The Viewpoints Book: A Practical Guide to Viewpoints and Composition

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a b Overlie, Mary (2016). Standing in Space: The Six Viewpoints Theory & Practice (1sted.). Billings, Montana: Fallon Press. pp.vii. ISBN 978-1-5136-1361-1. While Viewpoints can certainly help you improve as an individual actor, it is, at its core, a group effort. Viewpoints can be used to build a closer ensemble, make adjustments to characters and scenes, establish a physical vocabulary for the world of the play, or discover unexpected choices. Some ensembles use Viewpoints-focused group improvisation to explore themes, characters, settings, or relationships. The seed of the entire work of The Six Viewpoints is found in the simple act of standing in space. From this perspective the artist is invited to read and be educated by the lexicon of daily experience. The information of space, the experience of time, the familiarity of shapes, the qualities and rules of kinetics in movement, the ways of logic, how stories are formed, the states of being and emotional exchanges that constitute the process of communication between living creatures ... Working directly with these materials the artist begins to learn of performance through the essential languages as an independent intelligence (Overlie). [8] Bartow, Arthur. 2006. The Training of the American Actor. New York: Theatre Communications Group. ISBN 978-1-55936-268-9

Kinesthetic Response:How performers respond to movement from other people, objects, or design elements. In 1987, Bogart met director Tina Landau while working at American Repertory Theatre in Cambridge, Mass. The two collaborated extensively during the next decade, expanding Overlie’s original six Viewpoints to nine Physical Viewpoints and five Vocal Viewpoints. This is the method Bogart brought to SITI when she co-founded the company with director Tadashi Suzuki in 1992. Bogart and her collaborators broke with this form. First, they placed greater emphasis on actors’ observations than on their feelings. Second, they prioritized evocative movement and metaphor over naturalistic storytelling.Bogart, Anne & Landau, Tina. 2004. The Viewpoints Book: A Practical Guide to Viewpoints and Composition. New York: Theatre Communications Group. ISBN 978-1-5593-6241-2 We are in a world where we are so disconnected from one another. Viewpoints breaks that down,” Lauren said. “Theatre is better than that, and an older practice than that, meant to revive the senses and help us live better.” The Bridge is a sequence of nine laboratories that function as philosophical and pedagogical frameworks in which to engage with the Materials. The Bridge presents the origins of the Viewpoints' approach to art and introduces into practice the philosophical concepts that are used to disintegrate and then reintegrate performance. [10] In The Viewpoints Book, first published in the United States, acclaimed theatre directors Anne Bogart and Tina Landau introduce the history, terminology and philosophy of Viewpoints, and offer a step-by-step recipe for using it as both a training tool and a rehearsal technique.

Duration: How long an event occurs over time; how long a person or a group maintains a particular movement, tempo, gesture, etc. before it changes. Primarily intended for the many theatre artists who, in the last several years, have become intrigued with Viewpoints yet have had no single source to refer to in their investigations. It can also be used by anyone with a general interest in collaboration and the creative process, whether in art, business or daily life. One of the goals of Viewpoints is to use accidents. This means that no matter what choice an actor makes, the ensemble should affirm that choice and incorporate it. For Viewpoints practitioners, there is no right or wrong. This belief opens up an actor’s range of choices, so performances become more dynamic. Sometimes, our reliance on technology detracts from our power of observation. Find time each week to unplug and notice the composition of the world around you. How are the people and objects around you arranged? Where is the empty space? What rhythms do you notice? What draws your eyes, ears, nose, and hands? What emotions do these observations create? The Viewpoints is a technique of improvisation that grew out of the postmodern dance world. It was first articulated by choreographer Mary Overlie, who broke down the two dominant issues performers deal with--space and time--into six categories. Since that time, directors Anne Bogart and Tina Landau have expanded her notions and adapted them for actors to function together spontaneously and intuitively and to generate bold, theatrical work.The Viewpoints are a set of names given to certain principles of movement through time and space--they constitute a language for talking about what happens on stage. Coupling this with Composition, which is the practice of selecting and arranging the separate components of theatrical language into a cohesive work of art, provides theatre artists with an important new tool for creating and understanding their art form. We never talk about our feelings,” Lauren said, discussing SITI rehearsals. “Bogart will say that the space isn’t right, or maybe a company member will say that the time or the gesture isn’t right. The Viewpoints are used to clarify the story. The idea is that all these things are integrated.” The Viewpoints are a set of names given to certain principles of movement through time and space—they constitute a language for talking about what happens on stage. Coupling this with Composition, which is the practice of selecting and arranging the separate components of theatrical language into a cohesive work of art, provides theatre artists with an important new tool for creating and understanding their art form. The Viewpoints is a technique of improvisation that grew out of the postmodern dance world. It was first articulated by choreographer Mary Overlie, who broke down the two dominant issues performers deal with—space and time—into six categories. Since that time, directors Anne Bogart and Tina Landau have expanded her notions and adapted them for actors to function together spontaneously and intuitively and to generate bold, theatrical work.

Bogart, Anne; Landau, Tina (2004). The Viewpoints Book: A Practical Guide to Viewpoints and Composition. New York: Theatre Communications Group. pp.35–53. ISBN 978-1-5593-6241-2. It is a philosophy translated into a technique for training performers, building ensemble, and creating movement for the stage' Anne Bogart and Tina Landau Over the last twenty years, Viewpoints has ignited the imaginations of actors, directors, designers, choreographers, dramaturgs and writers. It is taught all over the world and used by countless theatre-makers in the rehearsal process to develop flexibility, articulation and strength in movement, and to enrich ensemble playing. An invaluable resource for theatre-makers, as well as for anyone with an interest in collaboration and the creative process, whether in art, business or daily life. Perucci, Tony (16 February 2015). "Dog Sniff Dog". Performance Research. 20 (1): 105 – via Tandfonline.Theatre in America is predominantly naturalistic, meaning characters move, speak, and behave realistically. Importance is given to characters’ psychology, which causes many actors to focus on their feelings during scene work. Repetition: a) Internal Repetition: repeating a movement done with one's own body, and b) External Repetition: repeating a movement occurring outside one's body. [12] Lccn 2004024021 Ocr tesseract 5.0.0-beta-20210815 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.9071 Ocr_module_version 0.0.13 Ocr_parameters -l eng Old_pallet IA-WL-1200060 Openlibrary_edition Shape: The contour or outline of bodies in space; the shape of the body by itself, in relation to other bodies, or in relation to architecture; lines, curves, angles, arches all stationary or in motion.