379:
in
Dalcroze Eurhythmics. This practice was disseminated in New York City's dance and theatre scenes by Elsa Findlay in the early- to mid-twentieth century. Elsa Findlay was a graduate of Emile Jaques-Dalcroze's Hellerau Institute in Germany prior to the First World War. Martha Graham studied with Findlay, and Overlie acknowledges the impact of her own studies with Graham. Overlie also studied with José Limón who was a student of Doris Humphrey. Humphrey was another pupil of Elsa Findlay who made significant contributions to dance-theatre and established
78:, a distinct focus on a non-hierarchical organisation of the performance elements, meaning shared engagement with elements like space, body, text, time, shape, and emotion. The practice subsequently constitutes a shared agency of creation amongst performers and creators in working through the individual body and its surrounding material environment as part of a collective ensemble. The Viewpoints thus encourages the performer to incorporate their own bodily impulses and personal experiences in the act of creation.
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elements have existed historically within a rigid hierarchy which gives prevalence to story and emotion in theatre, and shape and movement in dance. The Six
Viewpoints releases the Materials from this fixed construct into a fluid non-hierarchical environment for re-examination. The act of deconstructing performance into its Six Materials invites the performer, director, and artist to engage with the individual materials "allowing these elements to take the lead in a creative dialogue".
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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).
378:
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. There is a family resemblance between the non-hierarchical nature of the nine Viewpoints and the spiral or scaffolded nature of the Dalcroze Subjects
189:
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
111:
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".
136:
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
131:
When working with the materials, the artist is instructed to turn off the impulse to control or own the material, and is challenged to work very specifically with each material as an independent entity. Overlie recommends the artist to gather as much "useless" data as they can and to take time to
93:
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
107:
The Six
Viewpoints is a philosophical and practical approach to articulate a post-modern perspective on performance. The practice involves deconstructing the physical stage and physical performance into its six Materials of composition: Space, Shape, Time, Emotion, Movement and Story. These six
272:
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,
26:
is a movement-based pedagogical and artistic practice that provides a framework for creating and analyzing performance by exploring spatial relationships, shape, time, emotion, movement mechanics, and the materiality of the actor's body. Rooted in the domains of
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Space contains blocking, placement of furniture, placement of the walls, doors and windows, angle of gaze, distance of projection, and spatial alignment of the actors to the proscenium, to the audience and to each
179:
Story contains logic, order and progression of information, memory, projection, conclusion, allusions, truth, lies, associations, influences, power, weakness, reification, un-reification, constructions and
311:: 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.
89:, 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
343:: How long an event occurs over time; how long a person or a group maintains a particular movement, tempo, gesture, etc. before it changes.
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291:: The physical environment, the space, and whatever belongs to it or constitutes it, including permanent and non-permanent features.
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Overlie observed this redefinition of the artist's endeavor to correspond with the artistic shift from modernism to post-modernism.
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253:- which are Shape, Gesture, Architecture, Spatial Relationship and Topography. In addition, Bogart and Landau have added the
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contains a series of nine musical elements for actor training that bear a strong family resemblance to the nine
Viewpoints.
327:: abstract or symbolic gesture expressing an inner state or emotion; it is not intended as a public or "realistic" gesture.
842:"From Hellerau to Here: Tracing the Lineage and Influence of Dalcroze Eurhythmics on the Family Tree of Theatre Pedagogy"
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991:
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Emotion contains presence, anger, laughter, pensiveness, empathy, alienation, romance, pity, fear, anticipation, etc.
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Shape contains geometry, costumes, gestures, and the shape of the actors' bodies and of all the objects onstage.
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349:: A spontaneous reaction to a motion that occurs outside of oneself. An instinctive response to an external
297:: Distance between objects on stage; one body in relation to another, to a group, or to the architecture.
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As a practice at large, The Six Viewpoints "is dedicated to reading the stage as a force of Nature".
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Time contains duration, rhythm, punctuation, pattern, impulse, repetition, legato, pizzicato, lyrical.
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spiritual, and aesthetic approach to many aspects of their work. Bogart references her work with the
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emphasis on hierarchical structure in performance creation, fixed meaning, and linear narratives.
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The Six Viewpoints was originally developed in the 1970s by master theater artist and educator
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555:"The Viewpoints and the Secret of the Original Anarchist: Mary Overlie and the Undercommons"
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249:- which are Tempo, Duration, Kinesthetic Response, and Repetition - and those relating to
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Movement contains falling, walking, running, breath, suspension, contraction, impact.
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323:: realistic gesture belonging to the physical world as we observe it every day. b)
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Deconstruction: Investigating Theater by Separating the Components of its Structure
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771:"Identifying Eurhythmics in Actor Training: The Viewpoints of Time and Space"
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The Six Materials of composition, referred to with the acronym SSTEMS, are:
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645:
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Bogart's Viewpoints, a re-conceptualisation of Overlie's Viewpoints, are:
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News of a Difference: Noticing Difference in Increasing Levels of Subtlety
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The theory and practice of the Six Viewpoints are organized in two parts:
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in theatre, dance, and choreography, grounded in its opposition against
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Overlie's Viewpoints and practice are seen to contribute greatly to the
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Jacques-Copeau's Theatre School: l'Ecole du Vieux-Colombier, 1920–1929
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The Viewpoints Book: A Practical Guide to Viewpoints and Composition.
624:(1st ed.). New York: Theatre Communications Group. p. 189.
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The Viewpoints Book: A Practical Guide to Viewpoints and Composition
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The Viewpoints Book: A Practical Guide to Viewpoints and Composition
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The Viewpoints Book: A Practical Guide to Viewpoints and Composition
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Reification: A Reflection on Creativity, Communication, and Language
816:"Researching Elsa Findlay: Dalcroze Teacher, Choreographer, Writer"
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303:: The movement over landscape, floor pattern, design and colours.
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Le Rythme: Scientific Perspectives; Artistic Research and Theory
410:(1st ed.). Billings, Montana: Fallon Press. pp. vii.
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723:(1st ed.). Billings, Montana: Fallon Press. p. 66.
698:(1st ed.). Billings, Montana: Fallon Press. p. 67.
673:(1st ed.). Billings, Montana: Fallon Press. p. 84.
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307:
254:
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Standing in Space: The Six Viewpoints Theory & Practice.
955:(PhD thesis). Madison: University of Wisconsin. p. 115.
599:(1st ed.). Billings, Montana: Fallon Press. p. 3.
927:"American modern dance, visualisations and plastique anime"
696:
Standing in Space: The Six Viewpoints Theory & Practice
597:
Standing in Space: The Six Viewpoints Theory & Practice
408:
Standing in Space: The Six Viewpoints Theory & Practice
338:
274:
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Standing in Space: The Six Viewpoints Theory & Practice
748:. New York: Theatre Communications Group. pp. 35–53.
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Standing in Space: The Six Viewpoints Theory and Practice
671:
Standing in Space: The Six Viewpoints Theory and Practice
440:. New York: Theatre Communications Group. pp. 7–12.
365:: repeating a movement done with one's own body, and b)
1013:
And Then, You Act: Making Art in an Unpredictable World
373:
245:
identify the primary Viewpoints as those relating to
984:
A Director Prepares: Seven Essays on Art and Theatre
369:: repeating a movement occurring outside one's body.
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The Piano: The Interface between Artist and Audience
335:: How quickly or slowly something happens on stage.
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81:The Six Viewpoints theory was adapted by directors
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427:
221:The Original Anarchist: A New and a Very Old Idea
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775:Le Rythme: The Artistic Identity of Eurhythmics
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215:The Matrix: The Ingredients are in the Cauldron
74:A key principle of the Viewpoints practice is
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434:Bogart, Anne; Landau, Tina (1 August 2004).
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206:Post-modernism: The Philosophical Foundation
203:The Horizontal: Non-hierarchical Composition
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218:Doing the Unnecessary: The SSTEMS Dissolve
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383:in the USA. Additionally, Suzanne Bing's
193:The nine laboratories of The Bridge are:
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1001:New York: Theatre Communications Group.
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997:Bogart, Anne & Landau, Tina. 2004.
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744:Bogart, Anne; Landau, Tina (2004).
374:Lineage and Influence on Viewpoints
55:, later conceptualised in her book
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514:Perucci, Tony (16 February 2015).
475:Perucci, Tony (19 December 2017).
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925:Dale, Monica (21 November 2017).
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43:, and the creative use of space.
840:Davidson, Andrew (August 2023).
553:Perucci, Tony (31 August 2021).
229:Bogart's and Landau's Viewpoints
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571:10.1080/13528165.2020.1930784
493:10.1080/13528165.2017.1384188
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277:company, and Landau with the
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620:Bartow, Arthur, ed. (2006).
532:10.1080/13528165.2015.991598
91:NYU Tisch School of the Arts
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279:Steppenwolf Theater Company
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353:(realistic/non-realistic).
18:Viewpoint (disambiguation)
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769:Davidson, Andrew (2021).
257:Viewpoints which include
103:Introduction and Overview
1030:Billings: Fallon Press.
951:Kusler, Barbara (1974).
581:– via Tandfonline.
542:– via Tandfonline.
503:– via Tandfonline.
477:"On Stealing Viewpoints"
1051:Improvisational theatre
968:Bartow, Arthur. 2006.
793:"Dalcroze Eurhythmics"
719:Overlie, Mary (2016).
694:Overlie, Mary (2016).
669:Overlie, Mary (2016).
595:Overlie, Mary (2016).
406:Overlie, Mary (2016).
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127:The Materials (SSTEMS)
1026:Overlie, Mary. 2016.
1015:. London: Routledge.
986:. London: Routledge.
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1011:Bogart, Anne. 2007.
982:Bogart, Anne. 2001.
859:10.3390/arts12040134
814:Odom, Selma (2019).
646:"The Six Viewpoints"
559:Performance Research
520:Performance Research
481:Performance Research
347:Kinesthetic Response
295:Spatial Relationship
98:Overlie's Viewpoints
16:For other uses, see
367:External Repetition
363:Internal Repetition
65:postmodern movement
650:The Six Viewpoints
385:Musique Corporelle
325:Expressive gesture
321:Behavioral gesture
29:postmodern theatre
1056:Acting techniques
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1007:978-1-5593-6241-2
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910:29 December
901:"Biography"
884:29 December
875:"Biography"
799:29 December
795:. Knowledge
391:Works cited
243:Tina Landau
239:Anne Bogart
164:E (Emotion)
87:Tina Landau
83:Anne Bogart
69:modernism's
1045:Categories
655:2023-05-30
358:Repetition
301:Topography
185:The Bridge
121:The Bridge
47:Background
24:Viewpoints
579:239740721
540:192700051
501:194838101
456:cite book
176:S (Story)
152:S (Shape)
145:S (Space)
852:(4): 7.
829:: 11-22.
781:: 11-18.
351:stimulus
340:Duration
237:(2005),
158:T (Time)
132:explore.
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59:(2016)
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361:: a)
332:Tempo
319:: a)
308:Shape
259:Pitch
255:Vocal
251:Space
1032:ISBN
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912:2023
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275:SITI
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