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. 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, 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 Gesture: a) Behavioral gesture: realistic gesture belonging to the physical world as we observe it every day. b) Expressive gesture: abstract or symbolic gesture expressing an inner state or emotion; it is not intended as a public or "realistic" gesture. Perucci, Tony (31 August 2021). "The Viewpoints and the Secret of the Original Anarchist: Mary Overlie and the Undercommons". Performance Research. 25 (8): 95–100 – via Tandfonline.

Bogart, Anne. 2001. A Director Prepares: Seven Essays on Art and Theatre. London: Routledge. ISBN 0-415-23832-3. It was first articulated by choreographer Mary Overlie, whose ideas have been expanded and developed by Anne Bogart and Tina Landau, adapting them for the use of actors. Over the last twenty years, Viewpoints has ignited the imaginations of actors, directors, designers, choreographers, dramaturgs and writers.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. 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. Interested in using Viewpoints to deepen your theatre practice? Below are tips from Lauren and Mitchell on how young performers might employ this approach.

Mitchell said her Viewpoints students are often surprised by what occurs when they stop trying to make the “right” choice and start trusting the ensemble. “Coincidences happen onstage without you even knowing how. When actors give over to that, they don’t have to be in control all the time,” she said. Bartow, Arthur. 2006. The Training of the American Actor. New York: Theatre Communications Group. ISBN 978-1-55936-268-9 Viewpoints is a technique of improvisation that grew out of the post-modern dance world, allowing actors to learn to function spontaneously and intuitively. It was first articulated by choreographer Mary Overlie, whose ideas have been expanded and developed by Anne Bogart and Tina Landau, adapting them for the use of actors. Spatial Relationship: Distance between objects on stage; one body in relation to another, to a group, or to the architecture.

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. Access-restricted-item true Addeddate 2021-10-11 19:05:30 Associated-names Landau, Tina Boxid IA40256902 Camera Sony Alpha-A6300 (Control) Collection_set printdisabled External-identifier Overlie, Mary (2016). Standing in Space: The Six Viewpoints Theory and Practice (1sted.). Billings, Montana: Fallon Press. p.66. ISBN 978-1-5136-1361-1. A lot of people don’t like to use their bodies for expression. It’s a very vulnerable thing,” Mitchell said. “But once they get into the work, they realize how useful it is to get up and start trying things.” 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. 'Viewpoints is timeless - a system belonging to the natural principles of movement, time and space.

Anne Bogart is Artistic Director of the SITI Company, which she founded with Japanese director Tadashi Suzuki in 1992. She is the recipient of two OBIE Awards and a Bessie Award, and is an associate professor at Columbia University. Her recent works include Alice’s Adventures; Bobrauschenbergamerica; Small Lives, Big Dreams; Marathon Dancing; and The Baltimore Waltz. Perucci, Tony (16 February 2015). "Dog Sniff Dog". Performance Research. 20 (1): 105 – via Tandfonline. The Six Viewpoints theory was adapted by directors Anne Bogart and Tina Landau, ultimately resulting in the delineation of nine "physical" and five "vocal" Viewpoints. Bogart and Overlie were on the faculty of the Experimental Theatre Wing at NYU Tisch School of the Arts in the late 1970s and early 1980s, during which Bogart was influenced by Overlie's innovations. Overlie's Six Viewpoints are considered to be a methodology to examine, analyze, and create performance in non-hierarchised and deconstructed way, whilst Bogart's Viewpoints are considered practical in creating staging with actors. In their book, The Viewpoints Book: A Practical Guide to Viewpoints and Composition (2005), Anne Bogart and Tina Landau identify the primary Viewpoints as those relating to Time - which are Tempo, Duration, Kinesthetic Response, and Repetition - and those relating to Space - which are Shape, Gesture, Architecture, Spatial Relationship and Topography. In addition, Bogart and Landau have added the Vocal Viewpoints which include Pitch, Volume, and Timbre. [2]

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 Overlie, Mary (2016). Standing in Space: The Six Viewpoints Theory and Practice (1sted.). Billings, Montana: Fallon Press. p.84. ISBN 978-1-5136-1361-1. 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.

It is a philosophy translated into a technique for training performers, building ensemble, and creating movement for the stage' Anne Bogart and Tina Landau

Summary

For Overlie, this shift in attention re-defines art and the role of the artist from a "creator/originator" mindset to what she called the "observer/participant," which centers on "witnessing, and interacting, ... working under the supposition that structure could be discerned rather than imposed". [7] Overlie observed this redefinition of the artist's endeavor to correspond with the artistic shift from modernism to post-modernism. Kinesthetic Response: A spontaneous reaction to a motion that occurs outside of oneself. An instinctive response to an external stimulus (realistic/non-realistic). 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. 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.” urn:lcp:viewpointsbookpr0000boga:epub:12af6468-d1b0-4dec-bb87-c0d73bf091c2 Foldoutcount 0 Identifier viewpointsbookpr0000boga Identifier-ark ark:/13960/t4tk1396r Invoice 1652 Isbn 9781559362412