Question: What nationality was the inventor of the Alexander Technique for retraining the mind and body to avoid muscular tension?

<P0-S0> Bioenergetic analysis is a form of body psychotherapy (body-oriented Reichian psychotherapy), based upon the work of Wilhelm Reich. <P0-S1>  It can also be termed as a very specific kind of body psychotherapy which is based upon the continuity between body and mind. <P0-S2>  This form of body psychotherapy adds a number of innovations to the classic methods, these innovations include emphasis on the importance of grounding (i.e. being in strong contact with the ground through feet and legs) and on psychoanalytic theories such as transference, countertransference, dreams, slips of the tongue and Oedipal issues. <P0-S3>  It also places even greater emphasis on sexual fulfilment than Reichian psychotherapy. <P0-S4>  It was developed by Alexander Lowen and John Pierrakos, both patients and students of Reich. <P0-S5>  The idea behind current bioenergetic practice is that blocks to emotional expression and wellness are revealed and expressed in the body as chronic muscle tensions which are often subconscious. <P0-S6>  The blocks are treated by combining bioenergetically designed physical exercises, affective expressions and palpation of the muscular tensions. <SEP> <P1-S0> Frederick Matthias Alexander (20 January 1869 – 10 October 1955) was an Australian actor who developed the Alexander Technique, an educational process applied to recognize and overcome reactive, habitual limitations in movement and thinking. <SEP> <P2-S0> The Alexander Technique (A.T.), named after Frederick Matthias Alexander, is an educational process that attempts to develop the ability to avoid unnecessary muscular tension by retraining physical movement reactions. <P2-S1>  Alexander believed the individual's spatial self-awareness was related to psychological conditioning; questionably trained foundation habits of posture can be unsuitably added into procedural skills. <P2-S2>  Alexander observed that those whose goals justified it necessary to have trained themselves to overcompensate could not trust their judgment of physical orientation and required effort, (their "sensory appreciation.") <P2-S3> . <SEP> <P3-S0> Greenberg's work is characterized by a "choreographic lexicon that integrates kinesthetic, emotional, and cognitive ways of knowing and representing the world and the self".) <P3-S1>  Within this framework, Greenberg's work deals with the queer male body dancing, a theme that has been implicit throughout his dance making and began to become explicitly identified starting with " Quartet for Three Gay Men " (2006) and extending into his subsequent dances. <P3-S2>  Much of the movement in his choreography is based on improvisation and is reflective of his in depth study of somatic techniques, such as Body/Mind Centering, Klein Technique, and Alexander Technique. <P3-S3>  However, Cunningham's influence can be seen in Greenberg's practice of working with the non-fiction of the body on stage and combining different elements, such as movement, projection, and sound, that leave the responsibility of meaning-making up to the audience. <P3-S4>  Greenberg has created over 20 works for Dance by Neil Greenberg, as well as additional commissions for Mikhail Baryshnikov's White Oak Dance Project, Ricochet Dance Company, John Jesurun's "Chang in a Void Moon", and various colleges across the country.