larger simplicity than someone else, because he or she is familiar with their own body.”
Jean-Louis Barrault

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“The actor must know what he doesn’t have to do.”
Jerzy Grotowski

“The main purpose of my method is to bring to the surface the physically perceptive sensibility which actors originally had.

Tadashi Suzuki