University of Asia and The Pacific Introduction to Physical Theatre- The Viewpoints Noa Rotem Manila October 2012

The viewpoints are a horizontal approach ... without hierarchy. In theater there has been a traditional vertical idea that story is more important than space, for instance. In reality, we may get the end of a personal story before we get the beginning, or come into the story in the middle, constructing the beginning and an end later. This way of looking at things opens up our ability to see reality more honestly and playfully. -- Mary Overlie, "A Vertical History of the Viewpoints" Viewpoints: What is it? The Viewpoints are a philosophy of movement translated into a technique of improvisation for: a) training for performers b) creating movement on stage c) and they can also serve as useful framework for the analysis of live performance The Viewpoints are a set of names given to certain basic principles of movement; the names constitute a language for talking about what happens or works on stage. This language is one that is simple and efficient. The Viewpoints are points of awareness that a performer or creator has while working What are the basic principles of this training? The Viewpoints can allow a group of actors to function together spontaneously and intuitively and to generate bold, theatrical work quickly and efficiently. It develops flexibility,

University of Asia and The Pacific Introduction to Physical Theatre- The Viewpoints Noa Rotem Manila October 2012

articulation, and strength in movement and creates an atmosphere that can foster and support ensemble playing. Training in The Viewpoints encourages: a) the performer to become articulate with the Body, Space and Time, b) a strong ensemble awareness, c) a developed sense of play, impulse and imagination, d) an awareness of our strengths and weaknesses as a performer/creator, and e) an efficient framework for analysis, allowing us to understand why a great moment on stage is working. Other important skills encouraged by training in the Viewpoints include increased levels of observation and listening, a developed sense of taking interest in your environment, a freedom from hesitation, a commitment to clarity and recognition of the your emotional and physical impulses and an understanding of the value of positive, active physical energy. This improvisational method was first developed in the PostModern dance world and was articulated by choreographer Mary Overlie who broke down the two dominant issues performers deal with - time and space - into six categories. She called her approach, the Six Viewpoints. Since that time, Artistic Director Anne Bogart and the SITI Company have expanded her notions and adapted them for actors. In Bogarts exploration, there are nine Viewpoints.

University of Asia and The Pacific Introduction to Physical Theatre- The Viewpoints Noa Rotem Manila October 2012

These are: THE VIEWPOINTS OF TIME 1. KINESTHETIC RESPONSE: A spontaneous reaction to a motion that occurs outside of oneself. An instinctive response to an external stimulus. 2. TEMPO: How fast or slow an event onstage is. 3. 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. 4. REPETITION: a) Internal: repeating a movement done with one's own body, and b) External: repeating a movement occurring outside one's body. THE VIEWPOINTS OF SPACE 1. SPATIAL RELATIONSHIP: The distance between objects on stage; one body in relation to another, to the ensemble, or to the architecture. 2. FLOOR PATTERN/ TOPOGRAPHY: The movement over landscape, floor pattern, design and colours. 3. ARCHITECTURE: The physical environment, the space, and whatever belongs to it or constitutes it, including permanent and non-permanent features.

University of Asia and The Pacific Introduction to Physical Theatre- The Viewpoints Noa Rotem Manila October 2012

4. SHAPE: The contour or outline of bodies in space; the shape of the body by itself, in relation to other bodies, or in relation to the architecture. 5. GESTURE: A movement which communicates meaning. This can be broken down into; 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.