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*'''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 |last=Bogart |first=Anne |title=The Viewpoints Book: A Practical Guide to Viewpoints and Composition |last2=Landau |first2=Tina |publisher=Theatre Communications Group |year=2004 |isbn=978-1-5593-6241-2 |___location=New York |pages=35-53}}</ref>
==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=11-18 |url=https://www.researchgate.net/publication/354474914_Identifying_Eurhythmics_in_Actor_Training_The_Viewpoints_of_Time_Space}}</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}}</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 |page=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=https://doi.org/10.3390/arts12040134}}</ref> Martha Graham studied with Findlay, and Overlie acknowledges the impact of her own studies with Graham.<ref>{{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>{{cite web |last1=Overlie |first1=Mary |title=Biography |url=https://www.sixviewpoints.com/mary-overlie |website=Six Viewpoints |access-date=29 December 2023}}</ref> 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 |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 book |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 |format=PhD thesis}}</ref>
==Works cited==
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