The Viewpoints Book: A Practical Guide to Viewpoints and by Anne Bogart

By Anne Bogart

The Viewpoints is a method of improvisation that grew out of the postmodern dance international. It was once first articulated by way of choreographer Mary Overlie, who broke down the 2 dominant concerns performers deal with—space and time—into six different types. due to the fact that point, administrators Anne Bogart and Tina Landau have elevated her notions and tailored them for actors to operate jointly spontaneously and intuitively and to generate daring, theatrical work.

The Viewpoints are a collection of names given to yes rules of circulation via time and space—they represent a language for speaking approximately what occurs on level. Coupling this with Composition, that's the perform of choosing and arranging the separate parts of theatrical language right into a cohesive murals, presents theatre artists with an incredible new device for developing and realizing their paintings form.

Primarily meant for the various theatre artists who, within the final numerous years, became intrigued with Viewpoints but have had no unmarried resource to consult of their investigations. it might even be utilized by an individual with a normal curiosity in collaboration and the artistic technique, even if in paintings, company or day-by-day life.

Anne Bogart is creative Director of the SITI corporation, which she based with eastern director Tadashi Suzuki in 1992. She is the recipient of 2 OBIE Awards and a Bessie Award, and is an affiliate professor at Columbia college. Her fresh works contain Alice’s Adventures; Bobrauschenbergamerica; Small Lives, vast goals; Marathon Dancing; and The Baltimore Waltz.

Tina Landau, famous director and playwright, whose unique paintings contains Space (Time magazine 10 Best), Dream True (with composer Ricky Ian Gordon) and Floyd Collins (with composer Adam Guettel), which obtained the Lucille Lortel Award for most sensible Musical, an OBIE Award and 7 Drama table nominations. She has been an ensemble member of the Steppenwolf Theatre corporation seeing that 1997.

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Continuing to work on the grid and in soft focus, begin to add switches of tempo at your own will. Individuals are now 39 T H E V I E W P O I N T S B OOK working on their own, simply moving along the grid in various patterns and at various tempos. Notice if there are tempos you stay away from or resist—then add them! Include hyper-speed and the slowest you can go and still call it movement. Notice when you get bored. What do you have to do to surprise yourself? As you continue working on the grid with switches of tempo, it is useful to add awareness of another Viewpoint: Duration.

Viewpoints and Composition suggest fresh ways of making choices onstage and generating action based on awareness of time and space in addition to or instead of psychology. Problem 2: Lack of ongoing actor training. The theater is the only artistic discipline that does not encourage or insist upon the ongoing training of its practitioners. The result: rusty or inflexible actors who often feel unsatisfied or uninspired. What musician, after graduating from a conservatory, would assume that s/he did not need to practice every day?

Each person to imagine a compelling reason why s/he would want to touch the back of the person in front of them. Then each should find an equally compelling reason not to get touched from behind. Then ask each participant to raise the stakes in her/his desire to touch the person ahead and not get touched from behind. Everyone should be in a state of feedforward, in which the attention is focused outward in anticipation, and prepared to move on command (see “Feedforward and Feedback” at the end of this chapter).

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