Who is the Talmi-Methode® suitable for?
The Talmi-Methode® was originally developed for performing artists such as dancers, actors, musicians and acrobats whose bodies are exposed to high stress and who may not be able to give their bodies much rest or regeneration time between performances. Therefore, the Talmi-Methode® can also be supportive for athletes. In principle, however, the treatments are suitable for all people who are exposed to asymmetrical physical stress or who have to perform demanding physical performances over a longer period of time.
Why Talmi-Methode®? Effect and Goal
In addition to the relatively immediate positive effects such as improvement of voice placement and breath flow, free mobility and balanced posture, the Talmi-Methode® treatments make it possible in the long term to clarify the physical events and processes in the body in such a way that basic structures of movement, rhythmic motions and more complex processes can be quickly understood and implemented. This can facilitate the learning of different forms of movement.
The Talmi-Methode® also aims to help performing artists feel their ideal gravitational line and thus experience their potential kinetic energy by adopting a good posture. This newly discovered power is then available for your own free movement and can be channelled on stage into the voice and expressive physical performing, or into a competitive event. In addition, this reduced effort can help you maintain energy and prevent premature fatigue. Over decades of work with performing artists it has been observed time and again that regeneration processes as a whole are significantly shortened.
Habitual posture and movement patterns that cause motoric blockages are often associated with kinaesthetic memory images, which are made accessible to the performing artist through the treatment. Structures of the body’s own memory can be recognized, and the process of learning about, and with, your own body becomes more tangible and comprehensible. The ability to organize movements more appropriately can be generalized over time and transferred to more complex structures.
Experiences from the artistic field can only be transferred to sport to a limited extent due to different stress training periods. In the meantime, however, positive experiences have been made with various sports and martial arts in which spontaneity, freedom and creativity are relevant to the movement repertoire, and grasping basic structures of movement plays a role in the learning process