Content deleted Content added
ArtsLab2001 (talk | contribs) m Spelling and grammar fixes. |
m General fixes via AutoWikiBrowser |
||
| (16 intermediate revisions by 12 users not shown) | |||
Line 1:
{{Short description|Pedagogical and artistic practice}}
{{Other uses|Viewpoint (disambiguation)}}
'''Viewpoints''' is a movement-based pedagogical and artistic practice<ref name=":0">{{Cite book |last=Overlie |first=Mary |title=Standing in Space: The Six Viewpoints Theory & Practice |publisher=Fallon Press |year=2016 |isbn=978-1-5136-1361-1 |edition=1st |___location=Billings, Montana |pages=vii |language=English}}</ref> that provides a framework for creating and analyzing performance by exploring spatial relationships, shape, time, emotion, movement mechanics, and
== Background ==
The Six Viewpoints was originally developed in the 1970s by master theater artist and educator [[Mary Overlie]], later conceptualised in her book ''Standing in Space: The Six Viewpoints Theory & Practice'' (2016)''.'' Overlie's Viewpoints and practice are seen to contribute greatly to the [[Postmodernism|postmodern movement]] in theatre, dance, and choreography, grounded in its opposition against [[Modernism|modernism's]] emphasis on hierarchical structure in performance creation, fixed meaning, and linear narratives.<ref>{{Cite journal |last=Perucci |first=Tony |date=19 December 2017 |title=On Stealing Viewpoints |url=https://doi.org/10.1080/13528165.2017.1384188 |journal=Performance Research |volume=22 |issue=5 |pages=
A key principle of the Viewpoints practice is [[Horizontalidad|horizontalism]],<ref>{{Cite journal |last=Perucci |first=Tony |date=16 February 2015 |title=Dog Sniff Dog |url=https://doi.org/10.1080/13528165.2015.991598 |journal=Performance Research |volume=20 |issue=1 |pages=
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 [[New York University Tisch School of the Arts|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.
Line 32 ⟶ 31:
: Emotion contains presence, anger, laughter, pensiveness, empathy, alienation, romance, pity, fear, anticipation, etc.
; M (Movement)
: Movement contains falling, walking, running
; S (Story)
: Story contains logic, order and progression of information, memory, projection, conclusion, allusions, truth, lies, associations, influences, power, weakness, reification, un-reification, constructions and deconstruction.<ref>{{Cite book |last=Overlie |first=Mary |title=Standing in Space: The Six Viewpoints Theory and Practice |publisher=Fallon Press |year=2016 |isbn=978-1-5136-1361-1 |edition=1st |___location=Billings, Montana |pages=84 |language=English}}</ref>
Line 51 ⟶ 50:
* The Original Anarchist: A New and a Very Old Idea<ref>{{Cite book |last=Overlie |first=Mary |title=Standing in Space: The Six Viewpoints Theory and Practice |publisher=Fallon Press |year=2016 |isbn=978-1-5136-1361-1 |edition=1st |___location=Billings, Montana |pages=66 |language=English}}</ref>
As a practice at large, The Six Viewpoints "is dedicated to reading the stage as a force of Nature".<ref name=":0" />
==Bogart's and Landau's Viewpoints==
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 (music)|Pitch]], [[Dynamics (music)|Volume]], and [[Timbre]].<ref name=BogartLandau2004/>
In the book, the authors outline the basics of the Viewpoints training they both espouse, as well as specific methods for applying their expanded practice to both rehearsals and production. For Bogart and Landau, the Viewpoints represent not only a physical technique but also a philosophical, spiritual, and aesthetic approach to many aspects of their work. Bogart references her work with the [[SITI]] company, and Landau with the [[Steppenwolf Theater Company]].
Line 68 ⟶ 67:
*[[Time|'''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.
*'''Kinesthetic Response''': A spontaneous reaction to a motion that occurs outside of oneself. An instinctive response to an external [[Stimulus (physiology)|stimulus]] (realistic/non-realistic).
*[[wikt:repetition|'''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.<ref>{{Cite book |
==Lineage and Influence on Viewpoints==
It is possible to trace several historical influences on Mary Overlie's Six Viewpoints, and subsequently on Anne Bogart's and Tina Landau's Viewpoints.<ref>{{cite journal |last1=Davidson |first1=Andrew |title=Identifying Eurhythmics in Actor Training: The Viewpoints of Time and Space |journal=Le Rythme: The Artistic Identity of Eurhythmics |date=2021 |volume=2021 |page=12 |doi=10.5281/zenodo.13887503}}</ref> There is a family resemblance between the non-hierarchical nature of the nine Viewpoints and the spiral or scaffolded nature of the Dalcroze Subjects in Dalcroze Eurhythmics.<ref>{{cite web |title=Dalcroze Eurhythmics |url=https://en.wikipedia.org/wiki/Dalcroze_eurhythmics |publisher=Wikipedia |access-date=29 December 2023}}{{circular reference|date=December 2023}}</ref> This practice was disseminated in New York City's dance and theatre scenes by Elsa Findlay in the early- to mid-twentieth century.<ref>{{cite journal |last1=Odom |first1=Selma |title=Researching Elsa Findlay: Dalcroze Teacher, Choreographer, Writer |journal=Le Rythme: Scientific Perspectives; Artistic Research and Theory |date=2019 |volume=2019 |pages=11–22 |url=https://fier.com/wp-content/uploads/2023/05/Le-Rythme-2019-Webversion.pdf}}</ref> Elsa Findlay was a graduate of Emile Jaques-Dalcroze's Hellerau Institute in Germany prior to the First World War.<ref>{{cite journal |last1=Davidson |first1=Andrew |title=From Hellerau to Here: Tracing the Lineage and Influence of Dalcroze Eurhythmics on the Family Tree of Theatre Pedagogy |journal=Arts |date=August 2023 |volume=12 |issue=4 |page=7 |doi=10.3390/arts12040134|doi-access=free }}</ref> Martha Graham studied with Findlay, and Overlie acknowledges the impact of her own studies with Graham.<ref name="Biography">{{cite web |last1=Overlie |first1=Mary |title=Biography |url=https://www.sixviewpoints.com/mary-overlie |website=Six Viewpoints |access-date=29 December 2023}}</ref> Overlie also studied with José Limón who was a student of Doris Humphrey.<ref name="Biography"/> Humphrey was another pupil of Elsa Findlay who made significant contributions to dance-theatre and established ''Plastique Animee'' in the USA.<ref>{{cite web |last1=Dale |first1=Monica |title=American modern dance, visualisations and plastique anime |url=https://www.musikinesis.com/article-in-le-rythme/ |website=Musikinesis |date=21 November 2017 |access-date=29 December 2023}}</ref> Additionally, Suzanne Bing's ''Musique Corporelle'' contains a series of nine musical elements for actor training that bear a strong family resemblance to the nine Viewpoints.<ref>{{cite thesis |last1=Kusler |first1=Barbara |title=Jacques-Copeau's Theatre School: l'Ecole du Vieux-Colombier, 1920–1929 |date=1974 |publisher=University of Wisconsin |___location=Madison |page=115 |degree=PhD}}</ref>
==Works cited==
| |||