THE VIEWPOINTS BOOK

A Practical Guide to Viewpoints . and Co position ANNE BOGA!T

AN"

TINA #AN"A$
THEAT!E CO%%$NICATIONS G!O$P NEW &O!K '(()

The Viewpoints Book: A Practical Guide to Viewpoints and Composition is copyright 2005 by Anne Bogart and Tina Landau The Viewpoints Book: A Practical Guide to Viewpoints and Composition is published by Theatre Communications Group, Inc., 520 Eighth Avenue, 24th Floor, New York, NY 10018-4156. All rights reserved. Except for brief passages quoted in newspaper, magazine, radio or television reviews, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying or recording, or by an infor- mation storage and retrieval system, without permission in writing from the publisher. Professionals and amateurs are hereby warned that this material, being fully protected under the Copyright Laws of the United States of America and all other countries of the Berne and Universal Copyright Conventions, is subject to a royalty. All rights including, but not limited to, professional, amateur, recording, motion picture, recitation, lecturing, public reading, radio and television broadcasting, and the rights of translation into foreign languages are expressly reserved. Particular emphasis is placed on the question of readings and all uses of this book by educational institutions, permission for which must be secured from the authors representa- tive: Patrick Herold, ICM, 40 West 57th Street, New York, NY 10019; (212) 556-5600.

*or t+e per,or ers w+ose -odies and i a.inations carr/ t+is wor0 ,orward
Excerpt from Harold Pinter's The Lover is copyright 1963, 1964 by H. Pinter Ltd., and is reprinted from Harold Pinter, Complete Works: Two, Grove Press, New York, 1977. This publication is made possible in part with funds from the New York State Council on the Arts, a State Agency. TCG books are exclusively distributed to the book trade by Consortium Book Sales and Distribution, 1045 Westgate Drive, St. Paul, MN 55114. LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Bogart, Anne The viewpoints book : a practical guide to viewpoints and composition / By Anne Bogart and Tina Landau.1st ed. p. cm. ISBN-13: 978-1-55936-241-2 ISBN-10:1-55936-241-3 (pbk,: alk. paper) 1. Movement (Acting) 2. Improvisation (Acting) I. Landau, Tina. II. Title. PN2071.M6B64 2004 792.02'8dc22
2004024021

Cover design by Mark Melnick Cover image by Megan Wanlass Szalla Cover calligraphy by Doctor Bennett Author photos by Dixie Sheridan (Bogart) and Michal Daniel (Landau) Book design and composition by Lisa Govan

First Edition, November 2005

CONTENTS
PREF ACE

By the Authors
CHAPTER I: CHAPTER 2: CHAPTER 3: CHAPTER 4: CHAPTER ":

A History of Viewpoints and Composition Viewpoints and Composition: What Are They? Viewpoints and Composition in Contemporary Theater How to e!in? Introd#$in! the Indi%id#a& Viewpoints the Indi%id#a& Viewpoints To!ether

CHAPTER ':P#ttin!
CONTENTS CHAPTER (: CHAPTER ,: CHAPTER +:

Wor)in! with *#si$ +" -ro#p.Impro%isations (/ 0tartin! to 0pea) /1" Viewpoints in Rehearsa& /2/ Introd#$in! Composition /3, Composition Toward *a)in! 2ri!ina& Wor) /"3 CHAPTER /3: Composition Toward Rehearsin! a P&ay

CHAPTER /1: CHAPTER //: CHAPTER /2:

/'3
CHAPTER /4:

Composition as Pra$ti$e and

Additiona& Re$ipes /,"

P!E*ACE
"What
can

I
readon Viewpoints?"

V V The 3#estion has 4een as)ed of #s with in$reasin! re! #&arity o%er re$ent years. When either one of #s $omes $&ose to $on$&#din! a $&ass5 wor)shop or prod#$tion5 the 3#estionin! often 4e!ins: 6How do I $ontin#e the wor)?6 6How do I app&y this to s$ene wor)?6 6How $an I #se this in writin! my p&ay?6 6What if I7m wor)in! with peop&e who ha%e not done Viewpoints trainin!?6 6What other e8er$ises are there in Composition wor)?6 This 4oo) was 4orn o#t of a desire to answer some of the 3#estions we ha%e 4een as)ed o%er the years. There is not a &ot of a%ai&a4&e materia& on Viewpoints. There are some arti$&es9and essays 4#t5 as far as we )now5 there is no 4oo) de%oted to the s#4:e$t5 &et a&one what we ha%e hoped to write here: a $omprehensi%e n#ts9and94o&ts approa$h to the #ses of Viewpoints. This is not a 4oo) on theory5 4#t a pra$ti$a& how9to !#ide thro#!h the sta!es and app&i$ations of the wor).
CHAPTER /":

How to ;is$#ss Composition

Wor) in a -ro#p /(/

CHAPTER /': AFTERWORD

Composition and Re&ated Arts /(+ CHAPTER /,: Viewpoints in <ne8pe$ted P&a$es /++

Working with SITI Company

By Anne Bogart 2// By Tina Landau 2/4 2/+

Working with the Steppenwolf Ensemble, or An Old Dog Learning New Tricks
BIB#IOG!APH&
P!E*ACE P!E*ACE

We wrote this 4oo) so that o#r st#dents5 a$tors5 $o&&a4orators and e%en s)epti$s $o#&d ha%e somethin! to r$ter to when desired. The Viewpoints Book is not definiti%e5 not !ospe&5 not a4so&#te tr#th. It is written o#t of persona& e8perien$e and 4e&ief. Whi&e we 4oth stand firm&y 4y the notion that Viewpoints is an open pro$ess rather than a $&osed methodo&o!y5 we do hope that anyone interested in the wor) wi&& approa$h it with depth and ri!or and the same so#&9 sear$hin! that we 4oth hope we ha%e done o%er the years. 2#r wish is not that these pa!es 4e read as a pres$ripti%e instr#$tion man#a&= 4#t rather as an array of possi4i&ities5 a $a&& to f#rther e8amination and persona&i>ation on the part of the reader. There are steps and 4asi$s that we 4e&ie%e are $r#$ia& for #nder9 standin! Viewpoints in the 4ody5 and for #sin! it most effe$ti%e&y in trainin! and rehearsa&. We ha%e o#t&ined these. There are &a>y or #ndi!ested ways of tea$hin! Viewpoints and5 e%en more so5 ta&)in! a4o#t it5 and peop&e are doin! this more and more fre3#ent&y. H#t o#r so&#tion is not that one reads these pa!es and fo&&ows them as di$tated5 We7d a&& &o%e an answer5 a !#arantee5 a short$#t. Viewpoints trainin! pro%ides none of these. A&tho#!h we are &ay9&n? the wor) o#t in a %ery &inearandstr#$t#redfashion5it7sdead&yforanyartist tome$hani$a&&y try to fo&&ow the steps witho#t wrest&in! with the 3#estions5 ad:#stin! the pro$ess5 and earnin! their own dis$o%eries. We hope yo# read these pa!es and 3#estion. We hope yo# read them and try. We hope yo# #se them5 then write on them5 then rewrite them5 then read them a!ain. We wrote this 4oo) 4y sp&ittin! #p the o#t&ine5 ea$h ta)in! first passes at the $hapters we fe&t stron!est a4o#t. Then we traded materia&5 addin! to ea$h other7s wor)5 $#ttin! ea$h other7s wor)5 re%isin! to!ether. We made a $hoi$e to write from the 6we6 4e$a#se the 4oo) ref&e$ts those thin!s we share as 4e&iefs and pra$ti$es. 2$$asiona&&y5 in wantin! to offer a spe$ifi$ e8amp&e5 we refer to o#r own prod#$tions or e8perien$es: 6When Anne dire$ted .. .6 or 6When Tina dire$ted ...6 We had diffi$#&ty in determinin! the appropriate synta8 in writin! to you. Are you the instr#$tor5 the dire$tor5 a performer5 desi!ner5 p&aywri!ht? @eader or parti$ipant? Aor the most part5 we ha%e addressed this 4oo) to the person &eadin! the wor)Bthe tea$her or dire$tor. H#t yo# wi&& noti$e that we sometimes f&#id&y5 and perhaps in$onsistent&y5 f&oat i n t o 4e$omin! the tea$her7s or dire$tor7s %oi$e o#rse&%es We mi!ht 4e!in an e8er$ise with: 6Airst yo# !ather the !ro#p in the $enter of the spa$e and ha%e e%eryone $&ose herChis eyes. . .6 Daddressin! the &eaderE5 4#t soon transition into: 60ense the 4odies aro#nd yo#5 and &isten to the so#nd of 4reathin! . . .6 Daddressin! the parti$ipantsE. We are a&so aware that5 d#e to the nat#re of the s#4:e$t and the fa$t that we wrote in tandem5 there are many times thro#!ho#t the 4oo) when a topi$ is re%isited5 addressed a se$ond or e%en a third time. We hope we ha%e repeated o#rse&%es within a new $onte8t or with a s&i!ht&y a&tered perspe$ti%e. Ea$h of #s was introd#$ed toCViewpoints 4y another per son: Anne from *ary 2%er&ie at Few Gor) <ni%ersity5 Tina from Anne at the Ameri$an Repertory Theatre. oth of #s went thro#!h o#r own pro$ess: first5 fee&in! that the wor&d had 4een named5 that we now had words for what we had a&ways int#ited or done= se$ond5 4e$omin! sed#$ed 4y the

system itse&f5 its power5 its effe$t5 its sty&e= and third5 re$o!ni>in! the need for ree8amination and reshapin! of the te$hni3#e to ref&e$t o#r own passions and o4ser%ations. In writin! down many of the e8er$ises in this 4oo)5 we fo#nd o#rse&%es remem4erin! in %i%id detai& the moments in whi$h we first $reated them. A&most a&ways5 the e8er$ises were 4orn o#t of moments of terror: 6I ha%e si8 ho#rs and twenty a$tors and what am I !oin! to do?H6 We are torn 4etween the desire to pro%ide a map for yo# and the desire to te&& yo# to rip #p this 4oo) and enter the terror for yo#rse&f? As Ioseph Camp4e&& has said: 6Where yo# st#m4&e5 there yo# sha&& find yo#r treas#re.6 We in%ite the st#m4&in!. We hope may4e to ha%e indi$ated a path 4#t not $&eared it5 &ea%in! .yo# to wor) thro#!h the most thorny areas. Viewpoints is an open pro$ess5 not a ri!id te$hni3#e. We hope that this 4oo) wi&& 4e for yo# not an end 4#t a 4e!innin!. Anne Bogart and Tina Landau October 2005
1i

We wo#&d &i)e to a$)now&ed!e the fo&&owin! peop&e for their $on9 tri4#tions to this 4oo) and to o#r &i%es: *ary 2%er&ie5 who for!ed the ori!ina& 0i8 Viewpoints from her ima!ination. Ai&een Pass&off5 who e8tended the notion of Com9 position from the dan$e wor&d into the arena of theater. Wende&& ea%ers5 who $arries Viewpoints with him e%erywhere. The indi9 %id#a& mem4ers of 0ITI Company5 who ha%e de%e&oped and e8panded the Viewpoints o%er years of pra$ti$e5 rehearsa& and tea$hin!5 in parti$#&ar arney 27Han&on5 who is a $onstant inno9 %ator5 e8perimenter and inspiration. Char&es @. *ee5 Ir.5 rian I#$ha5 Ron Ar!e&ander5 0#san *i&ani5 Je%in J#h&)e5 Iessi$a @itwa)5 Iohn ernd5 *ar) R#sse&&5 Io$e&yn C&ar)e5 0a4ine Andreas5 Theresa *$Carthy5 Henry 0tram5 *artin *oran5 Iessi$a *o&as)ey5 Vi$toria C&ar)5 Iason ;anie&y5 0te%en 0)y4e&&5 Ieff Perry5 Amy *orton and -#y Ad)ins5 amon! othersBmy Viewpoint m#ses5 who ha%e ta#!ht me e%erythin! I )now a4o#t how to app&y and inte!rate the wor) in rehearsa&. Anne Ham4#r!er5 *ar:orie 0amoff5 Ro4ert r#stein5 Ri$hard Ridde&&5 *i$hae& ;a%id5 *artha @a%ey5 the memory of He&en *erri&&5 and 0ITI $ompanyBa&& of whom s#pported me so !enero#s&y a&on! the way. And5 of $o#rse5 from 4oth of #s: Terry Femeth and Jathy 0o%a5 for their $&arity in he&pin! #s find a shape for this 4oo).

THE VIEWPOINTS BOOK

A HISTO!& O* VIEWPOINTS AN" CO%POSITION

A
seismi$ $#&t#ra& shift o$$#rred in Ameri$a d#rin! the midd&e of the &ast $ent#ry. It was a shift mar)ed 4y s#$h e%ents as the protests a!ainst the Vietnam War5 the mar$hes for $i%i& ri!hts5 and the 4irth of a4stra$t e8pressionism5 postmodernism and minima&ism. ;#rin! the /+'1s5 this $#&t#ra& e8p&osion and artisti$ re%o&#tion !ained moment#m in Few Gor) City5 0an Aran$is$o and other #r4an $enters and then spread a$ross the nation. The mo%ement was po&iti$a&5 aestheti$ and persona&5 and it a&tered the way artists tho#!ht a4o#t their pro$esses5 their a#dien$es and their ro&e in the wor&d. This s#dden er#ption of a$ti%ity was &i)e a 4reath of fresh air for many yo#n! peop&e5 in$&#din! a !ro#p of artistsBthe I#dson Ch#r$h TheaterBwho #nited to!ether at the I#dson Ch#r$h on Washin!ton 03#are in Few Gor) City. The !ro#p in$&#ded the yo#n! painters Ro4ert Ra#s$h9en4er! and Iasper Iohns5 $omposers Iohn Ca!e and Phi&ip Corner5 fi&mma)er -ene Ariedman5 and dan$ers G%onne Rainer5 Trisha rown5 ;a%id -ordon5 @#$inda Chi&ds5 0te%e Pa8ton5 @a#ra

THE VIEWPOINTS BOOK CHAPTE! I2 A H

;ean5 0imone Aorti and others. Inspired 4y their dan$e $omposition tea$her5 Ro4ert ;#nn5 these dan$ers wanted to 3#estion the ass#mptions of their own trainin! and how they approa$hed their wor). They wanted to $reate a&ternati%es to the per%asi%e inf&#en$e of -eor!e a&an$hine5 *artha -raham and e%en $&oser $ontemporaries5 &i)e *er$e C#nnin!ham. They wanted to &i4erate $horeo!raphy from psy$ho&o!y and $on%entiona& drama. 6What is dan$e?6 they as)ed. 6If an e&ephant swin!s its tr#n)5 is it dan$e? If a person wa&)s a$ross the sta!e5 is that dan$e?6 A n#m4er of e8periments ens#ed: performan$es on rooftops5 a#dien$es witnessin! e%ents thro#!h )eyho&es5 dan$ers s#spended in midair5 dan$ers on ro&&in! p&atforms. Wor)in! with the notion that anythin! is possi4&e5 these artists started to $han!e the r#&es. Ra#s$hen4er! and Iohns5 for e8amp&e5 not on&y $reated desi!ns for the performan$es 4#t often $on$ei%ed the e%ents and performed in them. Impro%isation 4e$ame the $ommon &an!#a!e and e%eryone he&ped ea$h other o#t. 2ne of the f#ndamenta& a!reements that #nited this !ro#p was their 4e&ief in nonhierar$hi$a& art and the #se of 6rea& time6 a$ti%ities whi$h were arri%ed at thro#!h !ame9&i)e str#$t#res or tas)9oriented a$ti%ities. The !ro#p wanted to f#n$tion demo$rat9i$a&&y with a&& mem4ers ha%in! e3#a& a$$ess to performan$e opport#nities. In impro%isations5 ea$h parti$ipant had the same power in the $reation of an e%ent. The aestheti$ thin)in! was a&so nonhierar$hi$a&. *#si$5 for e8amp&e5 wo#&d not di$tate $hoi$es. An o4:e$t $o#&d ha%e the same importan$e as a h#man 4ody. The spo)en word $o#&d 4e on e3#a& footin! with !est#re. 2ne idea $o#&d ho&d the same importan$e as another on the same sta!e at the same time. These postmodern pioneers for!ed the territory #pon whi$h we now stand. They re:e$ted the insisten$e 4y the modern dan$e wor&d #pon so$ia& messa!es and %irt#osi$ te$hni3#e5 and rep&a$ed it with interna& de$isions5 str#$t#res5 r#&es or pro4&ems. What made the fina& dan$e was the $onte8t of the dan$e. Whate%er mo%ement o$$#rred whi&e wor)in! on these pro4&ems became the art. This phi&osophy &ies at the heart of 4oth Viewpoints and Composition. In the ear&y /+,1s5 Ai&een Pass&off5 a dan$er and $horeo!ra9her and inf&#entia& to#$hstone in the I#dson Ch#r$h *o%ement5 4e$ame Anne7s professor at ard Co&&e!e. Ai&een7s $omposition $&ass had an enormo#s effe$t on the way Anne 4e!an to thin) a4o#t $reatin! wor). The st#dents were as)ed to $reate their own wor) 4ased on dreams5 o4:e$ts5 ad%ertisements5 whate%er mi!ht seem fodder for $reation. Aor Anne5 this was the !enesis of a &ifetime7s interest in app&yin! theories of paintin!5 ar$hite$t#re5 m#si$ and fi&m to theater. Ai&een a&so inspired Anne to in%esti!ate the $reati%e ro&e of ea$h performer. @ater5 in /+,+5 Anne met $horeo!rapher *ary 2%er&ie5 the in%entor of the 770i8 Viewpoints56 at Few Gor) <ni%ersity5 where they Were 4oth on the fa$#&ty of the E8perimenta& Theater Win!. A&tho#!h a &ate$omer to the I#dson s$ene5 *ary5 who had trained as a dan$er and $horeo!rapher5 attri4#tes her own Inno%ations to those I#dson Ch#r$h e8periments. Her thin)in! was a&so i!nited 4y $o&&ea!#es in 0an Aran$is$o5 in$&#din! Anna Ha&prin in er)e&ey5 ;e4orah Hay and5 parti$#&ar&y5 ar4ara ;i&&ey5 who5 with *ary5 4ro#!ht to!ether an a&&9women7s !ro#p $a&&ed the Fat#ra& History of the Ameri$an ;an$er. *ary immersed herse&f in these inno%ations and $ame #p with her own way to str#$t#re dan$e impro%isation in time and spa$eBthe 0i8 Viewpoints: 0pa$e5 0hape5 Time5 Emotion5 *o%ement and 0tory5 0he 4e!an to app&y these prin$ip&es5 not on&y to her own wor) as $horeo!rapher5 4#t a&so to her tea$hin!. 0#4se3#ent&y5 her wor) has inf&#en$ed se%era& !enerations of the ater artists. *ary7s approa$h to the 0i8 Viewpoints was and $ontin#es to 4e a4so&#te. 0he is adamant a4o#t their p#rity. To her $ha!rin and de&i!ht5 her st#dents and $o&&ea!#es5 re$o!ni>in! the !eni#s of her inno%ations and their immediate re&e%an$e to the theater5 ha%e e8trapo&ated and e8panded her Viewpoints for their own #ses. To Anne Dand &ater TinaE5 it was instant&y $&ear that *ary7s approa$h to !eneratin! mo%ement for the sta!e was app&i$a4&e to $reatin! %is$era&&y dynami$ moments of theater with a$tors and other $o&&a4orators. In /+(,5 Tina and Anne met whi&e wor)in! at the Ameri$an Repertory Theatre in Cam4rid!e5 *A. 2%er the ne8t
THE VIEWPOINTS BOOK

ten years5 they $o&&a4orated e8tensi%e&y5 e8perimented theatri$a&&y5 and !rad#a&&y e8panded 2%er&ie7s 0i8 Viewpoints to 4oth nine Physi$a& Viewpoints D0patia& Re&ationship5 Jinestheti$ Response5 0hape5 -est#re5 Repetition5 Ar$hite$t#re5 Tempo5 ;#ration and Topo!raphyE and Vo$a& Viewpoints DPit$h5 ;ynami$5 A$$e&era9 tionC;e$e&eration5 0i&en$e and Tim4reE. 2%er the past twenty years5 Viewpoints trainin! has i!nited the ima!inations of $horeo!raphers5 a$tors5

dire$tors5 desi!ners5 dramat#r!s and writers. Whi&e the Viewpoints are now ta#!ht a&& o%er the wor&d and #sed 4y many theater artists in the rehearsa& pro$ess5 the theory and its app&i$ation are sti&& re&ati%e&y new. The 3#estions arise fre3#ent&y: What e8a$t&y is Viewpoints? What e8a$t&y is Composition?

CHAPTE! '

VIEWPOINTS AN" CO%POSITION2 WHAT A!E THE&3

Viewpoints5 Composition: What do these terms mean? The fo&&owin! definitions ref&e$t our #nderstandin! and #se of them. E%en in the $onte8t of the wor) of s#$h pioneers as *ary 2%er&ie and Ai&een Pass&off5 it is impossi4&e to say where these ideas a$t#a&&y ori!inated5 4e$a#se they are time&ess and 4e&on! to the nat#ra& prin$ip&es of mo%ement5 time and spa$e. 2%er the years5 we ha%e simp&y arti$#&ated a set of names for thin!s that a&ready e8ist5 thin!s that we do nat#ra&&y and ha%e a&ways done5 with !reater or &esser de!rees of $ons$io#sness and emphasis.

VIEWPOINTS
K Viewpoints is a phi&osophy trans&ated into a te$hni3#e for D/E trainin! performers= D2E 4#i&din! ensem4&e= and D3E $re atin! mo%ement for the sta!e.
THE VIEWPOINTS BOOK CHAPTER 2: VIEWPOINTS AND COMPOSITION/WHAT ARE THEY?

K Viewpoints is a set of names !i%en to $ertain prin$ip&es of mo%ement thro#!h time and spa$e= these names $onstit#te a &an!#a!e for ta&)in! a4o#t what happens onsta!e. K Viewpoints is points of awareness that a performer or $reator ma)es #se of whi&e wor)in!.
REPETITION

The repeatin! of somethin! onsta!e. Repetition in$&#des D/E Inter- nal Repetition Drepeatin! a mo%ement within yo#r own 4odyE= D2E External Repetition Drepeatin! the shape5 tempo5 !est#re5 et$.5 of somethin! o#tside yo#r own 4odyE. We wor) with nine Physi$a& Viewpoints5 within Viewpoints of Time and Viewpoints of 0pa$e. The 4#&) of this 4oo) fo$#ses on the Physi$a& Viewpoints5 tho#!h Vo$a& Viewpoints5 whi$h we de%e&oped &ater5 are addressed in Chapter +. The Vo$a& View9 points are spe$ifi$a&&y re&ated to so#nd as opposed to mo%ement. Physi$a& and Vo$a& Viewpoints o%er&ap ea$h other and $onstant&y $han!e in re&ati%e %a&#e5 dependin! on the artist or tea$her andCor the sty&e of the prod#$tion. The Physi$a& Viewpoints are:

Viewpoints o, Space
SHAPE

The $onto#r or o#t&ine the 4ody Dor 4odiesE ma)es In spa$e A&& 0hape $an 4e 4ro)en down into either D/E lines; D2E curves D3E a combination of &ines and $#r%es. Therefore5 in Viewpoints trainin! we $reate shapes that5are ro#nd5 shapes that are an!#&ar5 shapes that are a mi8t#re of these two. In addition5 0hape $an either 4e D/E stationary; D2E moving thro#!h spa$e.

@ast&y5 0hape $an 4e made in one of three forms: D/E the 4ody in spa$e= D2E the 4ody in re&ationship to ar$hite$t#re ma)in! a shape= D3E the 4ody in re&ationship to other 4odies ma)in! a shape.

Viewpoints o, Ti e
TEMPO DURATION KINESTHETIC RESPONSE GESTURE

The rate of speed at whi$h a mo%ement o$$#rs= how fast or s&ow somethin! happens onsta!e. How &on! a mo%ement or se3#en$e of mo%ements $ontin#es. ;#ration5 in terms of Viewpoints wor)5 spe$ifi$a&&y re&ates to how &on! a !ro#p of peop&e wor)in! to!ether stay inside a $ertain se$9 tion of mo%ement 4efore it $han!es. A mo%ement in%o&%in! a part or parts of the 4ody= -est#re is 0hape with a 4e!innin!5 midd&e and end. -est#res $an 4e made with the hands5 the arms5 the &e!s5 the head5 the mo#th5 the eyes5 the feet5 the stoma$h5 or any other part or $om4ination of parts that $an 4e iso&ated. -est#re is 4ro)en down into: A spontaneo#s rea$tion to motion whi$h o$$#rs o#tside yo#= the timin! in whi$h yo# respond to the e8terna& e%ents of mo%ement or so#nd= the imp#&si%e mo%ement that o$$#rs from a stim#&ation of the senses. An e8amp&e: someone $&aps in front of yo#r eyes and yo# 4&in) in response= or someone s&ams a door and yo# imp#&si%e&y stand #p from yo#r $hair. /. EHAVI2RA@9 -E0T<RE. e&on!s to the $on$rete5 physi$a& wor&d of h#man 4eha%ior as we o4ser%e it in o#r e%eryday rea&ity. It is the )ind of !est#re yo# see in the s#permar)et or on the s#4way: s$rat$hin!5 pointin!5 wa%in!5 sniffin!5 4owin!5 sa&#tin!. A eha%iora& -est#re $an !i%e informa9
9 THE VIEWPOINTS BOOK CHAPTER 2: VIEWPOINTS AND COMPOSITION/WHAT ARE THEY?

tion a4o#t $hara$ter5 time period5 physi$a& hea&th5 $ir$#m9 stan$e5 weather5 $&othes5 et$. It is #s#a&&y defined 4y a per9 son7s $hara$ter or the time and p&a$e in whi$h they &i%e. It $an a&so ha%e a tho#!ht or intention 4ehind it. A eha%iora& -est#re $an 4e f#rther 4ro)en down and wor)ed on in terms of Private Gesture and Public Gesture, distin!#ishin! 4etween a$tions performed in so&it#de and those performed with awareness of or pro8imity to others. 2. ELPRE00IVE -E0T<RE. E8presses an inner state5 an emotion5 a desire5 an idea or a %a&#e. It is a4stra$t and sym4o&i$ rather than representationa&. It is #ni%ersa& and time&ess and is not . somethin! yo# wo#&d norma&&y see someone do in the s#permar)et or s#4way. Aor instan$e5 an E8pressi%e -est#re mi!ht 4e e8pressi%e of5 or stand for5 s#$h emotions as 6:oy7 6!rief6 or 6an!er.6 2r it mi!ht e8press the inner essen$e of Ham&et as a !i%en a$tor fee&s him. 2r5 in a prod#$tion of Che)ho%5 yo# mi!ht $reate and wor) with E8pressi%e -est#res of or for 6time56 6memory6 or 6*os$ow.6 i
ARCHITECTURE

The physi$a& en%ironment in whi$h yo# are wor)in! and how awareness of it affe$ts mo%ement. How many times ha%e we seen prod#$tions where there is a &a%ish5 intri$ate set $o%erin! the sta!e and yet the

a$tors remain down $enter5 hard&y e8p&orin! or #sin! the s#rro#ndin! ar$hite$t#re? In wor)in! on Ar$hite$t#re as a Viewpoint5 we &earn to dan$e with the spa$e5 to 4e in dia&o!#e with a room5 to &et mo%ement Despe$ia&&y 0hape and -est#reE e%o&%e o#t of o#r s#rro#ndin!s. Ar$hite$t#re is 4ro)en down into: /. 02@I; *A00. Wa&&s5 f&oors5 $ei&in!s5 f#rnit#re5 windows5 doors5 et$. 2. TELT<RE. Whether the so&id mass is wood or meta& or fa4ri$ wi&& $han!e the )ind of mo%ement we $reate in re&ationship to it. 3. @I-HT. The so#r$es of &i!ht in the room5 the shadows we ma)e in re&ationship to these so#r$es5 et$. 4. C2@2R. Creatin! mo%ement off of $o&ors in the spa$e5 e.!.5 how one red $hair amon! many 4&a$) ones wo#&d affe$t o#r $horeo!raphy in re&ation to that $hair. ". 02<F;. 0o#nd $reated 4y and from the ar$hite$t#re5 e.!.5 the so#nd of feet on the f&oor5 the $rea) of a door5 et$. Additiona&&y5 in wor)in! with Ar$hite$t#re5 we $reate spatial meta- phors, !i%in! form to s#$h fee&in!s as I7m 6#p a!ainst the wa&&56 6$a#!ht 4etween the $ra$)s56 6trapped56 6&ost in spa$e56 6on the thresho&d56 6hi!h as a )ite56 et$.
/SPATIAL RELATIONSHIP

The distan$e 4etween thin!s onsta!e5 espe$ia&&y D/E one 4ody to another= D2E one 4ody Dor 4odiesE to a !ro#p of 4odies= D3E the 4ody to the ar$hite$t#re. What is the f#&& ran!e of possi4&e distan$es 4etween thin!s onsta!e? What )inds of !ro#pin!s a&&ow #s to see a sta!e pi$t#re more $&ear&y? Whi$h !ro#pin!s s#!!est an e%ent or emotion5 e8press a dynami$? In 4oth rea& &ife and onsta!e5 we tend to position o#rse&%es at a po&ite two9 or three9foot distan$e from someone we are ta&)in! to. When we 4e$ome aware of the e8pressi%e possi4i&ities of 0patia& Re&ationship onsta!e5 we 4e!in wor)in! with &ess po&ite 4#t more dynami$ distan$es of e8treme pro8imity or e8treme separation.T2P2-RAPHG The landscape, th f&oor pattern, the design we $reate in mo%ement thro#!h spa$e. In definin! a &ands$ape5 for instan$e5 we mi!ht de$ide that the downsta!e area has !reat density5 is diffi$#&t to mo%e thro#!h5 whi&e the #psta!e area has &ess density and there9 fore in%o&%es more f&#idity and faster tempos. To #nderstand f&oor pattern5 ima!ine that the 4ottoms of yo#r feet are painted red= as yo# mo%e thro#!h the spa$e5 the pi$t#re that e%o&%es on the f&oor is the f&oor pattern that emer!es o%er time. In addition5 sta!in! or desi!nin! for performan$e a&ways in%o&%es $hoi$es
THE VIEWPOINTS BOOK CHAPTER 2: VIEWPOINTS AND COMPOSITION/WHAT ARE THEY?

a4o#t the size and shape of the spa$e we wor) in. Aor e8amp&e5 we mi!ht $hoose to wor) in a narrow three9foot strip a&& the way downsta!e or in a !iant trian!#&ar shape that $o%ers the who&e f&oor5 et$.

CO%POSITION
in their $orrespondin! dis$ip&ines. In theater5 it is writing on your feet, with others5 in spa$e and time5 #sin! the &an!#a!e of theater. K Composition is a method for !eneratin!5 definin! and !#a!e we7&& spea) in the pie$e5 either prin$ip&es that are

#se9f#&& for sta!in! Dsymmetry %ers#s asymmetry5 #se of s$a&e and perspe$ti%e5 :#8taposition5 et$.E or the in!redients that 4e&on! spe$ifi$a&&y to the P&ay9Wor&d we are wor)in! on Do4:e$ts5 te8t#res5 $o&ors5 so#nds5 a$tions5 et$.EThese in!re9 dients are to a Composition what sin!&e words are to a para9!raph or essay. The $reator ma)es meanin! thro#!h their arran!ement. K Composition is a method for 4ein! in dia&o!#e with other art forms5 as it 4orrows from and ref&e$ts the other arts. In Composition wor)5 we st#dy and #se prin$ip&es from other dis$ip&ines trans&ated for the sta!e. Aor e8amp&e5 4orrowin! from m#si$5 we mi!ht as) what the rhythm of a moment is5 or how to intera$t 4ased on a f#!#e str#$t#re5 or how a $oda f#n$tions and whether or not we sho#&d add one. 2r we7&& thin) a4o#t fi&m: 6How do we sta!e a $&ose9#p? An esta4 &ishin! shot? A monta!e?6 And we7&& as): 6What is the e3#i%a&ent in the theater?6 In app&yin! Compositiona& prin$ip&es from other dis$ip&ines to the theater5 we p#sh the en%e&ope of theatri$a& possi4i&ity and $ha&&en!e o#rse&%es to $reate new forms. K Composition is to the $reator Dwhether dire$tor5 writer5 per9 former5 desi!ner5 et$.E what Viewpoints is to the a$tor: a method for pra$ti$in! the art. K Composition is a method for $reatin! new wor). K Composition is the pra$ti$e of se&e$tin! and arran!in! the separate $omponents of theatri$a& &an!#a!e into a $ohesi%e wor) of art for the sta!e. It is the same te$hni3#e that any $horeo!rapher5 painter5 writer5 $omposer or fi&mma)er #ses de%e&opin! the theater %o$a4#&ary that wi&& 4e #sed for any !i%en pie$e. In Composition5 we ma)e pie$es so that we $an point to them and say: 6That wor)ed56 and as): 6Why?6 so that we $an then arti$#&ate whi$h ideas5 moments5 ima!es5 et$.5 we wi&& in$&#de in o#r prod#$tion. K Composition is a method for re%ea&in! to o#rse&%es o#r hid9 den tho#!hts and fee&in!s a4o#t the materia&. e$a#se we #s#a&&y ma)e Compositions in rehearsa& in a $ompressed period of time5 we ha%e no time to thin). Composition pro9 %ides a str#$t#re for wor)in! from o#r imp#&ses and int#9 ition. As Pa4&o Pi$asso on$e said5 ma)in! art is 6another way of )eepin! a diary.6 K Composition is an assi!nment !i%en to an ensem4&e so that it $an $reate short5 spe$ifi$ theater pie$es addressin! a par9 ti$#&ar aspe$t of the wor). We #se Cornposition d#rin! rehearsa& to en!a!e the $o&&a4orators in the pro$ess of !en9 eratin! their own wor) aro#nd a so#r$e. The assi!nment wi&& #s#a&&y in$&#de an o%era&& intention or str#$t#re as we&& as a s#4stantia& &ist of in!redients whi$h m#st 4e in$&#ded in the pie$e. This &ist is the raw materia& of the theater &an9
12 13

VIEWPOINTS AN" CO%POSITION IN CONTE%PO!A!&THEATE!

iewpoints and Composition offer an a&ternati%e to $on%en9 tiona& approa$hes to a$tin!5 dire$tin!5 p&aywritin! and desi!n.

They represent a $&ear9$#t pro$ed#re and attit#de that is nonhierar$hi$a&5 pra$ti$a& and $o&&a4orati%e in nat#re. oth address parti$#&ar pro4&ems and ass#mptions that a yo#n! person fa$es when enterin! the fie&d5 and offer an a&ternati%e. Go#n! theater artists inherit the fo&&owin! formida4&e pro49 &ems as they enter into the Ameri$an theater arena:
Problem I: The Americanization of the Stanislavsky system.

The approa$h to a$tin! for the sta!e in the <nited 0tates has not $han!ed m#$h o%er the past si8ty or se%enty years. 2#r mis#n9
THE VIEWPOINTS BOOK CHAPTER 3: VIEWPOINTS AND COMPOSITION IN CONTEMPORARY THEATER

derstandin!5 misappropriation and miniat#ri>ation of the 0tani9 s&a%s)y system remains the 4i4&e for most pra$titioners. @i)e the air we 4reathe5 we are rare&y aware of its dominan$e and omnipresen$e. In /+235 Jonstantin 0tanis&a%s)y and his $ompany5 the *os$ow Art Theatre5 arri%ed in the <nited 0tates to perform a repertory of p&ays 4y -or)y and Che)ho%. The approa$h to a$tin! on disp&ay in those prod#$tions had a !a&%ani>in! impa$t on yo#n! theater artists. Inspired 4y the performan$esCand $#rio#s to &earn more5 Ameri$ans !rasped onto what t#rned o#t to 4e a se%ere&y &imited aspe$t of 0tanis&a%s)y7s 6system56 and t#rned it into a re&i!ion. Hi!h&y effe$ti%e for fi&m and te&e%ision5 this &e!a$y has meanwhi&e sha$)&ed the Ameri$an theater to an #&trarea&isti$ approa$h to the art of the sta!e. @ater5 0tanis&a%s)y admitted that his ear&ier psy$ho&o!i$a& methods5 whi$h had 4een so inf&#entia& in the <nited 0tates5 were mis!#ided. He then a&tered his empha9 sis from ind#$in! emotion thro#!h affe$ti%e memory to a system of psy$ho9physi$a& $hain9of9a$tion5 where action, rather than psy$ho&o!y5 ind#$ed emotion and fee&in!. The inherited pro4&ems and ass#mptions $a#sed 4y the Ameri$ani>ation of the 0tanis&a%s)y system are #nmista)a4&y e%i9 dent in rehearsa& when yo# hear an a$tor say: 7Tf I fee& it5 the a#dien$e wi&& fee& it56 or 6I7&& do it when I fee& it.6 When a rehearsa& 4oi&s down5 to the pro$ess of man#fa$t#rin! and then han!in!9 desperate&y onto emotion5 !en#ine h#man intera$tion is sa$rifi$ed. Emotion ind#$ed 4y re$o&&e$tion of past e8perien$e $an 3#i$)&y t#rn a$tin! into a so&ipsisti$ e8er$ise. The Her$#&ean effort to pin down a parti$#&ar emotion remo%es the a$tor from the simp&e tas) of performin! an a$tion5 and there4y distan$es a$tors from one another and from the a#dien$e. Instead of for$in! and fi8in! an emotion5 Viewpoints trainin! a&&ows #ntamed fee&in! to arise from the a$t#a& physi$a&5 %er4a& and ima!inati%e sit#ation in whi$h a$tors find themse&%es to!ether. Another mis$on$eption a4o#t 0tanis&a%)y7s theories of a$t9 in! s#pposes that a&& onsta!e a$tion is moti%ated e8$&#si%e&y 4y psy$ho&o!i$a& intention. Therefore5 we are often fa$ed with a$tors who need to )now: 6What is my o4:e$ti%e?6 or 6What do I want?6 4efore they are wi&&in! to ma)e a mo%e. 2ften this resistan$e is fo&&owed 4y the statement: 6*y $hara$ter wo#&d ne%er do that.6 Viewpoints and Composition s#!!est fresh ways of ma)in! $hoi$es onsta!e and !eneratin! a$tion 4ased on awareness of time and spa$e in addition to or instead of psy$ho&o!y.
Problem 2: Lack of ongoing actor training.

The theater is the on&y artisti$ dis$ip&ine that does not en$o#ra!e or insist #pon the on!oin! trainin! of its pra$titioners. The res#&t: r#sty or inf&e8i4&e a$tors who often fee& #nsatisfied or #ninspired What m#si$ian5 after !rad#atin! from a $onser%atory5 wo#&d ass#me that sChe did not need to pra$ti$e e%ery day? What dan$er wo#&d not ta)e $&ass or do 4ar e8er$ises on a re!#&ar 4asis? What painter5 what sin!er5 what writer wo#&d not pra$ti$e herChis art dai&y? And yet5 #pon !rad#ation from a trainin! pro!ram5 a$tors are s#pposed to 4e ready for the mar)etp&a$e with9 M o#t a $ommitment to on!oin! persona& trainin! Trainin! for!es re&ationships5 de%e&ops s)i&& and pro%ides an opport#nity for $ontin#ed !rowth. Viewpoints trainin! and Composition wor) a&&ow a$tors and their$o&&a4orators to pra$ti$e $reatin! fi$tion to!ether7 on a dai&y 4asis #sin! the too&s of time and spa$e. This dai&y pra$ti$e )eeps the artisti$ :#i$es f&owin!5 $reates $ohesi%e ensem4&es and a&&ows indi%id#a&s and !ro#ps to pra$ti$e spea)in! the &an!#a!e of the sta!e.
Problem 3: The word "want" and its effect upon rehearsal atmosphere and production.

The word 6want6 is !enera&&y #sed too often and too $are&ess&y in o#r wor)in! en%ironment. Is it $orre$t to ass#me that the a$tor7s :o4 is to do what the dire$tor 6wants56 and the dire$tor7s :o4 to )now a4o%e a&& e&se what sChe wants and demand it?
16

17 THE VIEWPOINTS BOOK CHAPTER 3:VIEWPOINTS AND COMPOSITION IN CONTEMPORARY THEATER

The spe$ifi$ &an!#a!e #sed d#rin! a rehearsa& impa$ts the 3#a&ity of re&ationships 4etween peop&e as we&& as the tone of the en%ironment. The word "want"much o%er#sed and a4#sed in o#r Ameri$an system of rehearsin! a p&ayBimp&ies a ri!ht and wron!. It en$o#ra!es artists to sear$h for a sin!&e satisfyin! $hoi$e5 dri%en 4y see)in! appro%a& from an a4so&#te a#thority a4o%e them. *any yo#n! dire$tors ass#me that their :o4 is to )now what they want and to insist on it 4y sayin! thin!s &i)e: 6Fow I want yo# to $ross the sta!e and pi$) #p the tea$#p.6 A$tors ass#me too often that their :o45 first and foremost5 is to do what the dire$tor wants. How often $an an a$tor as) a dire$tor: 6Is this what yo# want?" 4efore the $ontri4#tion of that a$tor is $omp&ete&y ne!ated? Why not as) instead what the play wants? The dire$tor and the a$tor are then #nited in a m#t#a& endea%or. The word 6want56 #sed ha4it#a&&y and witho#t $ons$io#sness of the $onse3#en$es5 $onstr#$ts a parentC$hi&d re&ationship in rehearsa&. This parentC$hi&d re&ationship &imits resi&ien$y5 ri!or and mat#rity in N the $reati%e pro$ess and inhi4its tr#e $o&&a4oration. Can the artisti$ pro$ess 4e $o&&a4orati%e? Can a !ro#p of stron!9minded indi%id#a&s together as) what the p&ay or pro:e$t wants, rather than dependin! #pon the hierar$hi$a& domination of one person? 2f $o#rse a pro:e$t needs str#$t#re and a sense of dire$9 tion 4#t $an the &eader aim for dis$o%ery rather than sta!in! a rep&i$a of what sChe has de$ided 4eforehand? Can we resist pro$&aimin! 6what it is6 &on! eno#!h to a#thenti$a&&y as): 6What is it?6 The e8p&oration of a theme5 the dis$o%ery of sta!in! and the e8$a%ation of &an!#a!e5 for instan$e5 $an a&& 4e a $o&&e$ti%e a$t in whi$h ideas are proposed and ad:#stments made 4y a&& parties. Viewpoints and Composition offer a way to collectively address the 3#estions that arise d#rin! rehearsa&. A$tors5 freed j from see)in! parenta& appro%a&5 are !i%en responsi4i&ity as $o9$reators of the e%ent. Viewpoints and Composition shift the ta4&es so that e%ery parti$ipant m#st find a $ompe&&in! reason to 4e in the room5 to ha%e a sta)e in the pro$ess5 and to $&aim ownership in the o#t$ome.
A

So e .i,ts we recei4e ,ro Surrender

Viewpoints.

Viewpoints re&ie%es the press#re to ha%e to in%ent 4y yo#rse&f5 to !enerate a&& a&one5 to 4e interestin! and for$e $reati%ity. View9 points a&&ows #s to s#rrender5 fa&& 4a$) into empty $reati%e spa$e and tr#st that there is somethin! there5 other than o#r own e!o or ima!ination5 to $at$h #s. Viewpoints he&ps #s tr#st in letting something occur onsta!e5 rather than making it occur. The so#r$e for a$tion and in%ention $omes to #s from others and from the physi$a& wor&d aro#nd #s.
Possi-ilit/

Viewpoints he&ps #s re$o!ni>e the &imitations we impose on o#r9 se&%es and o#r art 4y ha4it#a&&y s#4mittin! to a pres#med absolute authority, 4e it the te8t5 the dire$tor5 the tea$her. It frees #s from the statement: 6*y $hara$ter wo#&d ne%er do that.6 In Viewpoints5 there is no !ood or 4ad5 ri!ht or wron!B there is on&y possi4i&ity and5 &ater in the pro$ess5 choice.
C+oice and *reedo

Viewpoints &eads to !reater awareness, whi$h &eads to !reater choice, whi$h &eads to !reater freedom. 2n$e yo# are aware of a f#&& spe$tr#m5 yo# do not need to $hoose a&& of it a&& the time5 4#t yo# are free to5

and yo# are no &on!er 4o#nd 4y #n$ons$io#sness. Ran!e in$reases. Go# $an 4e!in to paint with !reater %ariety and mastery.
Growt+

Viewpoints 4e$omes a persona& &itm#s test5 a !a#!e for yo#r own stren!ths and wea)nesses5 for dis$o%erin! how yo# are free and
THE VIEWPOINTS BOOK

how yo# are inhi4ited5 what yo#r own patterns and ha4its ar$. A!ain it is awareness that offers #s this !ift Bthe option to $han!e and !row.
W+oleness

Viewpoints awa)ens a&& o#r senses5 ma)in! it $&ear how m#$h and how often we &i%e on&y in o#r heads and see on&y thro#!h o#r eyes. Thro#!h Viewpoints we &earn to &isten with o#r entire 4odies and see with a si8th sense. We re$ei%e information from &e%e&s we were not e%en aware e8isted5 and 4e!in to $omm#ni$ate 4a$) with e3#a& depth.

CHAPTER 4

HOW TO BEGIN3
PH&SICA# !E5$I!E%ENTS

A
$arpeted s#rfa$es are not !ood for the )nees and other :oints. spr#n!9wood5 f&oor is optima& for Viewpoints. Con$rete and *a)e s#re that the s#rfa$e is $&ean and smooth with no dan!er9 o#s sharp protr#sions or $ra$)s. Remo%e a&& e8$ess f#rnit#re from the room or ha&& and5 if possi4&e5 find an a&ternate spa$e to store peop&e7s persona& 4e&on!in!s. The attention to $&ean&iness and order wi&& $ontri4#te to a !ood wor)in! en%ironment. Parti$ipants sho#&d 4e 4arefoot. 0nea)ers are se$ond 4est when there are reasons for not 4ein! 4arefoot. #t in either $ase ma)e s#re the !ro#p7s footwear is not mi8ed. If 4arefoot5 so$)s sho#&d definite&y 4e remo%ed 4e$a#se of the dan!er of s&ippa!e. C&othin! sho#&d not restri$t mo%ement. Hair sho#&d 4e p#&&ed 4a$) and :ewe&ry remo%ed. 0tart on time. e!innin! and endin! wor) sessions with p#n$t#a&ity shows a respe$t for one another and adds a sense of
20 THE VIEWPOINTS BOOK CHAPTER 4: HOW TO BEGIN?

order whi$h5 parado8i$a&&y5 a&&ows for more $omp&e8ity and a4andon inside the a&&otted time.

E%eryone a$$epts responsi4i&ity for herChis indi%id#a& safety and the safety of the !ro#p. This responsi4i&ity is shared. Peop&e7s safety sho#&d not 4e p#t in dan!er: ma)e s#re that peop&e aren7t throwin! themse&%es aro#nd $are&ess&y that they respe$t any past in:#ries. r#ises sho#&d not res#&t from this wor). 6if yo# $an7t say it5 point to it.6 In order to introd#$e the 4asi$ $on$epts 4ehind Viewpoints5 it is ne$essary to mo%e thro#!h $ertain f#ndamenta& e8er$ises5 whi$h are %ery diffi$#&t to ta&) a4o#t. As the A#strian phi&osopher @#dwi! Witt!enstein wrote: 6If yo# $an7t say it5 point to it.6 The fo&&ow in! e8er$ises 77point to6 important prin$ip&es that are 4est #nder stood thro#!h doin! rather than des$ri4in!. En$o#ra!e the par ti$ipants to sa%or the e8perien$e of the e8er$ises and do the 4est they $an in e%ery moment. E8p&ain that the $r#$ia& iss#es wi&& 4e re%iewed %er4a&&y on&y at the end of the session.
EXERCISE I: RUNNING STRETCHES

The first session in%o&%es 3#ite a 4it of r#nnin! and :#mpin!5 so it is wise to do a series of &e! stret$hes to &oosen #p. /. 0tand in a $ir$&e. 0tart with the feet a4o#t sho#&der distan$e apart and t#rn the toes s&i!ht&y inward. ;rop the head down and a&&ow the arms to han! &oose. With ea$h e8ha&ation a&&ow another tension he&d in the 4ody to re&ease. As the 4reaths !o 4y5 the re&easin! rea$hes deeper and into sma&&er m#s$&es. E8ha&e fo#r times. To!ether5 e%eryone 4rin!s their ri!ht &e! 4a$)5 )eepin! 4oth &e!s strai!ht5 hee&s remainin! on the !ro#nd. Han! the top of yo#r 4ody o%er the &eft &e!5 sti&& fo$#sin! on another fo#r e8ha&ations.

2.

3. ;rop the ri!ht )nee down a4o#t two in$hes off the !ro#nd5 re&easin! the m#s$&es of the ri!ht thi!h. Jeep the &eft hee& on the f&oor and56 a!ain5 fo$#s on fo#r e8ha&es. Try to remain present5 in the room5 witho#t haste or h#rry. Fe8t5 drop the e&4ows to the f&oor )eepin! the ri!ht )nee off the f&oor and the &eft hee& down. A!ain5 4reathe. 4. Come 4a$) #p5 e&4ows off the !ro#nd5 p&a$e the ri!ht )nee on the f&oor5 ta)e ho&d of the ri!ht an)&e with the &eft hand5 open the $hest and rea$h o#t with the free ri!ht arm. Re&a8 the sho#&ders: reathe. ". Aina&&y5 !o 4a$)ward thro#!h the pre%io#s positions5 fo#r e8ha&ations ea$h position5 #nti& e%eryone is5 on$e a!ain5 with 4oth feet sho#&der distan$e apart5 head han!in! o%er. ;o the same series of e8er$ises on the opposite side of the 4ody5 startin! with the &eft &e! 4a$). '. At the endCro&& #p the spine= E%eryone is sti&& in a smooth $ir$&e5 with e3#a& spa$e 4etween ea$h person. With soft focus e%eryone in the $ir$&e sho#&d 4e %isi4&e to one another. Note: Soft focus is e8p&ained in !reater detai& &ater in this $hapter. rief&y5 soft focus is a physi$a& state in whi$h the eyes are re&a8ed so that5 rather than &oo)in! at a spe$ifi$ o4:e$t or person5 the indi%id#a& a&&ows %is#a& information to come to herChim. With fo$#s softened in the eyes5 the indi%id#a& e8pands the ran!e of awareness5 espe$ia&&y periphera&&y. We tea$h and pra$ti$e a&& 4e!innin! View9 points #sin! soft focus.
EXERCISE 2: SUN SALUT ATIONS ____

The s#n sa&#tations are deri%ed from yo!a. In the traditiona& yo!a pra$ti$e the fo$#s is interna&. In o#r trainin!5 the fo$#s of ea$h indi%id#a& is on the who&e !ro#p. It is important to &earn to sense the $onsent of the !ro#p as a who&e and &earn to en:oy #nison mo%ement. Fo indi%id#a& is &eadin! and no indi%id#a& is fo&&ow9 in!. It is %ita& to $#&ti%ate wa)ef#&ness and a $o&&e$ti%e5 shared present. 23
THE VIEWPOINTS BOOK CHAPTER 4: HOW TO BEGIN?

The twe&%e s#n sa&#tations are performed in #nison. To start5 the sa&#tations sho#&d 4e 3#ite s&ow5 then !rad#a&&y !et faster. After ea$h s#n sa&#tation5 the !ro#p inha&es and e8ha&es to!ether on$e 4efore !oin! on to the ne8t De8$ept for the fina& three5 whi$h ha%e no 4reath in 4etweenE. The most important thin! to )eep in mind5 4esides doin! the e8er$ises safe&y5 is to stay to!ether5 in #nison. App&yin! soft focus thro#!ho#t the who&e e8er$ise en$o#ra!es ea$h parti$ipant7s periphera& %ision and f#&& 4ody to &isten= 3#a&ities so essentia& to Viewpoints trainin!. /. 2. 0tand in a $ir$&e5 ea$h indi%id#a& %isi4&e t e%eryone e&se in the !ro#p. *aintain: soft focus and an awareness of e%eryone e&se7s positionin! Aeet are para&&e&5 sho#&der distan$e apart. oth pa&ms are to#$hin! in front of the $hest. At the same moment e%eryone 4e!ins to mo%e the pa&ms5 sti&& to#$hin! dire$t&y #pward. When a point is rea$hed where the hands $annot remain to!ether any &on!er the

... hands separate. E%eryone in the $ir$&e opens herChis hands at the same instant. The arms $ontin#e to rise to the f#&& e8tent dire$t&y #pward. Then e%eryone to!ether 4ends the #pper 4ody 4a$)ward5 $aref#& not to s3#ee>e the &ower spine. 3. The #pper 4ody then5 4a$) remainin! strai!ht and arms on either side of the ears5 s&ow&y des$ends in front of the 4ody #nti& 4oth hands are f#&&y on the f&oor on either side of the feet. It is a&& ri!ht for the )nees to 4e 4ent in this position. A!ain5 this is a$$omp&ished sim#&taneo#s&y with e%eryone e&se in the $ir$&e. Soft focus and &istenin! to the who&e are ne$essary. 4. Jeepin! yo#r hands on the f&oor5 and with head fa$in! o#t5 e8tend either &e! 4ehind yo# into a &#n!e position with the )nee to#$hin! down. The hee& of the forward foot remains f&at on the f&oor. E%eryone ta)es herChis hands off the !ro#nd at the same instant and 4ends 4a$)ward5 openin! the $hest. After a few moments5 to#$h the hands down a!ain. ". Fe8t5 mo%e the forward &e! 4a$) to :oin the other. Fow raise the 4#tto$)s #pward as yo# e8tend the $hest and hee&s of 4oth feet downward. In yo!a5 this position is )nown as downward facing dog. '. The )nees start to des$en.d dire$t&y down to the f&oor. E%eryone mo%es the )nees at the same instant and a&& )nees to#$h the f&oor at the same instant. Fow 4oth hands and 4oth )nees s#pport yo#. ,. The torso mo%es down and thro#!h #nti& it rea$hes #pward into a 4a$)ward 4endin! cobra position. The head remains strai!ht forward. (. And now mo%e in re%erse thro#!h the &ast si8 mo%es Dsteps 2-7). The toes t#$) #nder and the arms p#sh 4a$) on$e a!ain into downward facing dog. Fow e%eryone mo%es 4a$)ward thro#!h the same series of mo%es #nti& the who&e $ir$&e is standin! with hands in front of the $hest. ;#rin! a&& these mo%es5 the $ha&&en!e is to f&ow thro#!h the positions witho#t stoppin! whi&e a&so attemptin! to mo%e in #nison. 2n$e the !ro#p is 4a$) in the ori!ina& position Dpa&ms to#$hin! in front of $hest5 et$.E5 the spa$in! and inte!rity of the $ir$&e sho#&d 4e re$onfirmed. Then e%eryone 4reathes to!ether on$e in and on$e o#t5 and then 4e!ins to!ether the ne8t s#n sa&#tation5 this time a 4it faster. Remem4er: at the end of the first nine s#n sa&#tations5 the !ro#p ta)es a $omm#na& inha&ation and e8ha&ation. The &ast three are done with no 4reath in 4etween. The !ro#p $o&&a4orates on an a$$e&eration of speed d#rin! the twe&%e s#n sa&#tations. In addition to stayin! in #nison and 4#i&din! the speed to!ether5 this e8er$ise $#&ti%ates a sense of indi%id#a& freedom inside a set form. The !ro#p sho#&d !row sen9 siti%e to the &itt&e $omm#na& $har!es of ener!y that o$$#r from the shared physi$a& en!a!ement. The &ast three s#n sa&#tations5 done at an in$reasin!&y 3#i$) speed5 wi&& $ha&&en!e the !ro#p Dand ea$h

indi%id#a&E to wor) e%en harder to stay to!ether. It is important that the fina& sa&#ta9 tion ends with e%eryone hittin! the fina& position at the same instant.
24 25 THE VIEWPOINTS BOOK CHAPTER 4: HOW TO BEGIN?

EXERCISE 3: HIGH JUMPS EXERCISE 5: RUN TO CENTER

Aorm a %ery wide $ir$&e fa$in! inward and 4e!in r#nnin! in p&a$e. 2ne person $an at any moment initiate a r#n into the $enter of the spa$e Dma)e s#re that feet are hot stepped onE. In that sp&it se$ond of initiation5 e%eryone sho#&d r#n toward the $enter to!ether in s#$h a 0ti&& standin! in a $ir$&e5 the !ro#p :#mps in p&a$e to!ether5 as hi!h as possi4&e. The :#mp is not initiated 4y any indi%id#a& 4#t5 rather5 happens 4e$a#se of a shared $onsent. The !oa& is to sim#&9 taneo#s&y :#mp as hi!h as possi4&e5 to &and to!ether in the same instant5 and to &and on the f&oor with as &itt&e noise as possi4&e. At way that someone wat$hin! wo#&d not 4e a4&e to te&& who initiated. the hei!ht of the :#mp the feet sho#&d 4e t#$)ed #p #nder the After e%eryone has r#n to the $enter5 e%eryone sho#&d r#n 4a$)ward to 4#tto$)s so that as m#$h spa$e 4etween the f&oor and the 4ody as possi4&e $an 4e a$hie%ed. This e8er$ise sho#&d 4e repeated #nti& the !ro#p has dis$o%ered to!ether how to a$$omp&ish the tas).
EXERCISE 4: FIVE IMAGES

Whi&e r#nnin! in p&a$e5 sti&& in a $ir$&e5 introd#$e a series of fi%e ima!es Dsee &ist 4e&owE5 one at a time. The parti$ipants sho#&d try to %is#a&i>e ea$h ima!e as f#&&y as possi4&e in their 4odies. Aina&&y5 a&& fi%e ima!es sho#&d 4e e8perien$ed sim#&taneo#s&y. /. 2. 3. 4. ". Ima!ine a 4ea#tif#& !o&dien 4and aro#nd yo#r head p#&&in! !ent&y #pward. <se soft focus @oosen yo#r arms and sho#&ders. Ima!ine that yo#r &e!s are stron! and m#s$#&ar and that yo#r 4are feet are a$$#stomed to wor)in! in the soi&. Aee& the sense of des$ent into the !ro#nd. P&a$e yo#r hands on yo#r heart. Aind the 4eatin! of the heart. E8tend the arms o#tward and ima!ine wor)in! with an open heart.

Repeat these instr#$tions so that a&& fi%e ima!es are present at the same time Dthe fifth ima!e $an now e8ist witho#t to#$hin! the heart or !est#rin! o#twardE. This e8er$ise is a reminder that the 4ody forms a &ine 4etween hea%en and earth5 a &ine that #nites the two. En$o#ra!e the parti$ipants to ret#rn to these ima!es whene%er they 4e$ome e8ha#sted or $onf#sed. reesta4&ish the wide $ir$#mferen$e of the $ir$&e. After some repetition of this e8er$ise5 ea$h parti$ipant wi&& e8perien$e firsthand that anythin! $an happen at any time and that sChe needs to 4e $omp&ete&y present in the moment5 ready to mo%e in response to stim#&i.

Repeat this e8er$ise #nti& the !ro#p is s#$$essf#&&y $omm#9 ni$atin! moment to moment.
EXERCISE 6:TWELVE/SIX/FOUR

This e8er$ise $#&ti%ates &istenin! and respondin! in the moment 4oth indi%id#a&&y and as a !ro#p. E%eryone r#ns in a $ir$&e in the same dire$tion at the same speed. The spa$e 4etween indi%id#a&s in the $ir$&e sho#&d 4e e3#idistant5 maintained 4y ea$h person $onstant&y !a#!in! the spatia& distan$e 4ehind and in front of them. Wi!th soft focus, ea$h parti$ipant is sim#&taneo#s&y aware of the person in front and the person 4ehind as well as the entire group. Introd#$e the fo&&owin! three options: /. Witho#t any one indi%id#a& initiatin!5 the entire !ro#p finds a way to change direction at the same instant. E%eryone sho#&d t#rn toward the inside of the $ir$&e when $han!in! dire$tion. It is important that the !ro#p does not s&ow down to ma)e these $han!es easier. T#rnin! sho#&d 4e pre$ise and s#$$in$t. The !ro#p sho#&d &oo) for a m#t#a& $onsent to a$t to!ether. Whi&e r#nnin! in a $ir$&e an indi%id#a& within the !ro#p initiates a jump. Whoe%er initiates sho#&d :#mp %ery hi!h

2.

27 CHAPTER 4: HOW TO BEGIN? THE VIEWPOINTS BOOK

so that the rest of the !ro#p has the opport#nity to :oin in. At the moment that the indi%id#a& :#mps5 e%eryone :#mps with herChim5 and e%eryone &ands on the !ro#nd at the same instant and stays $ro#$hed down. Then the who&e !ro#p &oo)s for m#t#a& $onsent to $ontin#e5 and to!ether a&& 4e!in to r#n in the opposite direction. 35 An indi%id#a& in the !ro#p a&so initiates this third option5 a s#dden stop, whi&e the !ro#p is r#nnin! in a $ir$&e. In the moment that the person stops5 e%eryone stops. This e%ent of stoppin! sho#&d 4e instantaneo#s5 $oeffi$ient and e8hi&aratin!. Arom the sti&&ness after the stop5 the !ro#p &oo)s for m#t#a& $onsent to $ontin#e r#nnin!5 at whi$h point the r#nnin! res#mes in the same direction as 4efore. 2n$e these three options ha%e 4een introd#$ed5 the !ro#p sho#&d 4e !i%en the tas) of $omp&etin! twe&%e $han!es of dire$tion5 si8 :#mps5 and fo#r stops in any order. Remem4er: the $han!es are not initiated 4y an indi%id#a&5 they emer!e from !ro#p $onsent= the :#mps and stops are ori!inated 4y indi%id#a&s in the !ro#p. 0omeone on the o#tside sho#&d )eep $o#nt. It7s 4est to $o#nt 4a$)ward so that o$$asiona&&y sChe wi&& $a&& o#t5 for e8amp&e: 60i8 $han!es5 two :#mps and three stops remainin!C7 A&most as m#$h $an 4e &earned 4y wat$hin! this a$ti%ity as doin! it. If there are eno#!h parti$ipants5 di%ide into two or three sma&&er !ro#ps5 so that e%eryone $an 4oth see and do it. This e8er$ise i&&#strates the ne$essity for the entire 4ody to &isten in ea$h moment. We often ass#me that we are &istenin!5 4#t the Twe&%eC0i8CAo#r e8er$ise re%ea&s how demandin! that tas) a$t#a&&y is and how sh#t off we norma&&y are from one another onsta!e.
EXERCISE 7:THE CHASE

As soon as the !ro#p finishes the Twe&%eC0i8CAo#r e8er$ise5 they sho#&d stand sti&& in the $ir$&e with e3#a& spa$e 4etween ea$h par9 ti$ipant. Indi$ate the dire$tion the $ir$&e wi&& mo%e and then as) ea$h person to ima!ine a $ompe&&in! reason why sChe wo#&d want to to#$h the 4a$) of the person in front of them. Then ea$h sho#&d find an e3#a&&y $ompe&&in! reason not to !et to#$hed from 4ehind. Then as) ea$h parti$ipant to raise the sta)es in herChis desire to to#$h the person ahead and not !et to#$hed from 4ehind. E%eryone sho#&d 4e in a state of feedforward, in whi$h the attention is fo$#sed o#tward in

anti$ipation5 and prepared to mo%e on $ommand Dsee 6Aeedforward and Aeed4a$)6 at the end of this $hapterE. 0ay: 6-o.6 The parti$ipants try to to#$h the person ahead of them and not !et to#$hed from 4ehind5 witho#t ma)in! the $ir$&e any sma&&er and with no %o$a& so#nd. If someone does mana!e to to#$h a person7s 4a$) then they sho any: 6-o.6 After the first try5 the !ro#p $han!es dire$tion and ea$h !oes after the person who has 4een p#rs#in! them. This e8er$ise $#&ti%ates an appetite for the thri&&in! fi$tion of a $hase. It he&ps p#sh the !ro#p mo%ement into a f#&& 4ody a$ti%ity rather than a theoreti$a& e8er$ise.
EXERCISE 8: PERIPHERAL VISION

After E8er$ises "9,5 whi$h in$&#de f#&&9o#t r#nnin!5 as) e%eryone to wa&) free&y in a spa$e e8periment with presence. Presen$e is re&ated to persona& moment9to9moment interest; interest is somethin! that $annot 4e fa)ed or indi$ated. E%eryone sho#&d #se soft focus in order to de%e&op awareness of the !ro#p and the s#rro#ndin! spa$e. The parti$ipants wa&) $ontin#o#s&y thro#!ho#t this e8er9 $ise. Whi&e wa&)in!5 ha%e them refer 4a$) to the sense ima!ery of E8er$ise 4: the sensation of the !o&den 4and p#&&in! #p5 the soft focus, stron! &e!s and feet5 open heart. This wi&& 4e he&pf#&. Fe8t5 ea$h parti$ipant $hooses one person in the !ro#p to o4ser%e witho#t &ettin! that person )now that they are 4ein! st#died. <se soft focus, do not &oo) dire$t&y at the $hosen person5 rather5 see them in the periphery of yo#r %ision. ;o not &et the se&e$ted indi%id#a& !o o#t of yo#r fie&d of %ision at any time. #&d try to maintain !ent&e $onta$t. ;o not a&&ow this e8er$ise to e8$eed ten se$onds fo&&owin!
28 29 THE VIEWPOINTS BOOK

A&&ow information a4o#t the se&e$ted person to come toward yo#. Go# are re%ersin! the ha4it#a& way information is pro$essed. Rather than rea$hin! o#t for information5 &et the information $ome to yo#. With soft focus, noti$e the $o&or of the person7s $&othes and s)in5 their #ni3#e shape5 the rhythm of their wa&)5 et$. e aware of the moment when yo# &ose interest5 the moment that yo# stop a&&owin! new information in. Attempt to remain present and interested in the information Dthe newsE a4o#t this person. After a4o#t a min#te of this soft focus o4ser%ation of an indi%id#a&5 as) e%eryone to re&ease that person from herChis %iew. Ea$h parti$ipant sho#&d $hoose a new person5 a!ain wat$hed in the same soft, s#rreptitio#s way5 with the tas) of a&&owin! the dif9 feren$es to 4e dis$erned and fe&t. The information5 or news5 of this person7s differen$e from the pre%io#s person sho#&d 4e noti$ed. The $o&ors are different5 the 4ody is different5 and the tempos are different.
CHAPTER 4: HOW TO BEGIN?

tion 4esides seein!. To#$h5 for e8amp&e5 and so#nd and sme&&5 and the sensation of heat or $o&d. Information seeps into the 4ody thro#!h many p&a$es. As) the parti$ipants to &o$ate a part of their per$ept#a& system that is not ea!er to 4e present and re$epti%e. Aor e8amp&e5 perhaps a foot is p#&&ed away5 or a sho#&der tensed. As) them to in$&#de this part of their 4ody in the sensation of the moment. As) them to a&&ow themse&%es to re$ei%e informationBnewsBfrom a&& senses. After a min#te or two5 as) them to open their eyes witho#t a&&owin! %ision to dominate the other senses. Ha%e the parti$ipants mo%e away from ea$h other5 a&& the whi&e maintainin! their sense of openness and hei!htened sensory per$eption.

We7d &i)e to point to a few $r#$ia& iss#es that the trainin! and these ei!ht e8er$ises ha%e a&ready to#$hed #pon.
So,t ,ocus.

Soft focus is the physi$a& state in whi$h we a&&ow the eyes to soften and re&a8 so that5 rather than &oo)in! at one or two thin!s in sharp fo$#s5 they $an now ta)e in many. y ta)in! the press#re off the eyes to 4e the dominant and primary information !atherer5 the who&e 4ody starts to &isten and !ather information in new and more sensiti>ed ways. In a $#&t#re !o%erned 4y $ommodities $ons#mption and the !&orifi$ation of the indi%id#a&5 we are ta#!ht to tar!et what we want and then find a way to !et it. The way we #se o#r eyes in dai&y &ife entai&s &oo)in! for what mi!ht satisfy o#r parti$#&ar desires. When we are h#n!ry5 for e8amp&e5 we on&y see 4a)eries. We stro&& past stores and resta#rants most&y &oo)in! at what we want to 4#y or who we want to ha%e. @i)e a h#nter after prey5 o#r %ision is narrowed down to a pre$on$ei%ed series of possi4i&ities. In Viewpoints trainin!5 the parti$ipants are as)ed to &oo) at the s#rro#ndin!s and at other peop&e without desire. E8er$ise ( re%erses o#r ha4it#a&5 a$$#&t#rated ways of &oo)in! and seein!. It en$o#ra!es soft focus, a&&owin! the wor&d in. It de%e&ops a !&o4a& After a min#te or so5 as) ea$h person to add another indi9 %id#a& to herChis periphera& %ision witho#t &osin! tra$) of the one a&ready #nder o4ser%ation. Fow there are two peop&e in ea$h per9 son7s periphera& %ision. At no time sho#&d one of those two peop&e &ea%e the fie&d of %ision. Fow with twi$e as m#$h news to fee& and e8perien$e5 as) the parti$ipants not to $&#mp the two peop&e to!ether in their minds5 4#t rather to a&&ow for the differen$es of the two peop&e to ha%e their effe$t. After a whi&e5 add yet another person into the periphera& %ision5 so now the same three remain in the fie&d of %ision5 a&& three a&&owed to remain distin$t and indi%id#a&. After a whi&e add a fo#rth. The same fo#r peop&e sho#&d a&ways remain in the person7s fie&d of %ision. If it is possi9 4&e5 add a fifth. Aina&&y5 &et a&& fi%e !o and as) e%ery4ody to ret#rn to :#st wa&)in! with presence and interest. Aina&&y5 as) e%eryone to $hoose a new person to o4ser%e with soft focus. Fe8t5 ea$h parti$ipant sho#&d wa&) dire$t&y toward that person and $ome to a stop as $&ose as possi4&e to herChim. It wi&& happen often that the !ro#p wi&& fo&d into one or two s#49 !ro#ps. 2n$e a&& the parti$ipants are sti&&5 as) them to $&ose their eyes. Remind the !ro#p that there are many so#r$es for informa9
30 THE VIEWPOINTS BOOK CHAPTER 4: HOW TO BEGIN?

per$eption. The e8er$ise as)s #s not to !o out toward what we want5 sear$hin! for prey 4#t rather5 with soft focus, to re%erse o#r ha4it#a& dire$tiona& fo$#s and a&&ow information to mo%e in toward #s. Fews penetrates o#r sensi4i&ities. When the eyes5 whi$h tend to dominate the senses5 are softened5 the other senses are !i%en e3#a& %a&#e. As) the parti$ipants to remem4er the sensation of the moment when the !ro#p fo#nd the $onsent to $han!e dire$tion5 whi&e r#nnin! to!ether in a $ir$&e d#rin! the Twe&%eC0i8CAo#r e8er$ise. Point o#t that this sensi4i&ity of a&ertness5 3#i$)ness5 a%ai&a4i&ity and openness to one another5 and the sense that any9 thin! mi!ht happen5 is ne$essary in ea$h instant of Viewpoints. We norma&&y ass#me that we are &istenin! when in fa$t we are preo$$#pied. @istenin! in%o&%es the entire 4ody in re&ation to the e%er9$han!in! wor&d aro#nd #s. In Viewpoints trainin!5 one &earns to &isten with the entire 4ody. In Viewpoints trainin!5 as in rehearsa&5 if one is a&ways &oo)9 in! for a parti$#&ar premeditated res#&t5 then many thin!s that are happenin! o#tside of those parameters are not re$o!ni>ed. E8traordinary &istenin! means &istenin! with the who&e 4ody witho#t an idea of the res#&t. When somethin! happens In the room5 e%ery4ody present $an respond instant&y 4ypassin! the fronta& &o4e of the 4rain in order to a$t #pon instin$t and int#ition.

W+en /ou cannot see W+at is +appenin.6 "o not stare +arder. !ela1 and loo0 .entl/ Wit+ /our inner e/e. 7#AO T8$

The de%e&opment of an artist is re&ated to herChis a4i&ity to per$ei%e differen$es. As $hi&dren5 we 3#i$)&y $ate!ori>e the wor&d into 4i! $&#mps5 for e8amp&e: ho#ses5 peop&e5 streets. Cate!ori>in! the wor&d ma)es it a safer p&a$e5 4e$a#se thro#!h it we tame tire #ntamed wor&d aro#nd #s. A&& thin!s5 on$e $ate!ori>ed5 4e$ome &ess threatenin! to #s5 and $an 4e safe&y fi&ed away. <n9 tamiri! the wor&d and a&&owin! the differen$es 4etween peop&e and 4etween streets and ho#ses to 4e fe&t and a$)now&ed!ed \ mar) the !rowth of an artist. The $apa$ity to differentiate moment to moment is an a$tor7s most 4asi$ and $r#$ia& s)i&&.
On.oin. awareness o, ot+ers in ti e and space.

*#$h of this ear&y trainin! in%o&%es )eepin! e%eryone to!ether in Time and 0pa$e. Whi&e r#nnin! in a $ir$&e5 an attempt is made to maintain e3#a& spa$e 4etween peop&e: this is an e8amp&e of )eepin! to!ether in 0pa$e. When someone :#mps e%eryone tries to &and sim#&taneo#s&y: this is an e8amp&e of )eepin! to!ether in Time. These e8er$ises are meant to tea$h the importan$e of an intense awareness of what other peop&e are doin!5 where they are and when they are doin! it. *any of these ear&y e8er$ises are performed in #nison. This #nison wor) represents the A Cs of Viewpoints trainin!. 2n$e yo# are a4&e to mo%e tr#&y in #nison with others5 yo# $an start to wor) with more ad%an$ed $on$epts of $o#nterpoint5 :#8taposition and $ontrast.
E1traordinar/ listenin..

To wor) effe$ti%e&y in the theater5 a fie&d that demands intense $o&&a4oration5 the a4i&ity to &isten is the definin! in!redient. And yet5 it is %ery diffi$#&t to &istenBto rea&&y &isten. Thro#!h View9 points trainin!5 we &earn to &isten with the who&e 4ody5 with the entire 4ein!. <nti& yo# e8perien$e &istenin! with the who&e 4ody. yo# do not rea&i>e what a rare o$$#rren$e it a$t#a&&y is.
33 THE VIEWPOINTS BOOK

Feedforward and feedback.

This pre&iminary session introd#$ed two po&es of e8perien$e and ener!y that need to 4e $a&i4rated and sharpened: feedforward and feedback. Feedforward is an o#t!oin! ener!y that anti$ipates the ne$essity for a$tion. P&ayin! %o&&ey4a&&5 for e8amp&e5 demands an intense #se of feedforward as the 4a&& whi>>es aro#nd the spa$e. Feedback is the information and sensation that one re$ei%es as the res#&t of an a$tion. Whereas5 in a sportin! e%ent5 the ener!y of feedforward is predominant&y what the on&oo)ers $onne$t to5 in a theater e%ent it is a&so the ener!y of feedback that en!a!es #s. As a %iewer in a sports arena5 we wi&& most &i)e&y 4e interested in the anti$ipation of the ne8t a$tion. As a %iewer in the theater5 not on&y are we $a#!ht #p in that s#spense 4#t additiona&&y5 and e%en more powerf#&&y5 we in%est in the e%ent thro#!h o#r empathy with the a$tors7 e8perien$e. Thro#!h o#r identifi$ation with this e8perien$e5 the theater 4e$omes a p&a$e of a$#te a&i%eness to 4oth the drama of what has happened and to what will happen ne8t.
CHAPTE! )

INT!O"$CING THE IN"IVI"$A# VIEWPOINTS

The
indi%id#a& Viewpoints sho#&d 4e introd#$ed separate&y5 with most5 if not a&&5 of the parti$ipant7s attention on the spe$ifi$a&&y named Viewpoint. Go#7&& find o%er&aps and $onne$tions 4etween the separate Viewpoints. An espe$ia&&y open !ro#p of parti$ipants wi&& often i :#mp ahead or add on e%en 4efore yo#7%e introd#$ed the ne8t Viewpoint. This happens nat#ra&&y5 of $o#rse5 4e$a#se Viewpoints is a&ready in the 4ody. 0&owin! the pro$ess down and for$in! the !ro#p to maintain $ons$io#s fo$#s d#rin! the 4e!innin! sta!es prod#$es !reater ran!e and finesse &ater on. If too many Viewpoints are &ayered on too 3#i$)&y no sin!&e one $an e%er 4e e8p&ored with eno#!h depth. As ea$h Viewpoints is indi%id#a&&y introd#$ed5 information a$$#m#&ates. Airst5 we iso&ate awareness of that parti$#&ar View point5 then add another to it. Ea$h Viewpoint is5 in t#rn5 dea&t with on its own terms5 then added to what has a&ready 4een in%esti!ated.
THE VIEWPOINTS BOOK CHAPTE! )2 INT!O"$CING THE IN"IVI"$A# VIEWPOINTS

@earnin! the indi%id#a& Viewpoints is &i)e &earnin! to :#!9 !&e. Airst there is on&y one 4a&& in the air5 then a se$ond is added5 then a third5 a fo#rth5 and so onBhow many 4a&&s $an yo# )eep in the air 4efore they a&& drop? When introd#$in! the indi%id#a& Viewpoints5 pay attention to when the 4a&&s start to drop. Go# mi!ht dis$o%er that a !ro#p of parti$ipants needs to pra$ti$e a parti$#&ar Viewpoint o%er time 4efore it is a4&e to add another witho#t $omp&ete&y &osin! awareness of the first. At the same time5 it is most effe$ti%e to introd#$e most5 if not a&&5 Viewpoints in a sin!&e session. Rather than !ettin! st#$) on any one Viewpoint5 a&&ow the first session to 4e messy and $onf#sin! and e8hi&aratin!5 and o%erwhe&min!. -o 4a$) to the 4asi$s of the indi%id#a& Viewpoints in the first se%era& sessions after the !ro#p has !&eaned an o%era&& sense of how Viewpoints wor)s.

TE%PO
Tempo is a !ood Viewpoint with whi$h to 4e!in when introd#$9 in! Viewpoints indi%id#a&&y. In wor)in! on Tempo the fo$#s is not on what the a$tion is 4#t on how fast or slow the a$tion is performed: awareness of speed. To wor) on Tempo in iso&ation5 yo# $an $hoose a&most any a$tion De8tendin! an arm5 wa%in! to someone5 t#rnin! yo#r headE and e8periment with performin! it in different tempos.
EXERCISE l:TEMPO,THE BASICS _______________________

e aware of how the a$tion of $han!in! tempos a&ters the meanin! of the physi$a& a$tion. Aor e8amp&e5 I am sittin! at a ta4&e and I rea$h my ri!ht hand o#t a4o#t a foot a$ross the ta4&e. D*ost a$tions5 when initia&&y performed witho#t tho#!ht or $onte8t5 wi&& o$$#r in a medium tempo. 0o &et7s say this is the tempo at whi$h / e8tend my hand.E I then perform the same a$tion fast Then slow. What %er4s are imp&ied 4y performin! the same a$tion at different speeds? The medium perhaps imp&ies 6to to#$h6 or 6to retrie%e6 whereas the fast a$tion is may4e 6to !ra46 or 6to prote$t56 and the slow may4e 6to sed#$e6 or 6to snea).6 0imi&ar&y5 the fast tempo ma)es me fee& desperate5 the slow ma)es me fee& s$ared5 and the medium ma)es me fee&... we&&5 nothin! at a&&. This is one of the !ifts of Viewpoints: 4y app&yin! ea$h Viewpoint5 espe$ia&&y in its e8tremes5 we invite somethin! to happen.

As with a&& the Viewpoints5 Tempo $an 4e pra$ti$ed 4oth for its own sa)e Dto in$rease awareness and ran!e of TempoE or as a too& to in$rease o%era&& e8pressi%ity or :#mp9start a moment or s$ene. It7s &i)e someone who &ifts wei!hts in the !ymBhe mi!ht in$rease the wei!ht simp&y for the sa)e of it5 or he mi!ht in$rease the wei!ht so that he $an &ift hea%ier o4:e$ts at home or wor). A performer mi!ht pra$ti$e faster and faster tempos so that when sChe is onsta!e sChe $an $a&& on that tempo with more $ons$io#s9 ness and ease.
EXERCISE 2: SWITCHES OF TEMPO

This e8er$ise wi&& he&p in$rease the indi%id#a&7s awareness of the extremes of Tempo5 in whi$h sChe mi!ht not ordinari&y operate. It wi&& e8pand ran!e and de%e&op the indi%id#a&7s a4i&ity to shift in and o#t of e8treme tempos instant&y and #ne8pe$ted&y. /. Ha%e the !ro#p stand in a $ir$&e Dthis is Topo!raphy5 a View9 point of 0pa$eE. Ea$h person sho#&d 4e an arm7s &en!th apart from the person on either side Dthis is 0patia& Re&a9 tionship5 another Viewpoint of 0pa$eE. *a)e s#re the !ro#p is in soft focus. Perhaps do some simp&e mo%ement e8er$ises /. 2. 3. 4. ". Choose one a$tion5 with a $&ear 4e!innin! and end.O Repeat it se%era& times5 ma)in! s#re the form is e8a$t and repeata4&e. Perform the a$tion in a medi#m tempo. Perform the a$tion in a fast tempo. Perform the a$tion in a s&ow tempo. .
36 9: THE VIEWPOINTS BOOK CHAPTER 5: INTRODUCING THE INDIVIDUAL VIEWPOINTS

in #nison D&iftin! an arm to!ether5 &eanin!5 et$.E to fo$#s $on$entration. 2. The !ro#p sho#&d &ean !ent&y from one foot to the other. At this point5 ass#min! yo# ha%e done a #nison !ro#p warm9#p5 a&&ow the !ro#p to &et !o of #nison fo$#s and $on$entrate so&e&y on the indi%id#a& 4ody and their own sense of Tempo. Ea$h person sho#&d shift herChis wei!ht from foot to foot in herChis own time now. 3. With an awareness of 4oth Viewpoints D0hape and TempoE5 !rad#a&&y 4e!in to in$rease 4oth: a )nee 4e!ins to 4end5 then &ift that same &e! so that a wa&)in! motion is $reated5 then shift from foot to foot5 &e! to &e!5 !ettin! faster #nti& yo# find yo#rse&f in a ni$e5 $omforta4&e5 medium tempo5 :o!!in! in p&a$e. *aintain soft focus. Jeep 4reathin!. Thro#!h yo#r soft focus, )now e8a$t&y where yo# are in the room5 on the f&oor5 and in re&ationship to those aro#nd yo#. 0pot yo#rse&f. The tenden$y whi&e r#nnin! in p&a$e in a $ir$&e wi&& 4e for the !ro#p to $onstant&y mo%e in and $&ose down the $ir$&e. 0tayin! in soft focus, find physi$a& &andmar)s in the spa$e to he&p yo# remain in a fi8ed p&a$e. Ca&& this yo#r medium tempo. It7s what fee&s in the middle D$omforta4&eE for yo#. Remem4er it 4y o4ser%in! how it ma)es yo# fee&5 4reathe5 see. Go# wi&& ret#rn to it.

Fote: Very often as yo# 4e!in wor) in soft focus and are addressin! the !ro#p5 $ertain indi%id#a&s wi&& &oo) at yo# as soon as yo# 4e!in spea)in!Bthe &#re of &an!#a!e is powerf#&. Remind the !ro#p5 or indi%id#a&s5 of soft focus as often as ne$essary. 4. E8p&ain to the !ro#p that yo# wi&& 4e addin! tempos to 4oth sides of the medium tempo5 !rad#a&&y in$reasin! the ends of the spe$tr#m. When yo# $&ap yo#r hands5 the !ro#p sho#&d shift into a tempo $a&&ed slow. Then5 on the ne8t $&ap5 swit$h 4a$) to medium. With the ne8t $&ap5 add a fast tempo. Then $&ap a!ain5 and 4a$) to medium: soft focus, 4reathe5 maintain the $ir$&e. Fow add two more tempos to the slow side of the spe$tr#m. Ca&& them very slow and the slowest you can go and still call it

".

movement. With $&aps5 swit$h #ne8pe$ted&y to different tempos5 in different orders5 and stay in those tempos for %aryin! &en!ths of time Dthis is ;#ration5 a Viewpoint of TimeE. Then add two more tempos on the fast side of the spe$tr#m: very fast and hyper-speed. Hyper-speed sho#&d 4e p#shed so that peop&e are r#nnin! in p&a$e as fastB4#t as &i!htBas they $an. When wor)in! in fast tempos5 4a&an$e on the inside 4y maintainin! a sense of $a&m5 3#iet5 slow. This is simi&ar to the emphasis p&a$ed on $ontro& and ease when performin! fi!ht $horeo!raphy. Ea$h a$tion $ontains itse&f and its opposite. Pra$ti$e r#nnin! fast on the outside and slow on the inside. Then swit$h to slow on the outside and fast on the inside. When yo# de$rease the tempo5 do not &et the ener!y de$rease.
EXERCISE 3:TEMPO ON A GRID

/. The !ro#p r#ns in a medium :o!. 2n a hand $&ap5 they t#rn to their ri!ht and r#n in a $ir$&e. They are now tra%e&in! thro#!h spa$e instead of r#nnin! in p&a$e. *aintain a $on9 stant distan$e 4etween 4odies. With soft focus, 4e aware of the entire !ro#p5 the entire $ir$&e5 4e$ome aware that the $ir$&e is a Topo!raphy. 2. With the ne8t hand $&ap5 the !ro#p swit$hes o#t of the $ir$&e to wor) on a new Topo!raphyBa grid. Ima!ine a series of strai!ht &ines5 $riss$rossin! ea$h other at ninety9de!ree an!&es on the !ro#nd5 &i)e a !iant pie$e of !raph paper on the f&oor. The an!&es $orrespond to the wa&&s of the room5 e&iminatin! a&& $#r%es and dia!ona&s. With this ne8t hand $&ap5 the !ro#p now mo%es anywhere a&on! the &ines of this ima!ined !rid on the f&oor. They do not need to stay to!ether in a !ro#p= indi%id#a&s are free to e8p&ore the !rid in any dire$tion. 3. Jeep yo#r fo$#s on TempoBhow fast yo# are !oin!. Con9 tin#in! to wor) on the !rid and in soft focus, 4e!in to add switches of tempo at yo#r own wi&&. Indi%id#a&s are now
38 THE VIEWPOINTS BOOK CHAPTER 5: INTRODUCING THE INDIVIDUAL VIEWPOINTS

wor)in! on their own5 simp&y mo%in! a&on! the !rid in %ar9 io#s patterns and at %ario#s tempos. Foti$e if there are tem9 pos yo# stay away from or resistBthen add themH In$&#de hyper-speed and the slowest you can go and still call it movement Foti$e when yo# !et 4ored. What do yo# ha%e to do to s#rprise yo#rse&f? As yo# $ontin#e wor)in! on the !rid with swit$hes of tempo5 it is #sef#& to add awareness of another Viewpoint: ;#ration.

"$!ATION
Tempo as)s yo# to 4e aware of how fast yo# perform an a$tion= ;#ration as)s yo# to 4e aware of how long yo# stay in that a$tion andCor tempo. In rea$hin! yo#r hand o#t in a very slow tempo yo# mi!ht $hoose to stay in it for three se$onds or ten. 2r5 fo&&owin! one of Pinter7s sta!e9dire$tion pa#ses5 how do yo# )now when to spea) the ne8t &ine or &et the si&en$e sit another three 4eats? Pra$ti$in! ;#ration in$reases the performer7s a4i&ity to sense how &on! is &on! eno#!h to ma)e somethin! happen onsta!e and5 $on%erse&y5 how &on! is too &on! so that somethin! starts to die.

In introd#$in! ;#ration5 it is he&pf#& to $hoose one a$tion that remains $onstant Din this $ase5 mo%in! on a !ridE5 #sed in $on:#n$tion with swit$hes of tempo5 so that the indi%id#a& does not need to $on$entrate on what sChe is doin!5 on&y on how long.
EXERCISE 4: DURATION AND TEMPO ON THE GRID _______

Fow that the !ro#p has 4een wor)in! on the !rid with swit$hes of tempo5 as) the parti$ipants to 4e$ome aware of patterns that are emer!in!. Fot on&y whi$h tempos they tend to re&y on or i!nore5 4#t a&so how often they are swit$hin! tempos. Fote a&o#d to the !ro#p that a&most e%eryone is pro4a4&y swit$hin! herChis tempo re!#&ar&y5 rhythmi$a&&y5 and in short 4#rsts. This is a standard5 fa&&4a$) position when it $omes to ;#ration. As with a&& the indi%id#a& Viewpoints5 we tend to &i%e in a medium area with ;#ration5 a !ray >one5 in whi$h thin!s &ast a $omforta4&e5 a%era!e5 seemin!&y $oherent amo#nt of time. We tend to shy away from thin!s that &ast very long, or $han!e %ery 3#i$)&y5 i.e.5 very short With this in mind5 wor) on the !rid5 $ontin#in! with $han!es of tempo5 4#t p#ttin! ninety per$ent of yo#r fo$#s on ;#ration now. 0tay in tempos &on!er than fee&s $omforta4&e5 or shorter. As yo# mo%e on the !rid now5 yo# are e8perimentin! not on&y with how fast yo# !o 4#t how &on! yo# stay in ea$h speed. e aware of a )ind of *orse $ode that yo# are $reatin! o%er timeB&on!er dashes5 shorter dots. Interest yo#rse&f. 0#rprise yo#rse&f. *eanin! is $reated o%er time 4y how different d#rations are $om4ined with ea$h other: @oooooooooooon!9short9shori9shortH *edi#m9medi#m9medi#m9medi#m9short9medi#m. /. 2. 3. 4. ". To e8pand on the a4o%e: After addin! $han!es of tempo and d#ration5 add changes of direction on the !rid. Fow peop&e $an mo%e forward5 4a$)9 ward or sideways. Add changes of levels, so that the !rid in the mind7s eye is not two9dimensiona& on the f&oor5 4#t three9 dimensiona& in spa$e. Fow peop&e $an tra%e& on tiptoe5 as hi!h as possi4&e5 or in a $raw& or s&ither5 as &ow as possi4&e. *a)e s#re that fo$#s stays on Tempo and ;#ration and that5 in addin! awareness of %erti$a& spa$e and different ways of tra%e&in!5 peop&e do not 4e$ome en!a!ed in p&ayin! with 0hape. Add stops and starts. Aor a time5 for!et e%erythin! 4#t top speed and stillness. Those are the on&y two $hoi$es. ;e%o#r spa$e with no fear. 0ee thro#!h yo#r 4a$). Jeep the inside and o#tside ener!y 4a&an$in! ea$h other5 so that yo# wor) with a sense of inner $a&m and s&owness when yo# are tra%e&in! at hyper9speed5 and a sense of inner moment#m when yo# are tra%e&in! s&ow&y. Go#5 as !ro#p &eader5 wi&& 4e a4&e te&& if someone has pre9 determined where they are !oin! to stop or when they are
CHAPTE! )2 INT!O"$CING THE IN"IVI"$A# VIEWPOINTS THE VIEWPOINTS BOOK

!oin! to start. Point this 2#t 0ay: 6I $an see where yo#7re !oin! to stop 4e$a#se yo#7%e a&ready de$ided.6 Jeep remindin! them to s#rprise themse&%es. This is Jinestheti$ Response Da Viewpoint of TimeE: the imme9 diate5 #n$ensored response to an e8terna&

e%ent aro#nd yo#.

KINESTHETIC !ESPONSE !EPETITION

EXERCISE 6: INTRODUCING REPETITION ON THE GRID EXERCISE 5: INTRODUCING KINESTHETIC RESPONSE ON THE GRID

Fe8t5 fo$#s on Repetition. @et when yo# mo%e DJinestheti$ ResponseE5 how yo# mo%e DTempoE and for how &on! yo# mo%e D;#rationE 4e determined 4y Repetition. Contin#in! to wor) with stops and starts on the !rid5 start to shift the 4#&) of yo#r fo$#s away from Tempo and ;#ration and toward Jinestheti$ Response. Jinestheti$ Response is yo#r spontaneo#s physi$a& rea$tion to mo%ement o#tside yo#rse&f. P#t yo#r fo$#s on other 4odies in the spa$e5 and &et yo#r stops and starts 4e determined 4y them. @et the de$ision to mo%e or 4e sti&& 4e made 4y when others affe$t yo#5 when they pass yo#5 start aro#nd yo#5 stop aro#nd yo#5 et$. In fo$#sin! on Jinestheti$ Response5 yo# are now wor)in! on when yo# mo%e rather than how fast DTempoE or how long D;#rationE. /. @et !o5of thin)in! a4o#t Tempo5 ;#ration and Jinestheti$ Response. Con$entrate on Repetition. A&& yo#r mo%ement now sho#&d 4e determined 4y repeatin! someone e&se5 either their path5 their dire$tion5 their speed5 their stops and starts5 et$. Ao&&ow someone5 shadow herChim. ;on7t !et $a#!ht with one person. Constant&y swit$h to a new person as sChe $omes into yo#r fie&d of p&ay. 2. Pra$ti$e repeatin! off someone far away from yo# as we&& as someone near yo#. 3. Fow repeat off two peop&e instead of :#st one. Wor) with repetition of one person7s floor pattern and another person7s tempo. 4. *a)e #se of yo#r awareness of Repetition o%er time5 so that yo# $an now re$y$&e and in$orporate mo%ement that o$$#rred ear&ier in the e8er$ise. @et yo#rse&f 4e $arried away5 thrown aro#nd the !rid5 4o#n$ed 4etween other 4odies5 repeatin! everything that yo# see and hear5 with yo#r soft focus and 4y &istenin! thro#!h yo#r 4a$)5 so that yo# are #sin! mo%ement that is o$$#rrin! on a&& sides of yo#5 not :#st in front.
A crucial moment in Viewpoints training.

<nti& this moment5 indi%id#a&s ha%e 4een p&ayin! with Tempo and ;#ration in their own way on the !rid. This is the moment when we introd#$e the imperati%e of re&in3#ishin! $hoi$e Dat &east for the momentE. It is no &on!er for yo# to $hoose what is ri!ht or wron!5 !ood or 4adB4#t to use everything. If someone r#ns 4y yo#B#se itH If the !ro#p s#dden&y shifts into s&ow motionB#se itH @et e%erythin! $han!e yo#. A&tho#!h this is one of the most diffi$#&t sta!es of the pro$ess5 it $an a&so 4e the most freein!. This is the moment when yo# ta)e the on#s off the indi%id#a& to 64e interestin!56 to 64e in%enti%e7 to 6$ome #p with st#ff.6 If the indi%id#a& is open5 &istens with herChis who&e 4ody5 sees the wor&d thro#!h soft focus, sChe need on&y re$ei%e and rea$t.

;'

THE VIEWPOINTS BOOK CHAPTER 5: INTRODUCING THE INDIVIDUAL VIEWPOINTS

SPATIA# !E#ATIONSHIP
E<E!CISE :2 INT!O"$CING SPATIA# !E#ATIONSHIP

ON THE G!I" ====================================== ===

/.

2.

The !ro#p mo%es on the !rid5 re&a8in! attention5 &ettin! instin$t $arry them5 rather than 4ein! !#ided 4y one par9 ti$#&ar Viewpoint. A&&ow this to !o on for a min#te or two5 or #nti& the !ro#p is mo%in! free&y and nat#ra&&y5 witho#t imposin! ideas on their mo%ement patterns. C&ap yo#r hands to ha%e the !ro#p stop5 to ho&d in sti&&ness. As) the parti$ipants to noti$e the spa$e 4etween themse&%es and others. The distan$e 4etween 4odies. This is 0patia& Re&ationship. As) them to noti$e how e%en a&& the spa$e is Dwhi$h it wi&& more or &ess 4e at this point in the trainin!E. As we7%e noted 4efore whi&e introd#$in! other View9 points5 we tend to operate in a spa$e whi$h is %ery midd&e9of9the9road5 witho#t e8tremes5 with !reat safety and $omfort. In 0patia& Re&ationship this trans&ates to a $onsisten$y of distan$e 4etween 4odies5 #s#a&&y two to fi%e feet. This is the distan$e from others in whi$h we spend most of o#r &i%es. It7s the distan$e we ha%e whi&e $hattin!5 when sha)in! hands5 when eatin! a mea&. We tend to )eep this $#shion of spa$e as prote$tion5 and when we start to in$rease or de$rease this spa$e5 we start to $reate dynami$5 e%ent5 relationship.

3.

4.

With yo#r ne8t $&ap5 the !ro#p 4e!ins mo%in! on the !rid a!ain5 at ninety9de!ree an!&esBthis time wor)in! with an a$#te awareness of the spa$e. @et them )now that this time they sho#&d &et themse&%es ma)e de$isions a4o#t when and where to !o 4ased on&y on where other peop&e are. They sho#&d wor) in the e8tremes of !oin! either close to or far away from others. Try to wor) spontaneo#s&y. Chan!e as other peop&e $han!e aro#nd yo#. 0top the !ro#p a!ain with a $&ap. Foti$e how the spatia& re&ationships in the !ro#p ha%e $han!ed: they are more interestin!5 more noti$ea4&e5 more potent. 0omethin! 4e!ins to o$$#r in spa$e when we pay attention to it.

". After introd#$in! indi%id#a& Viewpoints on the !rid5 yo# $an do e8er$ises that $om4ine Viewpoints or in!redients in %ario#s ways whi&e wor)in! on the !rid: P Wor) on the !rid with on&y hyper-speed or stillness. R#n with no fear. R#n with a4andon. R#n with tr#st. P Wor) on the !rid with level and 0patia& Re&ation9 ship. K Wor) on the !rid with on&y hyper9speed or stillness, in$orporatin! &e%e&s and 0patia& Re&ationship5 et$. Go# $an !i%e str#$t#re in any $om4ination that yo# assess is most $ha&&en!in! or he&pf#& for the parti$#&ar !ro#p.

TOPOG!APH& Transition ,ro t+e Grid2 Introducin. Topo.rap+/

/. A0IC PATTERF0. Introd#$e Topo!raphy 4y pointin! o#t that the !rid is itse&f a topo!raphy5 that the !ro#p a&ready has 4een wor)in! with Topo!raphy. Fow $han!e the ima!e of the !rid into a series of $ir$&es. Wor) on $#r%es and swir&s. Chan!e from $ir$&es to >i!>a!s or dia!ona&s. Whi&e wor)in! on the !rid yo# may ha%e introd#$ed levelsasking the !ro#p to ima!ine the !rid as not :#st two9dimensiona& Dthe f&oor on&yE5 4#t three9dimensiona&5 !oin! #p and into the room as an ima!inary str#$t#re. With this ima!e in mind5 the !ro#p $an e8p&ore height and depth on the !rid5 wor)in! in a topo!raphy whi$h is a m#&tidimen9 siona& &ands$ape rather than so&e&y a f&oor pattern. 2. PAIFTIF- 2F THE A@22R. @et the !rid disso&%e 4e&ow yo#r feet5 and in its p&a$e ima!ine a new topo!raphy of yo#r own $reation. DAt this point5 ea$h indi%id#a& needs to &et !o of the !ro#p fo$#s and t#rn to a so&o fo$#s.E Ima!ine that the so&es of yo#r feet ha%e red paint on them5 and yo# are

45
THE VIEWPOINTS BOOK CHAPTER 5: INTRODUCING THE INDIVIDUAL VIEWPOINTS

4efore finishin! the introd#$tion of a&& the Viewpoints and p#ttin! them to!ether in either 2pen Viewpoints or @ane Wor) D4oth of whi$h are des$ri4ed in detai& in the fo&&owin! $hapterE. A two9 or fi%e9 min#te refresher Da&&owin! peop&e to #se the 4athroom or !et a drin) of waterE is fine5 4#t a fifteen9min#te 4rea)5 a&&owin! time to $oo& down andCor re%ert to 4ein! in one7s head5 is not. It is %ery #sef#& in the first sessions of Viewpoints trainin! to push the !ro#pBto &ead them into a state of hei!htened and demandin! physi$a&ity and menta& $on$entration.

SHAPE
EXERCISE 8: INTRODUCING SHAPE,THE BASICS

/. @IFE0. E%eryone stands a&one somewhere in the spa$e5 fo$#sin! on herChis 4ody5 4e!innin! in a ne#tra&5 re&a8ed position (soft focus). e$ome aware that yo#r 4ody is a&ready ma)in! a shape5 i.e.5 an o#t&ine a!ainst spa$e5 a si&9 ho#ette. -et a $&ear sense of this shape as if a!ainst an e8panse of s)y5 or a $y$&orama. Remainin! in yo#r spot5 4e!in to $reate new shapes 4y mo%in! parts of yo#r 4ody5 $on$entratin! first on shapes whi$h are linear or angular. DIn paintin! it is $ommon pra$ti$e to de$onstr#$t and #nder9 stand form as a $om4ination of &ines and $#r%es.E *a)e on&y shapes whi$h in$&#de an!&e5 &ines5 hard ed!es. <se parts of yo#r 4ody other than :#st arms and &e!s: #se yo#r e&4ow5 )nee5 ton!#e. Contin#e awareness on legibility, i.e.5 how easy the shape is to read from the o#tside. 2. C<RVE0. Fow ta)e the shapes yo# are ma)in! and trans&ate them into shapes whi$h are curved or circular. E%ery shape sho#&d now 4e $omprised on&y of ro#nded &ines and ed!es. Fote the different fee&in! that is e%o)ed for yo# 4y $#r%es instead of an!&es. 3. C2* IFATI2F. Com4ine &ines and $#r%es in yo#r 4ody 4y iso&atin! different 4ody parts and ha%in! one in a strai!ht &ine and another in a !ent&e $#r%e. E8periment with differ9 now paintin! the f&oor. Create %ario#s topo!raphies 4y painting on the f&oor. Wor) in $onstant&y shiftin! $om4ina9 tions of $ir$&es and >i!>a!s and strai!ht &ines. 3. 0IQE 2A CAFVA0. Ret#rn to one 4asi$ f&oor pattern for a moment. *aintain this e8a$t pattern whi&e $han!in! the size of it. If yo#7%e 4een wor)in! with sma&& $ir$&es5 e8pand them to ta)e #p the who&e room= if yo#7%e 4een tra%ersin! a$ross the entire f&oor5 #se the same f&oor pattern to wor) in miniat#re on a sin!&e $orner5 et$. 4. 0HAPE2ACAFVA0.Fe8t5addanawarenessofshapeofp&ayin! spa$e. If yo# are wor)in! in a $orner5 a$t#a&&y define it on the f&oor for yo#rse&f with an in%isi4&e 4o#ndary. Wor) inside of a s3#are. 2r wor) inside of a $ir$&e in the $enter of the room. 2r wor) inside of an o4&on! on the farthest downsta!e ed!e of the p&ayin! spa$e Dwe often refer to this e8treme downsta!e area as in one, a term deri%ed from %a#de%i&&eE. Go# are now wor)in! with pattern itse&f5 size of pattern and shape of p&ayin! spa$e. As yo# wor) with shape of p&ayin! spa$e5 size of p&ayin! spa$e and pattern within p&ayin! spa$e5 $han!e one 4#t maintain the other two. Aor instan$e5 if yo# are wor)in! with >i!>a!s5 do so within a sma&& s3#are. Fow $han!e f&oor pattern to 4e$ome $ir$&es within the $ir$&e. Fow maintain the pattern Di.e.5 the $ir$&esE5 4#t $han!e the shape of the p&ayin! spa$e5 i.e.5 ma)in! $ir$&es within a trian!&e. Fow $han!e the si>e of the p&ayin! spa$e 4y en&ar!in! the trian9 !&e to rea$h into three $orners of the room. In the 4e!innin! it is often ne$essary5 when wor)in! on Topo!ra9 phy5 for the !ro#p to maintain a ten9 per$ent awareness on Tempo. The nat#ra& in$&ination of any !ro#p wi&& 4e to wor) on Topo!ra9 phy in a fast 4#t easy tempo D:#st as we wi&& dis$o%er &ater that it is nat#ra& to at first wor) on 0hape in a slow tempoE. y wor)in! on Topo!raphy in a very fast or slow tempo5 new patterns wi&& emer!e. If yo# need to ta)e a 4rea)5 yo# $o#&d do it at this sta!e in the pro$ess5 4efore introd#$in! the Viewpoints of 0hape5

-est#re and Ar$hite$t#re. *a)e s#re that yo# do not ta)e too &on! a 4rea)
46 THE VIEWPOINTS BOOK CHAPTER 5: INTRODUCING THE INDIVIDUAL VIEWPOINTS

ent $om4inations. Create $ontrast and :#8taposition and tension in yo#r %ario#s shapes. 4. A@<I;ITG AF; 0P2FTAFEITG. Fote how yo# are ma)in! a shape5 stoppin!5 then startin! a new one. Try to )eep the mo%ement f&#id5 so one shape &eads to the ne8t5 so the pro$ess is of one shape evolving into another. @et the shape itse&f &ead yo#5 rather than yo# &eadin! the shape. Fe8t5 add $han!es of tempo and note how different tempos &ead to different )inds of shapes. @et the %aryin! tempos )i$) yo# into spontaneity= wor)in! at a faster tempo wi&& !i%e yo# &ess time to predetermine. ". TRAVE@IF-. 0hape $an 4e either stationary or mo%in!. Ta)e the e8a$t shape yo# are in and 4e!in mo%in! thro#!h the spa$e with it5 a&&owin! the shape itse&f to di$tate a new5 pro4a4&y #n#s#a&5 way of tra%ersin! spa$e. As yo# $ross the room5 a&&ow the shape to e%o&%e. Aind new shapes that yo# $an tra%e& inCwith. '. 2THER0. 0hape $an 4e $reated so&o or with others. As yo# tra%e& aro#nd the spa$e in 0hape5 a&&ow $onta$t with other shapes Dpeop&e in this $aseE. A&&ow yo#r shapes to mer!e and shift so that yo# are now $reatin! one shape from two 4odies or three 4odies. At this point5 the #s#a& tenden$y for a !ro#p whi&e wor)in! on 0hape is to t#rn the shapes inward5 4e$omin! a sin!&e amorpho#s 4&o4 of s&itherin! 4odies. The !ro#p wi&& most &i)e&y end #p on the f&oor5 entan!&ed in ea$h other in an impre$ise mass5 witho#t &e!i4&e definition. Go# wi&& need to point this o#t5 as) them to note it. En$o#ra!e them to wor) with one or two others5 ma)in! stron!5 !raphi$ shapes that t#rn o#t instead of in. ,. TRAVE@IF- WITH 2THER0. Ta)e the shape yo# are in with yo#r partnerDsE and tra%e&. As yo# !o5 a&&ow it to $han!e. As yo# meet others5 disen!a!e from yo#r ori!ina& shape part nerDsE and find yo#rse&f in new shapes with new partnerDsE. Pra$ti$e finding yourself somewhere5 in some position5 in some shape5 witho#t p&annin! it. A&&ow thin!s to happen. 2pen #p to s#rprise en$o#nters.

GEST$!E
In wor)in! on -est#re we wi&& 4e in%esti!atin! two $ate!ories: eha%iora& and E8pressi%e. eha%iora& -est#res are those that 4e&on! to e%eryday &ife5 that are part of h#man 4eha%ior as we )now and o4ser%e it. These are thin!s that peop&e a$t#a&&y do in rea& &ife: ways of mo%in!5 wa&)in!5 $omm#ni$atin!. E8pressi%e -est#res are those that 4e&on! to the interior rather than the e8terior wor&d Dof 4eha%iorE= they e8press fee&in! or meanin! whi$h is not otherwise dire$t&y manifest. 2ne $o#&d say that eha%iora& -est#res are prosaic and E8pressi%e -est#res are poetic.
EXERCISE 9: EXPRESSIVE GESTURE

/. 0TARTIF-. If yo# are transitionin! from the introd#$tion of 0hape5 it is 4est to wor) on E8pressi%e -est#re first. e!in 4y simp&y en$o#ra!in! the !ro#p to thin) of what they are doin! no &on!er as 0hape 4#t as E8pressi%e -est#re. What wi&& shift is that we are now wor)in! with D/E somethin! behind the mo%ement Da fee&in!5 tho#!ht5 ideaE= and D2E a 4e!innin!5 midd&e and end to the mo%ement. 2. ELPRE00IF- E*2TI2F0. E8press somethin! with yo#r !es9 t#re. E8press a fee&in!. *a)e a !est#re that e8presses a fee&9 in! of joy. *a)e a !est#re that e8presses a fee&in! of anger. *a)e a !est#re that e8presses a fee&in! of fear. *a)e a !es9 t#re that e8presses a fee&in! of sadness. *o%e thro#!h spa$e with

that !est#re. Repeat it. Refine it. @et it e%o&%e. 3. ELPRE00IF- I;EA0. F2W wor) on !est#res that e8press an idea. Aor instan$e5 e8press the idea of freedom in a mo%e9 ment. E8press the $on$ept of justice. Fow do the same for war, balance, chaos, the cosmos. It7s #sef#& to as) the !ro#p to note those parts of the 4ody they tend to re&y on5 and those they i!nore. A&& nine View9 points $an ser%e as a persona& &itm#s test5 a method for !a#!9 in! where the indi%id#a&7s stren!ths and wea)nesses &ie5 what ha4its are repeated and what territory is #ne8p&ored.
48 THE VIEWPOINTS BOOK

4. <0IF- G2<R WH2@E 2;G. In$&#de the parts of yo#r 4ody that yo#7re not #sed to wor)in! withB in$&#de a&& parts of yo#r 4ody. Wor) from the feet to the head= ma)e an E8pres9 si%e -est#re first with yo#r toes5 then yo#r hee&s5 then yo#r who&e foot5 then yo#r an)&es5 et$.
EXERCISE 10: BEHAVIORAL GESTURE

/. 0TARTIF-. Ta)e whate%er !est#re yo# are in and &et it e%o&%e from an E8pressi%e one to a eha%iora& one. This means ta)in! somethin! re&ati%e&y a4stra$t5 whi$h yo# wo#&d not norma&&y see someone do5 and transformin! it into some thin! re&ati%e&y $on$rete5 whi$h yo# mi!ht &i)e&y see some one do on the street5 in the home5 at the offi$e. It is important that as the !ro#p is &ed thro#!h !ener9 atin! a mass and %ariety of !est#res in the fo&&owin! steps5 that they are p#shed to do so 3#i$)&y5 witho#t premeditation or :#d!ment. <ndo#4ted&y5 what wi&& emer!e from this initia& poo& of !est#res wi&& 4e f#&& of $&i$he and stereotype. This is not on&y o)ay5 it is en$o#ra!ed. It7s important that we 4e!in with e8a$t&y who we are5 what we thin)5 what we pre$on$ei%e5 rather than some notion we ha%e of who we should 4e and how we should thin). 2n$e a!ain5 if we wor) spontaneo#s&y and honest&y5 Viewpoints trainin! is an in%i9 tation to see o#rse&%es5 a !ateway to !reater $ons$io#sness. 2. 2;G AF; HEA@TH. Create !est#res that !i%e information a4o#t a person7s 4ody and physi$a& hea&th. These in$&#de wo#nds5 s$ars5 disa4i&ities= responses toCe8pressions of hea&th and i&&ness5 s#$h as a snee>e5 yawn5 4#oyant wa&)5 ro&&in! of the ne$)5 et$.= and rea$tions to weather5 s#$h as shi%erin!5 a wipe of sweat5 fannin! onese&f5 4#ttonin! #p5 p#ttin! a hand o#t to fee& rain or snow5 et$. 3. TI*E PERI2; AF; C<@T<RE0. *a)e !est#res that 4e&on! to a spe$ifi$ period or $#&t#re5 for instan$e5 !est#res that are E&i>a4ethan or Ia$o4ean= !est#res that are of the /+21s5 the /+"1s or /+'1s= !est#res that are on&y of 6now6= or !est#res
CHAPTER 5: INTRODUCING THE INDIVIDUAL VIEWPOINTS

that are spe$ifi$ to Aren$h5 Ita&ian or -erman $#&t#res. 0ee if spe$ifi$ periods e%o)e spe$ifi$ tempos5 shapes5 #ses of ar$hi9 te$t#re. Aor instan$e5 when wor)in! on !est#res of the /+21s5 yo# mi!ht noti$e how the !ro#p mo%es 3#i$)&y5 in sta$$ato54#rsts5 emp&oys shapes that are more an!#&ar than ro#nd5 et$. As) the !ro#p to note these emer!in! patterns. This is an important way in whi$h Viewpoints trainin! $an &ead dire$t&y into the rehearsa& pro$ess5 either when wor)in! on an e8tant te8t or in !eneratin! an ori!ina& pie$e. It is the point-and-name method for $reatin! a %o$a4#&ary for the spe$ifi$ pie$e Dsee Chapter /15 Viewpoints in Rehearsa&E. y pointing to and naming patterns that emer!e from a !i%en theme or s#4:e$t5 yo# 4e!in to define a spe$ifi$ physi$a& %o$a4#&ary for yo#r prod#$tion a$$ordin! to its spe$ifi$ themes and s#4:e$t. 4. I;I20GFCRA0IE0. *a)e !est#res that te&& of a person7s e$$en9 tri$ities5 3#ir)s5 andCor ha4its: a twit$h5 a way of s$rat$hin!5 $o$)in! the head5 $#r&in! the &ips5 a nose s$r#n$h5 a foot tap5 an odd 4end of the e&4ow. ". -EFRE. *a)e !est#res that 4e&on! to spe$ifi$ !enres5 for instan$e:

P What are !est#res that 4e&on! to fi&m noir? K What are !est#res that 4e&on! to the Western? K What are !est#res that 4e&on! to s&apsti$)5 3#i> shows5 nineteenth $ent#ry me&odrama5 $ommedia de&&7arte5 and so on? '. C2FF2TATI2F. *a)e a series of !est#res that say some thin!5 that ha%e tho#!ht andCor intention 4ehind them. Aor e8amp&e5 in terms of intention, ma)e a !est#re that f#& fi&&s yo#r intention of sed#$in! someone or h#rtin! some one= wor) on 6to entertain6 or 6to warn6 or 6to 3#iet.6 Aor !est#res that ha%e thought or words 4ehind them5 e8press the words thro#!h -est#re. Aor e8amp&e5 say the fo&&owin! thro#!h -est#re: 6He&&o56 60$rew yo#56 6What7s #p?6 6Come here56 6Eno#!hH6 et$. *a)e more !est#res.
THE VIEWPOINTS BOOK CHAPTER 5: INTRODUCING THE INDIVIDUAL VIEWPOINTS

Comm#ni$ate. If yo# a&&ow the !ro#p to $omm#ni$ate in a dire$t fashion with one another thro#!h -est#re5 remind them of soft focus so that the e8$han!e happens thro#!h -est#re and witho#t eye $onta$t. As a %ariation5 and to in$rease spe$ifi$ity5 yo# $an wor) in !reater depth on one or two phrases5 p&ayin! with de!ree and re&ationship. Aor instan$e5 ma)e a !est#re for: 6He&&o7 then repeat this as if to someone yo# )now we&&5 then as if to someone yo#7%e ne%er met 4efore. *a)e new !est#res for: 6Fi$e to meet yo#C7 *a)e a !est#re that says: 6HiyaH6 more than :#st: 6He&&o.6 Then5 thro#!h -est#re5 $ontin#e with %ariations of: 6Hai&7 6We&$ome56 6-reetin!sH6 6Hey there56 6707#p?6 ,. <0IF- G2<R WH2@E 2;G. <se more parts of yo#r 4ody to !enerate eha%iora& -est#res. <se sma&&er parts: a fin!er5 a toe5 an eye4row5 the $orner of yo#r &ip.

A!CHITECT$!E
EXERCISE I I: INTRODUCING ARCHITECTURE

/. THE A@22R EFEATH G2<R AEET. 0hift yo#r awareness to the ar$hite$t#re whi$h is already there5 with whi$h yo# are already wor)in! Da&4eit pro4a4&y #n$ons$io#s&yE. We a&ways5 in some way &ar!e or sma&&5 position o#rse&%es in re&ation to mass: to wa&&s5 o4:e$ts we sit in or stand near or far from5 posts we &ean on5 ta4&es we rest on5 spa$e we $enter o#rse&%es in or find the $orners of5 et$. Foti$e yo#r feet on the !ro#nd. Is there any pattern or tape on the f&oor? Foti$e the wa&&s and how near or far they are from yo#. How is the &i!ht $omin! into the room? What is the te8t#re of the wood yo#r hand is on? e$ome a$#te&y aware of e8a$t&y where yo# are and &et this ar$hite$t#re inform yo#r mo%ement. ;an$e with the room. @et it te&& yo# what to do5 where to !o5 how to mo%e. @et the room determine yo#r shapes5 yo#r !est#res5 yo#r tempos5 yo#r topo!raphies. 2. 02@I; *A00. @et different so&id masses within the spa$e !i%e yo# mo%ement. ;an$e off the shape of a $hair. Wa&) a&on! the wa&&. C&im4 the &ed!e. @ean on the po&e. 3. TELT<RE. Ao$#s not on the mass and wei!ht and str#$t#re of an e&ement5 4#t on its te8t#reBnot what it is5 4#t of what it is made. If yo# are wor)in! with a mas)5 4e$ome aware of whether it is $&oth or meta& or wood5 whether it is hot or $o&dB&et that inform yo#r tempo5 yo#r size, et$. *o%e aro#nd the room &ettin! yo#r dan$e $han!e a$$ordin! to what materia&s yo#

to#$h. 4. @I-HT. ;an$e off the &i!ht in the room. Wor) off the pattern of &i!ht fi8t#res or where the window is. Wor) with or a!ainst &i!ht. *o%e in or o#t of it. *a)e shadows. ". C2@2R. ;an$e off $o&or in the room. *ay4e yo# mo%e to and from spots of red in the room5 or yo#r mo%ement is inspired 4y the $o&or of the $&othes that others are wearin!. Perhaps red 4e$omes a motif and s#!!ests a story or a theme. At any e%ent5 yo# are pra$ti$in! sensiti%ity to pat9 terns of $o&or that are norma&&y o%er&oo)ed. '. 2 IECT0. ;an$e with sma&&er o4:e$ts or props in the spa$e. Aind o4:e$ts that mo%e5 that $an tra%e& a$ross the room with yo# or that open and $&ose: a $hair5 4room5 4oo)5 $&othin! ra$)5 paint $an. *o%e with that o4:e$t. ;e%e&op a re&ationship with it. @et it ta#nt yo#5 $ha&&en!e yo#5 !i%e yo# an o4sta$&e. P&ay with it. T#rn it into somethin! e&se. 0ee it and e8p&oit it for its raw 3#a&ities rather than its f#n$tiona& ones. ,. IFC@<;IF- 2THER0. @et in the o4:e$ts that peop&e aro#nd yo# are #sin!B:oin them. ;o not !et atta$hed to yo#r own a$ti%ity to the e8$&#sion of what a$t#a&&y passes in front of yo#r path. *o%e on to another e%ent in the room . . . and another. (. THE WH2@E 0PACE. At this point the !ro#p wi&& most &i)e&y . sti&& 4e wor)in! within the imp&i$it perimeters of their playing area. En$o#ra!e them to &et in the who&e spa$e5 not :#st
52 S3 THE VIEWPOINTS BOOK CHAPTER 5: INTRODUCING THE INDIVIDUAL VIEWPOINTS

a po&ite and pre$on$ei%ed notion of what is or is not stage space. Te&& them to 4rea) the fo#rth wa&&. -o 4ehind the ta4&es. <se the risers5 the !ar4a!e $an5 the door to the ha&&way. 0ee and in$&#de the entirety of the room within whi$h yo# are wor)in!Bnot :#st where there is &i!ht or empty f&oor. +. ;I0TAFT ARCHITECT<RE. 0hift yo#r fo$#s so that yo# are no &on!er wor)in! e8$&#si%e&y off the ar$hite$t#re #nder yo#r feet or in yo#r hand5 4#t a&so the ar$hite$t#re that is far away5 a$ross the room. ;an$e off the opposite door. e in dia&o!#e with a distant o4:e$t.

EN"ING THE *I!ST BIG SESSION

-rad#a&&y reintrod#$e Viewpoints. Go# sho#&d remind the parti$9 ipants that they are now wor)in! with a&& the Viewpoints: Ar$hi9 te$t#re5 0hape5 -est#re5 Topo!raphy5 Jinestheti$ Response5 Repe9 tition5 0patia& Re&ationshipCTempo and ;#ration. A&&ow the !ro#p to wor) in 2pen Viewpoints whi&e o$$asiona&&y remindin! them of the indi%id#a& Viewpoints they seem to 4e #naware of. Go#r $oa$hin! $an he&p )i$) them into a new a&i%e p&a$e. @et them wor) with a&& the Viewpoints5 #sin! the who&e spa$e5 for ten to fifteen min#tes. Then stop them. As) them to ho&d where they are5 to 4reathe5 4e aware of the ener!y aro#nd them5 4e aware of the Viewpoints5 their own 0patia& Re&ationship and 0hape5 et$. Te&& them: 6C&ose yo#r eyes. e$ome aware of a&& that yo# sense thro#!h sme&&5 so#nd5 ener!y.6 *a)e them re$o!ni>e how nat#ra&&y dom9 inant the eyes are5 and how m#$h more information there is to ta)e in when they no &on!er re&y on %ision. And te&& them to relax.

Additional E1ercises ,or *ocusin. on Indi4idual Viewpoints

There are many ways to introd#$e the indi%id#a& Viewpoints. Another se3#en$e we ha%e often #sed is: D/E 0patia& Re&ationship5 D2E add Jinestheti$ Response5 D3E add Tempo5 D4E add ;#ration.
EXERCISE I: ALTERNATIVE FOR INTRODUCING SPATIAL RELATIONSHIP IN OPEN SPACE

0patia& Re&ationship is a !ood Viewpoint to start with on the se$9 ond or third day of trainin!5 or to 4e!in a re%iew session. It simp&y fo$#ses the indi%id#a&7s attention immediate&y on the !ro#p5 on e8perien$in! herse&fChimse&f as part of a &ar!er who&e. Go# $an start wor) on 0patia& Re&ationship in an easy5 &aid94a$) fashion simp&y 4y as)in! the !ro#p to 4e!in mo%in! aro#nd the spa$e Dwith whate%er ener!y they 4rin! in that dayE. 0tart where yo# are5 with what yo# ha%e5 4e$ome aware of what is happenin! aro#nd yo# and &et that $arry yo#. Remo%e a&& press#re to in%ent or entertain.
EXERCISE 2: FIRST FOCUSEXTREME DISTANCES

The !ro#p mo%es aro#nd the spa$e in any tempo5 in$&#din! starts and stops Das a&ways5 in soft focus). P#t fo$#s on 0patia& Re&ation9 ship. Foti$e when yo# start to fee& somethin! happen. Wor) with more e8treme spatia& re&ationships. -o radi$a&&y $&ose to someone: to#$h them5 hear their 4reathin!5 sme&& them. Then wor) with someone far away from yo#: fee& the tension5 in$rease it5 ma)e the spa$e more ta#t. In this e8er$ise the on&y !oa& is to maintain extreme pro8imity or distan$e5 to &i%e in this state of a&i%eness5 to 4e sensiti%e to when it dies and nothin! is happenin!5 and start the motor of o$$#rren$e a!ain simp&y 4y mo%in! $&oser or farther away from another 4ody.
EXERCISE 3: LINES AND CLUSTERS

Ima!ine yo#rse&f as pinpri$)s of &i!ht5 as dots on a @ite rite set5 formin! distin$t $onste&&ations and patterns. Aorm and disso&%e and reform. *a)e $&#sters5 &ines5 swir&s. If the !ro#p at this point is wor)in! witho#t stron! definition of patterns5 en$o#ra!e them to fo$#s so&e&y on $reatin! &ines to!ether5 and ho&din! in that par9 ti$#&ar spatia& re&ationship #nti& e%eryone is sti&& and they $an a&& fee& the spatia& re&ationship. Then as) one person to 4e!in mo%9
55
THE VIEWPOINTS BOOK CHAPTER 5: INTRODUCING THE INDIVIDUAL VIEWPOINTS

in!5 to !o anywhere and stop5 and others to instant&y wor) off that 4y mo%in! to a new position5 whi$h $reates a new &ine with a new &en!th or dia!ona&5 et$.5 off the person yo# as)ed to mo%e first. Go# $an pra$ti$e the same thin! when $reatin! $&#sters.
E<E!CISE 4: NUMBERS

Contin#e wor)in! on 0patia& Re&ationship 4y fo$#sin! on dyna9 mi$s $reated thro#!h n#m4ers. @et7s say the !ro#p has twe&%e mem4ers in it. As) them to wor) one a!ainst e&e%en5 to mo%e in the spa$e with an awareness of 0patia& Re&ationship 4#t at a&& times 4ein! in a formation of e&e%en indi%id#a&s in $ontrast to one indi%id#a& Dthis mi!ht mean the e&e%en !o to one side of the room and the one to the other5 or it mi!ht mean that the e&e%en form a $ir$&e aro#nd the one5 et$.E. Go# $an $han!e the n#m4ers to5 for e8amp&e5 si8 a!ainst si85 or si8 pairs of two.
E<E!CISE 5: FLOOR PATTERNEXPRESSING CHARACTER

Thin) of someone in yo#r &ife who has a stron! stamp5 either a stron! effe$t on yo# or an espe$ia&&y $o&orf#& persona&ity. E8press herChis character in a f&oor pattern. Is this someone who is %ery dire$ted and mo%es in strai!ht &ines5 or is this someone who is 6a&& o%er the p&a$e6 and ma)es a Ia$)son Po&&o$) on the f&oor5 or is this someone who &i)es to ta)e #p spa$e5 or is this someone who hides in the o#ts)irts? Choose another person and wor) on e8pressin! herChim5 herChis essen$e= as yo# sense it5 in a f&oor pattern. Choose another. *a)e s#re the three peop&e are $&ear&y differentiated.
EXERCISE 6: FLOOR PATTERNLIFE STORY

E8press the story of yo#r &ife thro#!h a topo!raphy. Create a f&oor pattern whi$h has a :o#rney Da $&ear

4e!innin!5 midd&e and endE5 and with swit$hes inside of it that $orrespond to chapters of yo#r &ife: ;oes yo#r &ife 4e!in in a sma&& way or a 4i! way? Are yo#r ear&y years &inear or $ir$#&ar? Is there a period d#rin! whi$h yo# simp&y stop? ;o yo# !o 4a$) and repeat patterns? Is there a time d#rin! whi$h yo# shoot #ne8pe$ted&y ahead? Is there5 e%en a $&ear dire$tion5 a !oa&Bor is the path meanderin!? Alternative. Ha%e an indi%id#a& show herChis story. Go# $an then as) mem4ers of the !ro#p who were wat$hin! to te&& the story as they per$ei%ed it. There is no ri!ht or wron! hereBit7s not a !#essin! !ame5 4#t an opport#nity to note what was &e!i4&e5 e8pressi%e5 mo%in!. Alternative. Ha%e an indi%id#a& do herChis story whi&e spea)9 in! from inside of it5 in first9person present tense. 0Che does not need to act, for$e e%ents or e8p&ain anythin!. 0Che sho#&d simp&y %er4a&i>e a stream9 of9$ons$io#sness5 to herse&fChimse&f D4#t &o#d eno#!h for a&& to hearE5 whi$h is anythin! and e%erythin! that $omes #p with or a4o#t that parti$#&ar chapter of &ife as s/hc is experiencing it. Aor e8amp&e5 6I7m so sma&&... I7m r#nnin! aro#nd here in this $ir$&e 4e$a#se I don7t )now what anyone wants of me ... *ommy te&&s me this... ;addy te&&s me that... $ir$&e5 $ir$&e5 more $ir$&e . . . What?H I7m stoppin!5 I7m stoppedB somethin!7s $han!in!B&oo) there7s a way o#t . . . I fo&&ow it. What is it? A &ineBI $an wa&) it5 I7m !oin! to s$hoo& now5 I )now what I7m doin!. I $an read5 I read a &ot5 I read on this &ineB9whoaH another $ir$&eB I7m $onf#sed a!ain ...6 This e8er$ise wor)s we&& for a !ro#p that is :#st !ettin! to )now ea$h other= it offers a way of &oo)in! at and dis$#ssin! a N sin!&e Viewpoint5 4#t a&so demands $o#ra!e on the part of its %o&9 #nteers and a persona&i>in! of Viewpoints trainin! so that the !ro#p immediate&y &earns the emotiona&5 rather than the theo9 reti$a&5 power of the wor) at hand.
EXERCISE 7:TOPOGRAPHYAND THE GROUP

Wor) on $reatin! indi%id#a& Topo!raphy. Add awareness of Tempo and ;#ration. After some time5 add awareness of Repetition Dthis wi&& &ead the !ro#p 4a$) into a state of wor)in! as one a!ainE.
56
57 THE VIEWPOINTS BOOK CHAPTER 5: INTRODUCING THE INDIVIDUAL VIEWPOINTS

A&&ow indi%id#a& topo!raphies to $han!e 4ased on what others are !i%in!. A&&ow topo!raphies to emer!e from se%era& Dor manyE peop&e wor)in! as one. Add Jinestheti$ Response5 so that when topo!raphies Ddire$tion5 pattern5 et$.E shift5 it is 4ased on some9 thin! that o$$#rs from the o#tside Danother !ro#p or indi%id#a&E.
EXERCISE 8: SHAPETHE RIVER

0tand in a $ir$&e. 2ne person r#ns into the $enter of the $ir$&e and ma)es and ho&ds a shape. Another person r#ns into the $enter of the $ir$&e and adds a shape to the first shape5 ma)in! a new shape o#t of 4oth. Add a third person5 a fo#rth5 et$.5 #nti& the who&e !ro#p has r#n in and $ontri4#ted to one o%era&& shape. Choose two or three peop&e to remain in the $enter and as) e%eryone e&se to step o#t and o4ser%e the shape $reated 4y those who are &eft. DThe peop&e yo# $hoose to )eep in the $enter sho#&d5 of $o#rse5 4e in a shape whi$h is stron!5 $&ear5 dynami$ and #sef#&.E Ha%e the o#tside !ro#p &oo) at the $enter shape to!ether5 o4ser%e it5 point o#t what is stron! a4o#t the shape. Fote opposition if and when it o$$#rs= note Repetition if and when it o$$#rs= note that powerf#& shapes often ha%e an out for e%ery in. D0hape5 or more spe$ifi$a&&y the 0hape of s$#&pt#ra& form5 is 63#ite simp&y the art of depression and prot#4eran$e56 wrote the s$#&ptor A#!#ste Rodin.E Then5 4rea) those two or three $enter peop&e5 ret#rn e%ery9 one one 4y one into the $ir$&e5 and repeat

EXERCISE 9: SHAPETAG SHAPE

0tand in a $ir$&e. 2ne person r#ns in to the $enter of the $ir$&e and ma)es a shape. A se$ond person r#ns in and adds to it. As the third person r#ns in5 the first person $omes o#t of the $enter. As the fo#rth person r#ns in5 the se$ond person $omes o#t= as the fifth r#ns in5 the third $omes o#t5 et$. There sho#&d a&ways 4e a shape in the $enter5 $omprised of two 4odiesBno more5 no &ess. This e8er$ise en$o#ra!es the !ro#p to ma)e shapes witho#t thin)in! a4o#t it. The most important thin! is to )eep the f&ow and moment#m !oin!5 to esta4&ish a rhythm within the !ro#p.
EXERCISE 10: SHAPETHE JOURNEY ___________________

Soft focus. e$ome a %esse& for 0hape. e!in tra%e&in! with 0hape5 $on$entratin! on the tension and $onstant interp&ay 4etween extension and contraction: open and $&ose5 o#t and in. @et 0hape ta)e yo# on a :o#rney. As yo# tra%e&5 a&&ow others to affe$t yo#r :o#rney. Respond5 in 0hape5 to 0hape. *a)e $hoi$es 4ased on other peop&e7s shapes5 their patterns of e8pansion and $ontra$tion5 and &et their shapes &ead yo# on a :o#rney. @et them ta)e yo# o%er5 &et them !i%e yo# dire$tion5 !#ide yo# aro#nd the spa$e.
EXERCISE II: ARCHITECTURE

-ather the !ro#p in the $enter of the room. As) them to &oo) aro#nd and see the room as a sta!e set5 to find a spe$ifi$ pie$e of ar$hite$t#re that inspires mo%ement. Then as) for one %o&#nteer to r#n to herChis se&e$ted set and perform a repeated a$tion with Dor off ofE it. As) another person to r#n and :oin. @et the two de%e&op their mo%ement in the !i%en settin!. rin! them 4a$) to the !ro#p. As) for another %o&#nteer. Repeat. In this e8er$ise it is important that yo# steer the !ro#p away from the &itera& and the o4%io#s. They sho#&d 4e en$o#ra!ed to mo%e witho#t )nowin! why5 to perform a$tion witho#t )nowin! what it is. This is a !ood e8amp&e of Viewpoints trainin! as the pra$9 ti$e of imagination and spontaneity. When we )now what a door is and what it $an do5 we &imit 4oth o#rse&%es and the possi4i&ity of the door. When we are open to its size and texture and shape, a door $an 4e$ome anythin!5 and e%erythin!. The !ift of Viewpoints trainin! is a&&owin! #s to see o&d thin!s in news ways99to wa)e #p the s&eepin! formBto e8perien$e the room as if for the
59 THE VIEWPOINTS BOOK CHAPTER 5: INTRODUCING THE INDIVIDUAL VIEWPOINTS

a4&e with these e8tremes and are therefore more &i)e&y to $a&& on them when needed in o#r wor): the e8pressi%e ran!e of the artist is widened. 2n$e a!ain5 the trainin! is a4o#t openin! #p possi4i&ity and pro%idin! yo# with more $hoi$e. E%ent#a&&y yo# wi&& ret#rn to an area of n#an$e and s#4t&ety5 4#t 4y then the 6!ray6 wi&& 4e $hosen and shaped 4y yo#5 as opposed to it 4ein! a ne$essary fa&&4a$) position sprin!in! from fear. Aor today5 &i%e in the 4&a$)9and9white= 4e definite5 $&ear5 4o&d5 radi$a&. first time5 to find s#rprisin! and hew possi4i&ity in o#rse&%es5 o#r en%ironment and o#r art.
>?@ A

OBSE!VATIONS
To do the"not-to-do" or, "Pay no attention to the man behind the curtain."

2ne of the pro4&ems that often arises in ear&y Viewpoints trainin! is the fa$t that whi&e a&& the wor) is desi!ned to !et the parti$ipants o#t of their heads5 yo# are introd#$in!

ideas and instr#$tions that re3#ire tho#!ht. They are &istenin! to yo#r words5 it is impossi4&e not to thin)5 it7s &i)e sayin!: 6;o not ima!ine pin) e&ephants56 or5 6Pay no attention to the man 4ehind the $#rtain.6 A$)now&ed!e this di&emma with the !ro#p. It is nat#ra& and #na%oida4&e. Go# pra$ti$e Viewpoints to 4e$ome more $ons$io#s. #t in the 4e!innin!5 yo# wi&& fee& se&f9$ons$io#s. @ater5 with pra$ti$e and perse%eran$e5 this se&f9$ons$io#sness disso&%es into a )ind of hyper9$ons$io#snessBa $onstant state of hei!htened awareness that is a$hie%ed witho#t effort or tho#!ht. It simp&y 4e$omes part of who yo# are and how yo# per$ei%e the wor&d.
The litmus testViewpoints as a mirror.

The Indi%id#a& Viewpoints pro%ide a &itm#s test for the indi%id#a& performer: they ser%e as a $he$)&ist for assessin! a4i&ities and &imitations. En$o#ra!e the !ro#p to pay attention to their indi9 %id#a& &eanin!s and a%oidan$es5 to parts of the 4ody that are h#rt or hidden5 to fa&&4a$) positions and #n$ons$io#s patterns. In 4e!innin! Viewpoints wor)5 one $annot a%oid seein! onese&f. Indi%id#a&s 4e$ome hyper9aware of a&& sorts of thin!s5 from how m#$h they stand o#tside of themse&%es to how de&ayed their rea$tion time is to how m#$h they hate the &en!th of their arms or the 4o#n$e of their wa&). The mirror 4e$omes so 4i! and horrifyin!. #t )eep remindin! the !ro#p that the way around is a$t#a&&y through. 0e&f9$ons$io#sness is a )ind of prison5 $on9 s$io#sness is freedom.
The Gray Zone: "wenn schon, dann schon."

Use the ear&y Viewpoints trainin! to e8it the -ray Qone5 where thin!s are e8pe$ted5 safe5 $omforta4&e5 midd&e9of9the9road. Enter the state of mind whi$h the -ermans refer to as 6wenn s$hon5 dann s$hon56 an e8pression that trans&ates &itera&&y to: 6When a&ready5 then a&ready56 4#t is $ommon&y #sed to mean: 6If then5 then then56 or5 6If yo# do it5 do it." ;o it a&& the way. @i%e in the e8treme. y p#shin! o#rse&%es into the f#rthest rea$hes of Tempo and ;istan$e and 0hape5 for instan$e5 we 4e$ome more $omfort9
Practice what you preach.

The most essentia& 3#a&ity in tea$hin! Viewpoints is 4ein! open to what a$t#a&&y o$$#rs in the !ro#p rather than what yo# had hoped wo#&d o$$#r. Viewpoints trainin! needs pra$ti$e on the part of the instr#$torC&eaderCdire$tor as we&& as the parti$ipants. The on&y times we7%e witnessed Viewpoints 6fai&in!6 is when the
61 THE VIEWPOINTS BOOK CHAPTER 5: INTRODUCING THE INDIVIDUAL VIEWPOINTS

instr#$tor has had a set and ri!id Way of tea$hin!5 a pres$ri4ed p&an for the session. Tea$hin! Viewpoints re3#ires e8treme awareness on the part of the instr#$tor. Remain open to the parti$#&ar o4sta9 $&es and dynami$s that arise within yo#r !ro#p: ad:#st yo#r p&an5 stay on a sin!&e Viewpoint &on!er if ne$essary5 s)ip another if it7s 4enefi$ia& in the present moment5 wat$h with an ea!&e eye and &ead the !ro#p a$$ordin! to what happens in the momentif they ta)e the session somewhere #ne8pe$ted5 !o with it. The pra$ti$in! of Viewpoints 4y the performers and the tea$hin! of Viewpoints 4y the &eader demand openness. The s$e9 nario is the same as with a$tors enterin! a s$ene: )now what yo# want5 enter5 and 4e prepared to ad:#st to what yo# are !i%en. @et !o of a&& pre$on$ei%ed ideas and 4e where yo# are. @isten. Re$ei%e. Respond. Use it. Tina7s e8perien$e. / went to tea$h a three9wee) session at the 0teppenwo&f s#mmer s$hoo&. I had :#st $&osed a prod#$tion (Bells Are Ringing), f&own in on an ear&y mornin! p&ane5 and was in no mood to tea$h. I arri%ed on&y to dis$o%er that we had 4een 4oo)ed into a different spa$e than the one in whi$h I had ta#!ht the pre%io#s

s#mmer. The new spa$e was the 0teppenwo&f -ara!e5 $#rrent&y 4ein! #sed for a prod#$tion5 and the Viewpoints $&ass was re&e!ated to what had 4e$ome a &o44y of sorts: a thin s&i%er of spa$e defined 4y 4&a$) han!in! %e&o#rs with paintin!s disp&ayed on them. I t#rned to the administrator and $omp&ained: 6Go# $an7t do Viewpoints in here. Go# sho#&d )now 4etterH There7s no room to mo%e5 and we7&& ha%e to wat$h o#t for the paintin!s5 whi$h is the antithesis of freedom and a4andonH I $an7t wor) in here.6 He went o#t to see if he $o#&d find another spa$e. In the meantime5 I sat down with the st#dents5 4e!r#d!in!&y introd#$ed myse&f5 and as)ed them how their first day of s$hoo& was the day 4efore. They to&d me that it was !ood e8$ept they sat aro#nd and ta&)ed too m#$h. etween the ta&)in! yesterday and the $o&d in the air on this mornin!5 they $o#&dn7t wait to !et #p and mo%e. 2h noH I tho#!ht for a moment5 then to&d them how I was a4o#t to $an$e& the ses9 sionBand :#st ta&)B4#t that wo#&d 4e a!ainst e%erythin! I wanted to share with them a4o#t the %a&#e of Viewpoints. I to&d them that for me5 a4o%e a&& e&se5 Viewpoints is a4o#t &earnin! to wor) with what yo# are !i%en: o4sta$&e as opport#nity. I too) a deep 4reath5 and !ot #s #p on o#r feet to 4e!in trainin!. I finished with this !ro#p after three wee)s. In the &ast three wee)s of their nine9wee) s#mmer session5 they a!ain pra$ti$ed Viewpoints 4#t with another tea$her Dan a$tress in Chi$a!o with whom I had wor)ed on three prod#$tions and whom I re$om9 mended to $ontin#e the trainin!E. I ret#rned to Chi$a!o to wat$h a fina& $&ass5 whi$h in$&#ded 6presentations6 in front of an a#dien$e. The !ro#p was we&& into 2pen Viewpoints Dsee Chapter 'E when the tea$her 4e!an addin! )ey words5 themes5 dire$ti%es. 0he had said ear&ier that the session was dedi$ated to: 6f&yin!5 freedom5 p&ay.6 The !ro#p was in the midd&e of de%e&opin! an ama>in! se3#en$e of dan!er and im4a&an$e5 when she said: 7The theme is flying' Fow sometimes it is wonderf#& to intentiona&&y swit$h !ears in a radi$a& fashion5 to p#rpose&y s&am into the opposite5 howe%er5 in this $ase5 it was $&ear that the tea$her had this pre$on$ei%ed 6theme6 in mind5 that it was a !oa& she was p&annin! to demonstrate to the sma&& in%ited a#dien$e. It had nothin! to do with the e8perien$e the !ro#p was deep inside of5 and as a res#&t5 they fo#nd it impossi4&e to swit$h. I sat for a4o#t fifteen min#tes &istenin! to the instr#$tor $ontin#e to $a&& o#t words that wo#&d steer the !ro#p in the dire$tion she wanted. A&& the time5 #npredi$ta4&e and profo#nd moments were happenin! in front of her5 yet she missed them as she $ontin#ed to for$e the e8perien$e.
63

P$TTING THE IN"IVI"$A# VIEWPOINTS TOGETHE!

2n$e a fami&iarity with the indi%id#a& Physi$a& Viewpoints has 4een a$hie%ed5 it is time to p#t them a&& to!ether. The pre&iminary e8er$ises fo#nd in Chapter 4: How to e!in? ens#re that e%eryone is a4&e to wor) onsta!e with spontaneity and a e8tensi%e awareness of others. The e8er$ises from Chapter ": Introd#$in! the Indi%id#a& Viewpoints ens#re an a$3#aintan$e with the indi%id#a& Viewpoints and sensiti%ity to the o%era&& sta!e pi$t#re. These e8er$ises are for the ne8t sta!e of Viewpoints trainin!. /. e!in with a $o#ntin! e8er$ise in whi$h e%eryone wa&)s in the spa$e at a simi&ar speed 4#t in any dire$tion. Aor e8am9
THE VIEWPOINTS BOOK CHAPTER 6: PUTTING THE INDIVIDUAL VIEWPOINTS TOGETHER

p&e5 if there are twenty peop&e5 as) the !ro#p to attempt to $o#nt from one to twenty witho#t more than one person e%er spea)in! at the same time5 so e%eryone is $o#ntin! a different n#m4er o#t &o#d. Ea$h person is to spea) on&y on$e in the $o#rse of $o#ntin! to twenty. 2n$e someone has $o#nted a n#m4er5 they are not to $o#nt a!ain. If more than one person spea)s at a time the !ro#p m#st start the $o#ntin! a&& o%er a!ain. If they ha%e tro#4&e doin! this5 as) them to &isten and fo$#s with more attention to the who&e. 2. To $#&ti%ate &istenin! e%en f#rther5 ha%e the parti$ipants $ontin#e wa&)in! with soft focus whi&e hei!htenin! aware9 ness of their tempo. E%eryone sho#&d wa&) at the same speed. Then5 on$e

3.

esta4&ished5 ea$h person sho#&d a$$e&erate herChis speed5 a!ain in $oordination with the other !ro#p mem4ers. Then ea$h person sho#&d 4rea) into a r#n to!ether= when a$$e&eration rea$hes a pea)5 e%eryone sho#&d $han!e to a de$e&eration to!ether5 s&owin! down as a !ro#p. Arom a medi#m wa&)in! speed the entire !ro#p sho#&d attempt to stop to!ether at the same instant. In the moment the 4ody stops5 the interna& ener!y a$$e&erates. After se%era& moments of sti&&ness5 the !ro#p attempts to start wa&)in! a!ain at the same instant and at a pre$ise and #nison speed.

EXERCISE 2:THE FLOW _______________________________

2n$e the !ro#p has wor)ed with Tempo this way5 as) them to $ontin#e wa&)in! with soft focus and to add a hei!htened aware9 ness of spa$e. Fow the fi%e options D/9" in the &ist 4e&owE that $omprise The A&ow $an 4e introd#$ed one at a time. With ea$h addition5 the pre%io#s options sho#&d remain in p&ay #nti& a&& fi%e are happenin! to!ether. Always, when working with Viewpoints, the choices are made intuitively and based on surrounding events. A&&ow se%era& min#tes 4efore addin! any new option so that the parti$9 ipants $an f#&&y e8p&ore what happens with ea$h new addition. /. 2. 3. 4. ". '. ,. Wa&) thro#!h the spa$e $reated 4etween two peop&e. Ima!ine that this spa$e is a doorway to pass thro#!h. Con9 tin#e wa&)in! in the spa$e5 passin! thro#!h a&& of the a%ai&9 a4&e doors that appear aro#nd yo#. e$a#se of the $onstant presen$e of new doors5 yo# wi&& find yo#rse&f mo%in! in #ne8pe$ted dire$tions as yo# mo%e aro#nd the room. Chan!e tempo. The tempo $han!es are inspired 4y the tempo $han!es of others and 4y the a$tion of passin! thro#!h doors made 4y the spa$e 4etween two peop&e. Add the possi4i&ity of stoppin!. As 4efore5 the stops are inspired 4y e8terna& e%ents5 i.e.5 other peop&e stoppin! or !oin!. Inside of the sti&&ness of a stop is a !reat dea& of ener!y and wa)ef#&ness. Ao&&ow someone. It may happen that &ines o$$#r in spa$e. As opposed to passin! thro#!h a door5 yo# $an now a&so t#rn away from someone as yo# $ome into their pro8imity. Go# $an t#rn in the opposite dire$tion. 2n$e a&& fi%e of these options are in p&ay5 a&&ow the !ro#p to find a nat#ra& f&ow. After a whi&e yo# may as) them to form a dia!ona& &ine in spa$e whi&e )eepin! these fi%e options in p&ay. There wi&& 4e a 4ea#tif#& f&#idity of mo%ement and sti&&ness as this e8er$ise $ontin#es. A&&ow the !ro#p to e8p&ore the free9 dom inside a dia!ona& &ine for at &east three or fo#r min#tes. 2pen the e8er$ise #p a!ain to the who&e spa$e. After a whi&e different %ariations are possi4&e within the fi%e options. Ha%e the !ro#p wor) with an awareness of different )inds of &ines in spa$e. Aor e8amp&e5 D/E form a &ine #psta!e from sta!e &eft to ri!ht. *aintainin! the fi%e options in mo%ement5 one person at a time t#rns to fa$e5 downsta!e5 whi&e e%eryone e&se fa$es #psta!e. E%eryone needs to 4e aware of who is fa$in! downsta!e so that when sChe t#rns #psta!e5 someone e&se $an t#rn downsta!e. D2E Aorm a &ine #psta!e from sta!e &eft to ri!ht5 fa$in! downsta!e. Contin#in! the fi%e options5 s&ow&y mo%e to!ether downsta!e to form a &ine on the downsta!e ed!e of the spa$e. The e8er$ise ends when e%eryone is stopped sti&& in a &ine a&& the way downsta!e5 fa$in! the a#dien$e.
66 67

THE VIEWPOINTS BOOK CHAPTER 6: PUTTING THE INDIVIDUAL VIEWPOINTS TOGETHER

mo%ement 4e!ins on&y in response to someone e&se7s mo%e9 ment. To dis$ern this mo%ement5 a hi!h &e%e& of &istenin! and attention m#st 4e s#stained $onsistent&y. Wor)in! with soft focus ma)es dire$t eye $onta$t #nne$essary. The mo%e9 ment m#st o$$#r instantaneo#s&y and with a f#&& physi$a& $ommitment. The 4e!innin! of mo%ement in the &anes sho#&d appear or!ani$ and easy5 as if there is no &eader or fo&&ower. If5 when the e8er$ise 4e!ins5 yo# noti$e that peop&e a&& mo%ed at on$e or for$ed the mo%ement to 4e!in5 stop them. Ha%e them ret#rn to their initia& startin! points at the ends of their &anes. Remind them to &isten and &et e%erythin! they do $ome to them5 rather than for$in! it. 0ometimes this means a !ro#p mi!ht :#st stand sti&& for se%9 era& se$onds5 or e%en a min#te5 4efore mo%ement o$$#rs. This is o)ay. The o4:e$t of this e8er$ise is to pra$ti$e &isten9 in! rather than to $reate e%ents onsta!e. Fote: ;#rin! @ane Wor) wat$h o#t for a stopCstart tenden$y5 whi$h !enera&&y indi$ates that attention is 4ein! !i%en to the 4e!innin! of a mo%e 4#t disinte!ratin! into an #nfo$#sed5 indis9 $riminate $on$&#sion. This propensity to respond to an imp#&se I with $ommitment5 4#t then random&y stop to wait for the ne8t imp#&se5 res#&ts in a :er)y impro%isation. When a !ro#p new to Viewpoints trainin! 4e!ins @ane I Wor)5 it is often diffi$#&t for them to tr#st the &imited %o$a4#&ary. There is an in4red desire in the performer to entertain or impress5 5 so that wa&)in! s#dden&y 4e$omes hoppin! or s)ippin!5 for instan$e. A&&ow nothin! other than the 4asi$ stri$t a$tions of wa&)in!5 r#nnin!5 :#mpin! and droppin!. En$o#ra!e the per9 formers to tr#st simp&i$ity and a minima&ism of mo%ement. DA !ro#p of peop&e ea$h s&ow&y &iftin! one foot in #nison $an 4e a powerf#& dramati$ moment.E @ane Wor) tea$hes the ne$essity to $ommit f#&&y to an a$tion whi&e sim#&taneo#s&y 4ein! a4&e to ad:#st and $han!e 4ased #pon new e%ents. ein!5 f#&&y $ommitted yet open to $han!e sim#&taneo#s&y is a physi$a& parado8 that Dwhen mas9 teredE &eads to an #n#s#a& sensation of freedom... Fote: The A&ow is an instant in%itation to instin$t#a& mo%ement and a sense of f&#idity of mo%ement in re&ation to other peop&e. It is he&pf#& to pra$ti$e The A&ow often. If there are eno#!h par9 ti$ipants5 it is a !ood idea to o$$asiona&&y di%ide into two !ro#ps5 02 that one !ro#p wat$hes whi&e the other pra$ti$es The A&ow. Wat$hin! others $an $&arify a !reat dea&. ein! wat$hed 4y a !ro#p hei!htens the sta)es onsta!e.
EXERCISE 3: LANE WORK

/.

2. 3. 4. ".

Ai%e to se%en parti$ipants stand #psta!e in a hori>onta& &ine5 sta!e &eft to sta!e ri!ht5 et$. They are e3#idistant5 a&&owin! a minim#m of se%era& feet 4etween ea$h other. The spa$e in front of ea$h person forms a &ane Dima!ine a swimmin! poo&E. The parti$ipants fa$e downsta!e= they are motion&ess and attenti%e5 &istenin! to ea$h other. They wi&& fa$e the fo&&owin! &imitations when they 4e!in to mo%e: Ea$h person m#st remain inside herChis &ane. The &ane e8tends idea&&y a4o#t twenty feet. Ea$h person is free to mo%e 4a$) and forth to any part of herChis &ane. #t: *o%ement is stri$t&y &imited to fi%e options: D/E wa&)in!5 D2E r#nnin!5 D3E :#mpin!5 D4E droppin!5 D"E sti&&ness. Ea$h maintains an awareness of the spa$e formed 4y a&& of the &anes and stays in t#ne with a&& the other parti$ipants at e%ery moment. Ea$h ma)es $hoi$es with parti$#&ar attention to the fo&&ow9 in! Viewpoints: Jinestheti$

Response5 0patia& Re&ationship5 Repetition5 ;#ration and Tempo. DThere sho#&d 4e no o4%i9 o#s #se of Ar$hite$t#re5 0hape or -est#re in this e8er$ise.E The Topo!raphy has a&ready 4een predetermined 4y the &anes. Whi&e doin! @ane Wor)5 there is no time to thin) a4o#t the indi%id#a& Viewpoints5 rather the parti$ipants m#st #se a&& they ha%e &earned so far intuitively, in the moment5 and in response to what is happenin! a&ready. '. As the parti$ipants are ready and standin! in their 4e!innin! positions5 yo# may te&& them to 4e!in. An indi%id#a&7s

68 THE VIEWPOINTS BOOK CHAPTE! B2 P$TTING THE IN"IVI"$A# VIEWPOINTS TOGETHE!

Thro#!h @ane Wor) it a&so 4e$omes apparent how m#$h one $an see witho#t &oo)in! aro#nd: the 4ody &istens to the entire sta!e. A person downsta!e $an hear an #psta!e person mo%e5 then mo%e in response to it.
EXERCISE 4: GRID WORK

Fow is the time to a&&ow a&& the indi%id#a& Viewpoints to f#n$tion sim#&taneo#s&y within the floor pattern of a !rid Dfor a f#&& des$ription of floor pattern, see the Ar$hite$t#re and Topo!raphy se$tions of the pre%io#s $hapterE. /. The idea& n#m4er of parti$ipants for this e8er$ise Dat this sta!eE is at &east fi%e and no more than nine. As in @ane Wor)5 e%eryone 4e!ins #psta!e in a hori>onta& &ine. <n&i)e @ane Wor)5 the spa$e 4etween the parti$ipants at the start doesn7t ha%e to 4e #niform5 therefore $hoi$es wi&& ha%e 4een made a4o#t 0patia& Re&ationship and 0hape. The impro%isation 4e!ins with sti&&ness and an attention to the who&e sta!e and to a&& indi%id#a&s. ased on &istenin! and respondin! with a Viewpoints %o$a4#&ary5 the impro%isation 4e!ins. The parti$ipants are free to mo%e in any dire$tion that $onforms to a !rid pattern Dno dia!ona& &ines5 no $#r%esE. Ea$h impro%isation $an &ast any amo#nt of time. As parti$ipants !et to )now the form5 a&&ow for at least fi%e min#tes for an e8p&oration of the new freedom that -rid Wor) a&&ows.
Do not move unless there is a reason to move, and desire for variety is not enough of a reason.
7BE!TO#T BRECHT

2.

re$ht7s thin)in! is f#&&y re&e%ant to Viewpoints trainin!. In a&& the impro%isations5 mo%ement sho#&d 4e made for a reason. The reason is not psy$ho&o!i$a&5 4#t rather forma&5 $ompositiona& and int#iti%e. Viewpoints R $hoi$es made a4o#t time and spa$e. E%ery mo%e is 4ased5 #pon what is already happenin!. The reason to mo%e may 4e a )inestheti$ response to a motion or mi!ht $&arify a spatia& re&ationship or a $hoi$e a4o#t speed in re&ation to a tempo a&ready present onsta!e. A mo%e may 4e made to $onform to a f&oor pattern or in re&ation to iss#es a4o#t d#ration that arise within the !ro#p. A $hoi$e may 4e made in re&ation to the e8istin! ar$hite$t#re or may 4e a repetition of a shape or !est#re. #t no mo%e sho#&d happen ar4itrari&y or for a desire for %ariety.
EXERCISE 5: OPEN VIEWPOINTS

Fow the parti$ipants are ready to try 2pen Viewpoints5 a free9form %ersion of Viewpoints trainin!5 where f&oor patterns5 s#$h as the &ane or !rid5 are not predetermined. It is a pra$ti$e where a !ro#p of anywhere from fi%e to nine peop&e wi&&5 4y emp&oyin! e8traordinary &istenin!5 !enerosity and artf#&ness5 find a way to 4e!in an impro%isation #sin! f#&&y their Viewpoints trainin!.

/.

2.

0patia& Re&ationship sho#&d 4e the first $onsideration. As they wa&) onto the sta!e5 parti$ipants sho#&d ma)e arti$#&ate $hoi$es a4o#t where to 4e!in 4ased on the p&a$ement of others aro#nd them. The openin! arran!ement sho#&d not 4e too 4aro3#e Dnot too many odd shapesE5 4#t rather a simp&e5 %isi4&e 0patia& Composition where the entire sta!e pi$t#re is $&ear to e%eryone. 0tart with sti&&ness. Arom sti&&ness the parti$ipants &isten to one another and to the room. They &isten with their entire 4odies. There sho#&d 4e no h#rry to ma)e somethin! happenin! Dwhen 4e!innin! an 2pen Viewpoints session5 patien$e is an a&&yE. The 3#a&ity of &istenin! $reates the $onditions in whi$h somethin! may o$$#r: parti$ipants attend to the &istenin! and to one another. Then they a$t #pon that &istenin! with a Viewpoints %o$a4#&ary. The parti$ipants sho#&d 4e aware of the emer!in! mo%ement %o$a4#&ary happenin! d#rin! the first few min#tes of

3.

THE VIEWPOINTS BOOK CHAPTER 6: PUTTING THE INDIVIDUAL VIEWPOINTS TOGETHER

the impro%isation5 and attempt to de%e&op this finite %o$a4#&ary5 rather than $reatin! new mo%ement ideas. Aor e8amp&e5 if a parti$#&ar !est#re s#$h as pointing, waving ox saluting o$$#rs5 sti$) with those shapes rather than in%ent9 in! new ones. Few shapes o$$#r a&most 4y themse&%es5 thro#!h an in%o&%ement with the e8tant %o$a4#&ary. Idea&&y5 @ane Wor) has a&ready demonstrated the ma8im#m effe$t of a minima& pa&ate. -ertr#de 0tein wrote from an e8treme&y &imited &e8i$onC0he $reated inn#mera4&e meanin!s thro#!h the :#8taposition of the same words in different ways: 6The same5 on&y differentC7 she wo#&d say Dsee Chapter /"5 pa!e /('E. Viewpoints trainin! emer!es %ery m#$h from an aestheti$ simi&ar to 0tein7s. The intent is not to $reate an e%er9in$reasin! %o$a4#&ary= rather it is to im4#e new meanin!s into repeated shapes. ;#rin! the 2pen Viewpoints session5 wat$h the sta!e5 and $oa$h the parti$ipants if ne$essary. If there are so many different thin!s !oin! on that yo# $annot see the entire sta!e pi$t#re and e%eryone in it5 as) the parti$ipants to simp&ify and minimi>e their %o$a4#&ary. The !ro#p sho#&d try to stay on the same plate, whi$h means that they are wor)in! to!ether on one e%ent rather than many. A !reat dea& of %ariation e8ists inside a sin!&e e%ent5 4#t on&y one e%ent is happenin!. When the !ro#p is not on the same plate, #nfo$#sed $haos and diff#sion ens#es= when a !ro#p finds an e%ent to!ether5 the res#&ts $an 4e 4reathta)in!. This does not ne$essari&y mean that a&& parti$ipants are $entra&i>ed or near ea$h other= 6one e%ent6 $an o$$#r with two or three !ro#ps a$ross spa$e. Fote: <&timate&y the 4est way to &earn Viewpoints is pra$9 ti$e. -enera&&y an 2pen Viewpoints impro%isation sho#&d &ast from ten to fifteen min#tes. At one point ear&y on it is a !ood idea to a&&ow for an #ninterr#pted e8perien$e of 2pen Viewpoints for twenty min#tes. Afterward as) ea$h indi%id#a& who parti$ipated in the &on!er impro%isation to !i%e a pie$e of ad%i$e to the ne8t !ro#p5 ad%i$e from the heat of e8perien$e. The ad%i$e sho#&d 4e $on$ise5 pra$ti$a& and to the point. 2ften the parti$ipants wi&& arti$#&ate 4asi$ $on$epts s#$h as: 6Pay9attention56 6;on7t thin) too m#$h56 6@isten with yo#r who&e 4ody56 6Ha%e f#n56 6@et !o56 6Tr#st in the others56 et$. As in any )ind of &earnin!5 it is 4est for the ad%i$e to emer!e from those who :#st had the e8perien$e rather than from an o#tside instr#$tor.
EXERCISE 6: SATS

E#!enio ar4a5 the Artisti$ ;ire$tor of the 2din Teatret in ;en9 mar)5 as)ed the 3#estion: 6What do a&& a$tors aro#nd the wor&d5 despite their &an!#a!e and $#&t#ra& differen$es5 share in $om9 mon?6 He $a&&s the answer to this 3#estion 60ats56 a Forwe!ian word that des$ri4es the 3#a&ity of ener!y in the moment before an a$tion. The a$tion itse&f5 post90ats5 is parti$#&ar to the $#&t#re of the performer. #t the 3#a&ity of ener!y before the a$tion is what a&& a$tors aro#nd the wor&d share. The 3#a&ity of the preparation5 or 0ats5 determines the s#$$ess of the a$tion. Ta)e ar$hery5 for e8amp&e. The ar$her p#&&s the arrow 4a$) ta#t inside the tension of the 4ow and aims. The moment 4efore the re&ease of the arrow $onstit#tes the 0ats. The s#$$ess of the arrow7s :o#rney is

de$ided 4y the 3#a&ity of the moment 4efore the re&ease5 not the re&ease itse&f. 0imi&ar&y5 onsta!e5 an a$tor sho#&d de%e&op an awareness of and f&#en$y with 0ats ener!y. In Viewpoints5 0ats is %isi4&e and pa&pa4&e. If 0ats ener!y is attended to 3#a&itati%e&y5 the mo%e9 ment appears more ne$essary and %isi4&e. The fo&&owin! e8er$ise he&ps fami&iari>e onese&f with the nat#re of 0ats ener!y. /. 0e%en to nine parti$ipants form a hori>onta& &ine #psta!e from &eft to ri!ht. Ea$h person stands in that &ine with the sense of !ent&y 4ein! p#&&ed #p thro#!h the head and down into the earth: stron! &e!s5 soft focus, &oose arms and open heart. Aor now5 we wi&& $a&& this 0ats Position. 2n$e the #psta!e 0ats Position is esta4&ished5 parti$ipants may mo%e in and o#t of 2pen Viewpoints downsta!e of the &ine5 ret#rnin! to 0ats Position when desired.
72 73 THE VIEWPOINTS BOOK CHAPTER 6: PUTTING THE INDIVIDUAL VIEWPOINTS TOGETHER

2. It is a&ways possi4&e to ret#rn to the #psta!e &ine to ree8pe9rien$e and remem4er the physi$a& state of readiness or 0ats5 4#t ea$h parti$ipant sho#&d 4e either f#&&y onstage in Viewpoints or f#&&y in Sats Position. In ret#rnin! to 0ats Position5 the parti$ipant does not need !o 4a$) to the same p&a$e on the &ine. Introd#$in! the 0ats Position a&&ows the parti$ipants to &earn to !i%e fo$#s to sma&&er !ro#ps 4y introd#$in! the possi4i&ity of Viewpoint so&os5 d#ets or trios. Fote: When the ener!y in 0ats Position is intensified and a$$e&erated5 it $an 4e ri%etin! to wat$h. e$a#se the 0ats state is so $on$entrated and ener!i>ed5 any mo%ement into 2pen View9 points emer!in! from 0ats wi&& fee& and seem more disti&&ed5 more ne$essary. The sta)es are raised nat#ra&&y with 0ats. A$t#a&&y there is no s#$h thin! as 0ats Position5 4e$a#se 0ats is a 3#a&ity of ener!y that is #sed $onstant&y onsta!e 4efore any a$tion. #t the $on$ept is a #sef#& one for this e8er$ise and for de%e&opin! f#rther presen$e in Viewpoints trainin!.

E1ercises ,or *urt+er "e4elop ent

The fo&&owin! e8er$ises $an 4e introd#$ed to de%e&op f&#en$y5 arti$#&ation5 differentiation and $&arity in the 2pen Viewpoints.
EXERCISE l:THE FLYING PHRASES

In two or three min#tes5 ea$h parti$ipant5 wor)in! a&one5 $reates a 4rief mo%ement $om4ination or phrase5 whi$h 4e!ins on one side of the spa$e and ends on the other. The phrase sho#&d fee& &i)e f&yin!= it sho#&d de%o#r spa$e5 ha%e a $&ear 4e!innin!5 midd&e and end and 4e somethin! that others wi&& 4e a4&e to &earn 3#i$)&y Dand witho#t in:#rin! themse&%esE. If a parti$ipant $omes from a dan$e 4a$)!ro#nd it is fine for them to #se that trainin! in de%isin! a $om4ination. /. ;i%ide the parti$ipants into !ro#ps of fi%e. 2. Choose one person from the entire !ro#p to show herChis own $om4ination to a&& the !ro#ps. A&& fi%e !ro#ps are to &earn the $om4ination immediate&y 4y wat$hin!. 3. The person who in%ented the $om4ination stands in the midd&e. The first !ro#p performs the

$om4ination in #nison5 mo%in! from one side of the spa$e to the other. Co#nt off: 6"5 '5 ,5 (6 or 645 35 25 /6 to !et them !oin!. Perhaps s#!!est that s#dden&y it is openin! ni!ht at a ma:or re!iona& theater and this $om4ination has 4een rehearsed for fi%e wee)s on a @2RT D PE sa&ary. With this attit#de they are to perform as an ensem4&e5 with a sense of what the others are doin! at ea$h instant5 and with an endin! that is definite and #nified. If they ha%e tro#4&e stayin! to!ether5 as) them to at &east 6se&& the endin!. *a)e #s 4e&ie%e that they are a $ompany. 4. 2n$e the first !ro#p has performed this satisfa$tori&y Dit may ta)e se%era& triesE ha%e the se$ond !ro#p !i%e it a try5 with the ori!inator on$e a!ain in the midd&e. And so on. If a !ro#p performs rea&&y we&&5 as) them to try it at do#4&e time5 then ha&f time. Fote: The point of this e8er$ise is not the $a&i4er of the $horeo!9 raphy5 4#t rather the 3#a&ity of !ro#p performan$e. How does the !ro#p hand&e the s#dden $risis of performan$e to!ether? They sho#&d try the 4est they $an to stay to!ether and perform the mo%ement in #nison5 4#t a&so &earn to in$orporate any 6mista)es6 !ra$ef#&&y. This e8er$ise de%e&ops f&#en$y with Repetition. Repetition5 yo# &earn here5 is not imitation5 rather it is entering into the 3#a&ity of other peop&e7s 0hape and Tempo.
EXERCISE 2:THE RELAYS

/. ;i%ide the !ro#p into fo#r re&ay teams DA5 5 C5 ;E. At the same end of the spa$e5 ma)e a &ane for ea$h team. The first
74 75 THE VIEWPOINTS BOOK CHAPTER 6: PUTTING THE INDIVIDUAL VIEWPOINTS TOGETHER

person in the &ane for ea$h team is 6/56 ne8t $omes 6256 and so forth. 2. Ea$h team wor)s in iso&ation from the other teams5 $reatin! its own materia&5 in its own &ane. 0in$e ea$h team $reates at the same time5 it is %ita& for an o#tside eye to )eep tra$) of where peop&e are in spa$e and !i%e $&ear $ommands when ea$h team is to mo%e. 3. 4. ". 6&7s5 !oH6 is the 4est way to start the &7s of ea$h !ro#p. Ea$h / then r#ns a$ross the spa$e5 $reatin! one a$tion as sChe !oes. It$o#&d4eat#rnora&eaporahopwitha$&ap./sho#&d e8e$#te the a$tion as arti$#&ate&y as possi4&e5 4e$a#se e%eryone on herChis team needs to see it and &earn it instant&y. 2n$e the fo#r &7s ha%e $omp&eted their a$tion they $ome aro#nd to the 4a$) of their team7s &ane. *a)e s#re e%eryone has seen what / has done. If not5 ha%e them do it a!ain. Then: 627s5 !oH6 A&& the se$ond peop&e in the &ane now repeat what the &7s ha%e done. As soon as the 27s 4e!in5 send the 37s5 et$.5 #nti& a&& parti$ipants ha%e !one5 including the &7s a!ain. When finished mo%in! a$ross the f&oor5 the parti$ipants a&ways !o aro#nd to the 4a$) of their &ane. 2n$e e%eryone has !one thro#!h the first a$tion5 the 27s sho#&d 4e at the front of their re&ay !ro#ps. Fow the 27s wi&&5 ea$h on their own5 add to what is a&ready there5 either to the 4e!innin! or endin! of the /7s mo%e. 627s5 !oH6 A!ain5 ma)e s#re that e%eryone has seen what their 2 has added. 637s5 !oH6 and so on #nti& the 27s ha%e !one for the se$ond time. 2f $o#rse now the 37s are addin!

'.

,.

somethin! new5 whi$h e%eryone e&se repeats. (. Then the 47s add on5 and so forth5 #nti& a&& the parti$ipants ha%e added a mo%e and there is eno#!h materia& to $ha&&en!e memory and a4i&ity. It is possi4&e to add #p to ten or twe&%e mo%es witho#t it 4e$omin! too o%erwhe&min!. 2n$e the $hain of mo%es is $omp&eted5 ha%e the A team form a &ane #psta!e and5 m#$h &i)e A&yin! Phrases5 the team sho#&d perform their who&e series of mo%es in #nison as a performan$e5 as if it has 4een rehearsed for wee)s.

+.

/1. Ha%e ea$h team ta)e a t#rn5 performin! its own mo%es in #nison. //. Fe8t5 as) a&& the &7s to !o #psta!e and5 #sin! their )now&ed!e of 0patia& Re&ationship and Ar$hite$t#re5 find a p&a$e to 4e!in an impro%isation to!ether. Fow there are fo#r peop&e onsta!e with fo#r different mo%ement $om4inations. Where one mo%es at any time sho#&d 4e 4ased on where other peop&e are and when one mo%es is dependent #pon Jinestheti$ Response or a rea$tion to other peop&e7s mo%e9 ment. Ea$h person !oes thro#!h their $om4ination one time5 witho#t interna& repetitions5 4#t with a$#te attention to where and when they mo%e5 4ased #pon the three other peop&e onsta!e. <pon rea$hin! the end of a mo%ement $y$&e5 ea$h / sho#&d ho&d herChis own position #nti& e%ery9 one is finished. /2. Fe8t the 27s try this impro%isation from a new 4e!innin! position5 and so on5 #nti& a&& !ro#ps ha%e performed. It is then possi4&e to mi8 #p the !ro#ps and ha%e se%en or nine parti$ipants in an impro%isation. This re&ay e8er$ise de%e&ops an a$#te awareness of and f&#en$y with Jinestheti$ Response5 4oth in a$t#a&&y doin! the impro%isa9 tion as we&& as wat$hin! it.
EXERCISE 3:THE OBSTACLE COURSE____________________

/. Ha&f of the !ro#p !oes onsta!e whi&e the other ha&f o4ser%es. At an #ne8pe$ted moment as) e%eryone onsta!e to ho&d positions. Then $hoose one person a&ready onsta!e to 4e the &eader and as) e%eryone e&se5 witho#t &oo)in! aro#nd5 to ta)e on the &eader7s shape. e$a#se e%eryone is fro>en and $an7t &oo) aro#nd5 the parti$ipants are instant&y dependent #pon whome%er they can see. If there is a parti$ipant who $annot see anyone5 then that person sho#&d try to fee& thro#!h herChis 4a$) if need 4e5 and ma)e a $hoi$e a4o#t 0hape 4ased on int#ition and fee&in!.
76 77 THE VIEWPOINTS BOOK CHAPTE! B2 P$TTING THE IN"IVI"$A# VIEWPOINTS TOGETHE!

2.

3. 4.

The &eader on the sta!e then 4e!ins to mo%e thro#!h spa$e5 $ons$io#s of the others fo&&owin!. E%eryone e&se tries to mo%e at e8a$t&y the same time and in the same shape and tempo as the &eader. It is %ita& that the !ro#p doesn7t &oo) &i)e they are fo&&owin! the &eader= rather5 it sho#&d appear to those wat$hin! that they are performin! the same a$tions at the e8a$t same moment5 in #nison with f#&& presen$e and sense of ensem4&e. Fo one sho#&d 4e &oo)in! f#rti%e&y aro#nd toward the &eader. Pay parti$#&ar attention to the stops. When the &eader stops5 e%eryone stops in the same instant5 no matter where they are onsta!e. The stops sho#&d 4e $&ear and pre$ise and dramati$. After the !ro#p has fo#nd a sense of ensem4&e and perfor9 man$e 3#a&ity to!ether5 $han!e the &eader. This new &eader sho#&d introd#$e new tempos5 shapes and 3#a&ities of mo%e9 ment. At any time it is possi4&e to $hoose a new &eader. *a)e s#re the !ro#p that wat$hed !ets a $han$e to do this e8er$ise5 whi&e the other !ro#p wat$hes and !ets a $han$e to &earn from o4ser%ation.

This e8er$ise demands an attit#de from the !ro#p that e%ery moment is an opening night performance for an a#dien$e. The fol- low the leader str#$t#re sho#&d 4e in%isi4&e to those wat$hin!= it is mere&y the se$ret $a#se that moti%ates the a$tion. To the a#dien$e5 the e%ent sho#&d e8#de performan$e ener!y and !ra$e. This e8er$ise a&so de%e&ops an awareness of stops and their impa$t on the a#dien$e. If the stops are %a!#e and 4&#rry5 the a#dien$e wi&& miss their potentia& drama. If the stops are pre$ise and e8a$t5 they $reate an e8$itin! physi$a& e%ent onsta!e.
EXERCISE 4: FLOCKING

Ha&f of the !ro#p spreads o#t onsta!e5 fa$in! downsta!e5 whi&e the other ha&f o4ser%es. *#$h &i)e the 24sta$&e Co#rse DE8er$ise 3E5 the !ro#p wi&& 4e doin! in #nison what a &eader initiates. This time5 tho#!h5 the &eader is the person who5 at any !i%en moment5 $annot see anyone e&se. 0in$e the e8er$ise starts with the parti$ipants fa$in! downsta!e5 the &eader wi&& 4e the person farthest downsta!e5 #na4&e to see anyone e&se. The &eader initiates mo%es and the others repeat the &eader7s shapes and mo%ements in #nison. If the &eader t#rns d#rin! a mo%e and is a4&e to see someone e&se5 sChe drops herChis ro&e as &eader. The person who $annot see anyone e&se 4e$omes the new &eader. The e8er$ise !oes on as new &eaders $ontin#e to ta)e o%er.

Bad Ha-its and *all-ac0 Positions

We ha%e noti$ed that $ertain fa&&4a$) positions o$$#r with indi9 %id#a&s as they 4e!in to &earn Viewpoints. Here are some pro$&i%9 ities to wat$h o#t for Dand point o#t to the !ro#pE as they arise. A&& of these wea) ha4its o$$#r as a s#4stit#te for tr#st in what is a$t#a&&y happenin!. P H#n$hin! o%er5 arms e8tended5 in a ready9for9anythin! pose. P -ra44in! another parti$ipant and p#&&in! or p#shin! herChim where yo# want herChim to !o. DThis shows that yo# are tryin! to make something happen rather than tr#stin! that something is happening a&ready.E P Aor$in! a predi$ta4&y rhythmi$ pattern whi&e stampin! one7s feet or $&appin!. P Co&&apsin! onto the f&oor and h#!!in! the !ro#nd in %a!#e spa!hettiCpret>e& shapes. P -oin! in and o#t of soft focus, $he$)in! to see if yo# are doin! the ri!ht or wron! thin!. P @imitin! yo#r )inestheti$ response to fa&&in! on the !ro#nd. P Indi$atin! parti$ipation rather than a$t#a&&y !ettin! in%o&%ed. DThis often manifests itse&f in wa&)in! &i)e an a#tomaton sti$) fi!#re.E P The who&e !ro#p standin! aro#nd in a 3#asi9$ir$&e5 &osin! a&& awareness of 0patia& Re&ationship5 and stompin! the
THE VIEWPOINTS BOOK

f&oor or $&appin! hands in tri4a& #nison. DThis is a nat#ra&5 and perhaps ne$essary5 pattern of ear&y Viewpoints wor). Go# wi&& noti$e that after a !ro#p has wor)ed to!ether for a 4it5 it wi&& a$hie%e a !reater s#4t&ety5 and the need for this prima& !ro#p moment wi&& 4e e8or$ised.E P E%eryone is wor)in! in the $enter of the spa$e5 #na4&e to free themse&%es from the in!rained notion that there is on&y one powerf#& spot onsta!eBdead $enter.

P Whi&e the !ro#p is en!a!ed in an e%ent or a$ti%ity5 o#t of nowhere a person s#dden&y r#ns to the $&oset5 p#&&s o#t a 4room and a$ts with it 4e$a#se they ha%e a 6new idea.6
CHAPTER 7

G!O$P I%P!OVISATIONS
E otion
The !ift of Viewpoints is that it &eads yo# to5 not away from5 emo9 tion. Peop&e often mis#nderstand the !oa& as 4ein! a state of ne#9 tra&ity and deadness as opposed to a state of a&i%eness5 re$epti%ity and e8perien$e. What7s important to remem4er a4o#t Viewpoints is that5 :#st &i)e other 6methods6 of a$tin!5 the !oa& is to 4e a&i%e and en!a!ed onsta!e. The 4ea#ty of Viewpoints is that it a&&ows #s to rea$h this !oa&5 not 4y for$in! it o#t of o#rse&%es5 4#t 4y re$ei%in! it from others5 and o#rse&%es.

A&tho#!h
it is a !ood idea to pra$ti$e 2pen Viewpoints dai&y5 s#pp&ementary e8er$ises wi&& in$rease any !ro#p7s a4i&ity5 a!i&ity and sensiti%ity to iss#es of $reatin! dramati$ e%ents with time and spa$e.

S$PP#E%ENTA!& E<E!CISES I pro4isation E1ercises

The fo&&owin! !ro#p impro%isations wi&& a#!ment ran!e and e8pertise in Viewpoints trainin!.
IMPROVISATION I: THREE UP/TWO DOWN

/. Ai%e parti$ipants !o onsta!e. At the moment the impro%isa9 tion 4e!ins5 on&y three peop&e sho#&d 4e #p Dstandin!E and
80 THE VIEWPOINTS BOOK CHAPTER 7: GROUP IMPROVISATIONS

two sho#&d 4e down D$&ose to the !ro#ndE. As the !ro#p $on9 tin#es mo%in!5 they need to adhere to the r#&e that5 at e%ery moment5 three peop&e m#st 4e #p and two down. Visi4&e and arti$#&ate $hoi$es 4y the parti$ipants wi&& he&p to $reate a $&ear f&ow of a$tion. At any moment anyone who is down $an rise #p and anyone who is #p $an sin) or drop down. The prin$ip&es of Viewpoints $an sti&& 4e in p&ay5 4#t the primary fo$#s sho#&d 4e on how many peop&e are #p and down. 2. After e%eryone has tried Three <pCTwo ;own5 e8periment with se%en peop&e doin! Ao#r <pCThree ;own. 2f $o#rse this e8er$ise is m#$h more diffi$#&t 4#t the same iss#es app&y. If this is s#$$essf#&5 mo%e on to nine peop&e doin! Ai%e <pCAo#r ;own5 then e&e%en with 0i8 <pCAi%e ;own. A profi$ien$y in the Three <pCTwo ;own e8er$ise wi&& prod#$e a mar)ed differen$e in 2pen Viewpoints pra$ti$e. The e8er$ise a#!9 ments an awareness of %erti$a& spa$e and a new sense of respon9 si4i&ity for &e%e&s in any impro%isation. It wi&& 4e $&ear that &e%e&s are a pro4&em in 2pen Viewpoints if yo# noti$e that e%eryone is down or

e%eryone is #p at the same time witho#t a sense of 4a&an$e.

IMPROVISATION 2: ENTRANCES AND EXITS

Aor this impro%isation it is ne$essary to desi!nate an area for e8its and entran$es. If yo# are wor)in! on a pros$eni#m sta!e5 ma)e #se of the win!s. If the room yo# are wor)in! in has a door or an offsta!e area5 a&&ow the parti$ipants of the impro%isation to &ea%e and then ret#rn to the room. Entran$es and E8its a&&ows the par9 ti$ipants to &ea%e the %iew of the rest of the !ro#p D6the a#dien$e6E at any moment of the impro%isation and ret#rn at the appropriate instant. /. Parti$ipants sho#&d start offsta!e Dor o#t of the roomE. If there are win!s or m#&tip&e doors5 ha%e the !ro#p 4rea) #p into different p&a$es offsta!e. This impro%isation 4e!ins5 as with e%ery Viewpoints e8er$ise5 with &istenin!. 24%io#s&y5 the a4i&ity to &isten to one another is immediate&y hei!htened simp&y 4y the fa$t that it is now more diffi$#&t. The 3#estion han!s in the air: How does this 4e!in? When does it 4e!in? The !ro#nd r#&es are the same as with any 2pen Viewpoints e8er$ise5 e8$ept that at this startin! point one or more of the !ro#p mi!ht not 4e %isi4&e 4e$a#se of their offsta!e position. 2. The parti$ipants 4e!in an 2pen Viewpoints session 4#t5 for the first time5 in$orporate entran$es and e8its from the %isi4&e p&ayin! spa$e. There are no r#&es a4o#t when or how parti$ipants enter and e8it5 other than that they sho#&d 4e aware of and #se a&& the Viewpoints. This impro%isation opens #p many new possi4i&ities in View9 points. Remar)a4&e moments $an o$$#r when one person is &eft a&one onsta!e. 2r when the sta!e is empty. 2r when a&& the par9 ti$ipants enter in a &ine5 maintainin! a s#stained !est#re. An entran$e or e8it a&ways offers an opport#nity for somethin! mira$#&o#s5 the sense that anythin! $an happen. An entran$e or e8it $an en!ender !reat fee&in!s of &oss or it $an 4e rioto#s&y h#moro#s. 0o m#$h is pro%o)ed 4y appearin! and disappearin!. A R#ssian dire$tor on$e said that he $o#&d e8p&ain 0tanis&a%s)y7s approa$h to a$tin! with two senten$es: D/E 6;o not t#rn aro#nd #n&ess someone $a&&s yo#r name6= D2E 6If yo# $ome onsta!e5 yo# m#st ha%e a hi!h&y $ompe&&in! reason= if yo# stay for more than an instant5 yo# m#st ha%e a mon#menta& reason.6
Every exit is an entrance somewhere else. TOM STOPPARD IMPROVISATION 3: SHOES

/. Ao#r shoes define the parameters of the spa$e within whi$h an 2pen Viewpoints session ta)es p&a$e. 0tart with the shoes p&a$ed 3#ite $&ose to!ether5 formin!5 for e8amp&e5 a
THE VIEWPOINTS BOOK CHAPTER 7: GROUP IMPROVISATIONS

sma&& s3#are. Ai%e peop&e 4e!in to impro%ise within this spa$e5 whi$h $an 4e as sma&& as fo#r feet 4y fo#r feet. 2. As the impro%isation $ontin#es5 mo%e the shoes to $han!e the si>e and parameters of the spa$e. Aor e8amp&e5 yo# $an $reate a &on! narrow spa$e from &eft to ri!ht or a $orridor from #psta!e to downsta!e. A !ro#p impro%isation within a ti!ht&y $onfined spa$e ma)es ea$h mo%ement more momento#s and %isi4&e. Immediate&y 0patia& Re&ationship is a &ar!er iss#e5 and e%ery mo%e radi$a&&y a&ters the Composition within the arena. As the indi%id#a& Viewpoints $ome into p&ay5 ea$h one is hei!htened 4y the o4sta$&es of $onfinement that a defined spa$e $reates. 3. Aina&&y p&a$e the shoes as far away as the room a&&ows.

The 0hoes e8er$ise hei!htens the sense of 4o#ndaries5 &imitations and the shape of !i%en ar$hite$t#re. It en$o#ra!es the parti$ipants to 4e aware of5 and responsi4&e for5 the entire sta!e rather than on&y the spa$e they o$$#py. This e8er$ise de%e&ops an in$reased awareness of the entire a%ai&a4&e spa$e5 i&&#stratin! for the parti$ipants that the &#8#ry of a &ar!e and e8pansi%e spa$e sho#&d not 4e ta)en for !ranted. 2ne day Anne was tea$hin! a Viewpoints $&ass5 and attempted to ma)e a point a4o#t ea$h a$tor ta)in! persona& responsi4i&ity for the entire sta!e. Aina&&y one of her st#dents made a $omparison to *a!i$ Iohnson. He said that what made *a!i$ Iohnson a !reat 4as9 )et4a&& p&ayer was not :#st his a4i&ity to shoot from a parti$#&ar area5 4#t his a4i&ity to ma)e #se of e%ery in$h of the $o#rt. The same is tr#e for an a$torByo# need to own e%ery in$h of the sta!e.
IMPROVISATION 4: CIRCLE, CLUMP, LINE

/. As) ei!ht peop&e to !o onsta!e and 3#i$)&y form a $ir$&e. 2n$e the $ir$&e is apparent5 as) them to ma)e a $&#mp. Then a &ine. A!ain5 a different )ind of $ir$&e5 another $&#mp5 yet another )ind of &ine5 and so on. 2. After se%era& min#tes5 or when the !ro#p seems fami&iar with the repetition of these patterns5 as) them to mo%e free&y from one of these three possi4i&ities to another in any order witho#t 4ein! instr#$ted. The on&y $a%eat is that a&& ei!ht parti$ipants sho#&d 4e wor)in! toward the same formation at the same time. How they !et from one formation to the ne8t is the point of impro%isation. 3. A&&ow the !ro#p to find as many perm#tations of $ir$&es5 &ines and $&#mps as possi4&e. Foti$e how re&ationships and e%ents seem to #nfo&d nat#ra&&y and effort&ess&y. Fote: The $entra& iss#e in a&& Viewpoints impro%isations is the sear$h for $onsent. Witho#t spea)in!5 the !ro#p finds a way to p&ayf#&&y and artf#&&y so&%e the tas).
IMPROVISATION 5: CHANGING PLACE IN SPACE

/. 2ne person at a time finds a p&a$e onsta!e #nti& there are fi%e parti$ipants in a $&ear Composition in 0pa$e. Their de$isions a4o#t where to !o and what shapes to $ontri4#te are 4ased on where the other peop&e are5 what they are doin! and the ar$hite$t#re at hand. 2n$e a&& fi%e are in p&a$e5 as) ea$h person onsta!e to &oo) aro#nd and memo ri>e the shapes and p&a$es. 2. Then as) them to swit$h p&a$es se%era& times #nti& ea$h has N 4e$ome fami&iar with the other fo#r shapes and stations. Then a&&ow an impro%isation to o$$#r where they !et from one of the fi%e stations to the other in an open and p&ayf#& way5 with a sense of Jinestheti$ Response5 Repetition5 Tempo5 et$. 3. Try the same impro%isation now with se%en peop&e5 then nine5 and so on. This %ariation on Viewpoints trains parti$ipants to dis$ern e8a$t&y where the other peop&e onsta!e are at e%ery moment5 and how to in$orporate this information into the impro%isation.
84 85 THE VIEWPOINTS BOOK CHAPTER 7: GROUP IMPROVISATIONS

IMPROVISATION 6: REPETITION

/. 2.

e!in an 2pen Viewpoints impro%isation with fi%e parti$i9 pants. After a4o#t ten se$onds of mo%ement5 stop the parti$ipants and as) them to !o 4a$) to the 4e!innin! and repeat e8a$t&y what they ha%e :#st done5 hand&in! time and spa$e in pre9 $ise&y the

same manner. 3. 4. ". '. A&&ow them to repeat that first ten se$onds of materia&5 and then $onne$t another ten or fifteen se$onds of new impro9 %isation to the end. 0top on$e a!ain. -o 4a$) to the 4e!innin!. Repeat the set materia& fo&&owed 4y another se3#en$e of new open impro9. %isation. 0top a!ain. Repeat the se3#en$e a!ain5 addin! more mate9 ria&. Contin#e the pro$ess. Try this e8er$ise with se%en or nine parti$ipants. The same iss#es app&y: &earnin! how to $oordinate an e8a$t repetition of impro%isatory materia& with other parti$ipants onsta!e.

An aspe$t of Viewpoints trainin! is &earnin! to menta&&y store away e%ery e%ent that happens onsta!e5 with an a4i&ity to 4rin! it a&& 4a$) into the %o$a4#&ary of an impro%isation. This Repetition e8er$ise he&ps de%e&op this s)i&&.
IMPROVISATION 7: BEGINNING, MIDDLE, END ___________

/. 2.

A !ro#p of any n#m4er of peop&e !oes onsta!e to 4e!in an 2pen Viewpoints session. Those not in the !ro#p wat$h the others. Anyone wat$hin! may5 at a moment that fee&s appropriate5 $a&& o#t: 6EndH6 whi$h wi&& terminate the impro%isation. A new !ro#p starts an impro%isation #nti& an on&oo)er sho#ts: 6EndH6

Fote: e$a#se the d#ration of the impro%isation is $ontro&&ed from o#tside the !ro#p5 the onsta!e sta)es are hi!her and ea$h 4e!innin!5 midd&e and end are more %isi4&e and meanin!f#&. The on&oo)er &earns to identify what $onstit#tes an endin! Dsee jo-ha-kyu, whi$h is dis$#ssed in detai& in Chapter //E5 and the a$tors onsta!e &earn a hei!htened responsi4i&ity for time mana!ement.

Au1iliar/ E1ercises
AUXILIARY EXERCISE ACROSS THE FLOOR I: PARTNERING INTO WEIGHT

/. 2.

Any n#m4er of peop&e $an perform this e8er$ise sim#&tane o#s&y5 4#t it is he&pf#& to ha%e at &east si8teen parti$ipants5 Instr#$t e%eryone to wa&) aro#nd the spa$e with soft focus. Rather than passin! thro#!h the spa$es 4etween peop&e5 the parti$ipants wa&) toward someone #nti& $o#p&es are formed. Witho#t spea)in!5 ea$h $o#p&e ma)es a de$ision: one !i%es wei!ht and the other re$ei%es herChis wei!ht. e!in 4y !i%in! or re$ei%in! e8a$t&y ten per$ent of the wei!ht of the 4ody. E%en if it is not $&ear how m#$h ten per$ent is5 try to wor) with e8a$tit#de5 as if yo# )new e8a$t&y how m#$h ten per$ent of a person7s wei!ht wo#&d 4e. It is a&so possi4&e that two or more re$ei%e the wei!ht of one person. DAs a&ways5 do not wor) in a way that $a#ses pain or in:#ryHE 2n$e yo# ha%e !i%en or re$ei%ed ten9per$ent wei!ht5 a&&ow inertia to he&p yo# separate and $ontin#e mo%in! thro#!h the spa$e. A!ain5 do not a%oid $onta$t. 0oon yo# wi&& find yo#rse&f with someone new5 and a!ain the si&ent de$ision is made a4o#t who !i%es wei!ht and who re$ei%es. With ea$h new partner5 find a new so&#tion a4o#t how to !i%e or re$ei%e the wei!ht. <se new parts of the 4ody and find ways to partner that are different from ha4it#a& or po&ite methods. Fow raise the per$enta!e of wei!ht ta)en to twenty9fi%e5 &ea%in! se%enty9fi%e per$ent of the wei!ht on the f&oor. This

3.

4. ".

86 87

THE VIEWPOINTS BOOK CHAPTER 7: GROUP IMPROVISATIONS

'. ,. (. +. /1. //. /2. demands more e8a$tit#de and new so&#tions for how to partner with someone. As the per$enta!e rises in the e8er$ise5 it wi&& 4e$ome more e%ident that two or three or more $an s#pport one person7s wei!ht. A!ain5 witho#t spea)in!5 ma)e s#re that new so&#tions are fo#nd with ea$h new partner. After a whi&e5 raise the per$enta!e to fifty: ha&f of a person7s 4ody wei!ht remains on the f&oor. ;o not strain= sear$h for f&#idity and #se inertia in mo%in! from sit#ation to sit#ation. Fe8t try se%enty9fi%e per$ent. Fow try ninety per$ent. This one is 3#ite diffi$#&t5 4e$a#se e8a$t&y ten per$ent of the person7s 4ody wei!ht m#st remain on the f&oor. Aina&&y !i%e or &ift one h#ndred per$ent of the wei!ht off the f&oor. Aind new so&#tions for ea$h person. @et the partnerin! 4e in twos5 threes5 fo#rs or &ar!er !ro#ps. Jeep it mo%in!. Aina&&y $arry the wei!ht a$ross the f&oor5 findin! a new so&#tion for ea$h en$o#nter. Fow di%ide into two !ro#ps: one ha&f on one side of the spa$e in a &ine fa$in! the other ha&f on the opposite side5 a&so in a &ine. As) ea$h person to $hoose ei!ht spe$ifi$ peop&e on the other side of the room Dor a &esser n#m4er5 if there are fewer than si8teen peop&eE5 and st#dy them5 memori>in! how they &oo) and what they are wearin!5 et$. With $&osed eyes try to remem4er a&& ei!ht and the detai&s of how they &oo). After the ei!ht are memori>ed5 open the eyes and ha%e the entire !ro#p 4e!in to sin! 6aaah6 in #nison Dta)e a few moments to pra$ti$e sin!in! whi&e sti&& standin! at opposite sides of the room5 sin$e this wi&& 4e $r#$ia& to the e8er$ise &aterE. Anyone $an $han!e pit$h at any time 4#t the !ro#p sho#&d attempt to maintain harmoni$ inte!rity. E%eryone wi&& 4e responsi4&e for the entire $on!&omeration of pit$hes so that the $omm#na& so#nd is f#&&5 resonant and me&odio#s. 2n$e the !ro#p has 4e!#n to sin! to!ether5 !i%e the si!na& to one side to start $rossin! to the other side5 ea$h person wa&)in! to one of the ei!ht peop&e sChe has memori>ed. Then ea$h indi%id#a&5 sti&& sin!in!5 &ifts and $arries one of herChis ei!ht peop&e a$ross the entire spa$e5 $omp&ete&y from one side to the other5 ea$h time findin! a different method of $arryin!. 2n$e the e8er$ise has 4e!#n anyone $an &ift at any time or from any side of the room5 4#t no one may &ift a person from the midd&e of the spa$e. The $arrier is responsi4&e for herChis partner7s wei!ht and safety. If a sma&&er person is ha%in! tro#4&e $arryin! a &ar!er person5 he&p $an 4e offered5 4#t the he&per may not $o#nt this as one of herChis ei!ht to 4e $arried. D e s#re to remind e%eryone not to $arry in s#$h a way that pain or in:#ry res#&t. And this is not a ra$e= there sho#&d 4e no h#rry.E /3. This a$tion $ontin#es #nti& ea$h parti$ipant has $arried their desi!nated ei!ht peop&e a$ross the spa$e5 a&& the whi&e sin!in!5 #nti& e%eryone has finished $arryin!. Then5 a&& to!ether5 the !ro#p sho#&d find a !&orio#s finish to the sin!in! and to the e8er$ise. e$a#se the e8er$ise is 3#ite stren#o#s5 remind the parti$ipants that as they !et fati!#ed5 their tenden$y wi&& 4e to for!et to sin!5 and the inte!rity of the $omm#na& so#nd wi&& 4e &ost. In those moments5 as) them to try to )eep the so#nd open and f#&& and in harmony with the other %oi$es. Fote: This partnerin! e8er$ise de%e&ops a sense of how &imited the $hoi$es tend to 4e when dire$t physi$a& $onta$t is in%o&%ed. The parti$ipants m#st sear$h5 non%er4a&&y5 to find new ways to en$o#nter one another.

AUXILIARY EXERCISE 2: FEEDBACK EXERCISE ___________

/. ;i%ide into !ro#ps of three. ;esi!nate who in ea$h !ro#p is n#m4er /5 2 and 3. As) ea$h / what it is they $ra%e5 what sensations they yearn for5 what they need. Aor fi%e min#tes5 / $an as) 2 and 3 to do whate%er it is that wo#&d satisfy those needs. DThey $an as) for anythin! as &on! as it doesn7t in%o&%e &ea%in! the room.E It mi!ht 4e a 4a$) massa!e5 it mi!ht 4e
88 89 THE VIEWPOINTS BOOK CHAPTER 7: GROUP IMPROVISATIONS

that they want to 4e &ifted hi!h5 or s#n! to or praised. The &7s sho#&d not on&y as) for what they want5 4#t a&so $on$entrate on re$ei%in! it open&y. They sho#&d 4e sensiti%e to the moment that the desire is f#&fi&&ed or is $han!ed5 and a&ter their re3#ests a$$ordin!&y. The &7s are the on&y parti$ipants a&&owed to spea) #n&ess they spe$ifi$a&&y as) the 27s and 37s of their !ro#p to spea). 2. 3. 4. After fi%e min#tes5 witho#t dis$#ssion5 swit$h: now the 27s of ea$h !ro#p as) for what they want from the &7s and 37s. After fi%e min#tes5 the 37s ha%e their t#rn. After a&& three parti$ipants in ea$h !ro#p ha%e en:oyed their fi%e min#tes of desire9f#&fi&&ment5 as) / of ea$h !ro#p to $&ose herChis eyes. It is now #p to 2 and 3 of ea$h !ro#p to ta)e the si!ht9depri%ed / on a fi%e9min#te :o#rney. They sho#&d attempt to !#ide / with $onta$t other than their hands. This :o#rney a&so m#st stay within the room5 4#t sho#&d in$&#de $ertain sensations / m#st e8perien$e: at some point d#rin! the fi%e9min#te se3#en$e5 / sho#&d fee& as tho#!h sChe is f&yin!= at some point / sho#&d 4e a4&e to r#n free&y witho#t fear and witho#t 4ein! to#$hed= when the fi%e min#tes are #p and the &7s are as)ed to open their eyes5 they sho#&d 4e s#rprised at where they are. ". '. ,. Witho#t dis$#ssion5 swit$h to the 27s5 who $&ose their eyes and are !i%en a :o#rney 4y the &7s and 37s for fi%e min#tes. Aina&&y the 37s are !i%en a :o#rney 4y the &7s and 27s. Afterward5 ha%e the entire !ro#p s3#at down5 heads tipped forward5 hee&s on the !ro#nd5 in a $ir$&e. As) them a&& to $&ose their eyes and try to re&i%e the :o#rneys they :#st had. They sho#&d 4e free to %o$a&i>e responses as they remem4er the sensations. As) indi%id#a&s to des$ri4e an e8perien$e they had whi&e on their :o#rneys. They mi!ht mention words &i)e 6disorientation6 or 6f&yin!6 or 6tr#st6 or 6thri&&6 or 6ad%ent#re.6 Point o#t that these are the )eys to feedback. Fote: This e8er$ise introd#$es the ro&e of feedback in Viewpoints trainin!. We pre%io#s&y dis$#ssed the importan$e of 4a&an$in! feedforward and feedback Dsee Chapter 45 pa!e 34E. Fot on&y is ea$h parti$ipant responsi4&e for the feedforward-the o#t!oin! ener!y5 !enerosity and responsi%eness toward the !ro#p5 the a#dien$e and the ar$ of the e%entB4#t ea$h m#st a&so a&&ow her9 se&fChimse&f to re$ei%e and %is$era&&y e8perien$e the res#&tin! sen9 sations that are tri!!ered 4y the a$tion. This re$eption is $a&&ed feedback. And feedback $annot 4e fa)ed or indi$ated. It is a$t#a&. Aor e8amp&e5 when we thin) of the a$tor A&an C#mmin!5 who performed the ro&e of *aster of Ceremonies in Cabaret on roadway5 we most&y remem4er the $onta!io#s p&eas#re of his performan$e. We !o to the theater not on&y to fo&&ow a thro#!h9H#e5 4#t a&so to empathi>e with an a$tor7s thri&& and e8perien$e of the fi$tion. As an a#dien$e5 we hoo) o#r wa!ons to an a$tor7s e8perien$e: the a$tor is &i)e an astrona#t5 o#t in spa$e for #s5 ta) in! in the #ni%erse.

In this feedback e8er$ise5 the entire point is to open #p the senses to a&&ow for the sensations of the e%ent5 in order to e8peri9 en$e the :o#rney pro%ided. The wor) is not :#st a4o#t 4ein! in the $orre$t spatia& re&ationship or mo%in! at the ri!ht tempo= it is a&so a4o#t the a$t#a&5 %is$era& e8perien$e that Viewpoints pro%o)es. And #&timate&y5 an a$tor m#st 4e a4&e to share this e8perien$e in p#4&i$.

*O$! VA!IETIES O* ENE!G&

There are fo#r spe$ifi$ %arieties of ener!y a%ai&a4&e to e%ery a$tor at ea$h and e%ery moment. /. H2RIQ2FTA@ EFER-G. Conne$ts a$tors with one another and with the wor&d aro#nd them. The tenden$y when first 4e!innin! Viewpoints trainin! is to &ean too hea%i&y on hori>onta& ener!y. 2. VERTICA@ EFER-G. Conne$ts an a$tor to nat#re and the #ni9 %erse. @i)e a tree5 the a$tor 4e$omes the &ine that #nites hea%en and earth. This ener!y rea$hes down into the !ro#nd and #p into the s)y and #nites the a$tor with the immensity of the #ni%erse.
90 91 THE VIEWPOINTS BOOK CHAPTER 7: GROUP IMPROVISATIONS

3. HEAVG EFER-G. Is yo#n!5 ram4#n$tio#s5 %isi4&e5 #nrefined ener!y. It throws itse&f a!ainst wa&&s and seems to ne%er r#n o#t of %ita&ity. When first 4e!innin! Viewpoints trainin!5 hea%y ener!y is the most a$$essi4&e. 4. @I-HT EFER-G. Is more diffi$#&t to $#&ti%ate= it is mat#re and s#4t&e. @ess is %isi4&e on the e8terior whi&e more is !oin! on in the interior. p&a$ed roya&ty5 who #s#a&&y sat in the first 4a&$ony5 not as hi!h #p as the gods, 4#t sti&& a4o%e the masses. 3. T2 THE A<;IEFCE. y the nineteenth $ent#ry5 a$tors were en$o#ra!ed most often to p&ay dire$t&y o#t front: to and for the !enera& a#dien$e5 $#&minatin! in s#$h forms of pop#&ar entertainment as me&odrama and %a#de%i&&e. 4. T2 2THER ACT2R0. With the ad%ent of nat#ra&ism and s#$h p&aywri!hts as I4sen and Che)ho%5 a$tors 4e!an to fa$e one another. The 6fo#rth wa&&6 was 4orn5 and $ontin#es to dominate o#r theater today. ". T2 F2THIF-FE00. A&on! $omes 0am#e& e$)ett and the a$tors7 re&ationship is with the %oid5 the emptiness. The fo$#s of Re&ationship has shifted from the $osmi$5 to the h#man5 to the e8istentia&. It is a 4&ea) and distin$t re&ationship. It is possi4&e to ad:#st and a&ternate these ener!ies in the 4ody p#rposef#&&y and artf#&&y. Aor e8amp&e5 two a$tors p&ayin! an intense s$ene $&ose to!ether5 tend toward too m#$h hori>onta& ener!y and not eno#!h %erti$a&. They &ean in toward one another5 and sometimes e%en $an$e& o#t the a#dien$e. In a moment of $&ose pro8imity5 try to intensify the %erti$a& ener!y in $ontrast to the nat#ra& in$&ination to 4e e8tra9 hori>onta&. This in%o&%es an in$reased awareness of yo#r re&ationship to %erti$a& spa$e and wi&& res#&t in an ad:#stment that is first interna& 4#t #s#a&&y a&so $a#ses a %isi4&e5 e8terna& shift. 0imi&ar&y5 in p&ayin! s$enes of iso&ation5 the tenden$y is for too m#$h %erti$a& ener!y. Try5 in that moment5 to intensify the hori>onta&. In the spirit of postmodernism5 we $onsider o#rse&%es free to pi$) and $hoose whate%er re&ationship we deem #sef#& from the f#&& history of the theater. The theater of the twenty9first $ent#ry ran!es free&y5 and often within one pie$e5 amon! these %ario#s types of re&ationships.

!E#ATIONSHIP
In o#r e8p&oration of the theater as 4oth a hori>onta& and %erti$a& arena5 it is a&so interestin! to as): 6I p&ay to whom?6 6I a$t for whom?6 Thro#!ho#t the history of DWesternE wor&d drama5 the a$tors7 primary re&ationship onsta!e has shifted se%era& times. We $an identify fi%e 4asi$ types of Re&ationship: /. T2 THE -2;0. In the An$ient -ree) and Roman amphi9 theaters5 a$tors spo)e dire$t&y to stone stat#es of the !ods5 p&a$ed hi!h a4o%e and 4ehind the a#dien$es. Ea$h spe$tator was &itera&&y $a#!ht in the midst of this dramati$ re&ationship 4etween the h#man and the di%ine. 2. T2 THE R2GA@TG. ;#rin! the Renaissan$e and the heyday of $o#rt theaters5 a$tors p&ayed dire$t&y to and for the $entra&&y
93 92

CHAPTER 8

WO!KING WITH %$SIC

he introd#$tion of m#si$ s#!!ests new possi4i&ities in View9 points trainin! and sho#&d o$$#r after the indi%id#a& View9

points ha%e 4een ta#!ht and p#t to!ether. *#si$ is a %ast&y pow9 erf#& and sed#$ti%e e&ement in the theater and to introd#$e it 4efore the indi%id#a& Viewpoints ha%e 4een di!ested wo#&d 4e5 in a sense5 too !reat a temptation5 too stron! a stim#&#s. Introd#$ed at the ri!ht moment5 m#si$ 4e$omes a porta&: an inspiration5 a 4oost and a $ha&&en!e. When yo# introd#$e m#si$5 it is &i)e 4rin!in! another a$tor onsta!e. The indi%id#a& or !ro#p m#st now dea& with another artists sense of time5 and they7&& need to ad:#st to it and in$orporate it. *#si$ is a partner. And a&so a !reat !ift5 4e$a#se5 &i)e Viewpoints trainin! itse&f5 m#si$ &eads to an e8pansion of possi4i&ity.

95 THE VIEWPOINTS BOOK CHAPTER 8: WORKING WITH MUSIC

N$TS AN" BO#TS IN P!EPA!ATION

There are two ways to wor) with m#si$ in yo#r sessions: one is &i%e5 the other prere$orded. In either $ase5 there is a h#man 4ein! who is $ontro&&in! the m#si$5 who is5 in a way5 Viewpointing with the !ro#p5 determinin! se&e$tion5 d#ration of ea$h pie$e5 %o&#me5 et$. It is $r#$ia& that the indi%id#a&DsE wat$h5 &isten and respond to what is a$t#a&&y !oin! on in the room. @i)e a !ood dee:ay5 the instr#$tor is there to inspire5 to $har!e5 to )eep the fire &it. 0ometimes this wi&& mean pi$)in! #p the tempo5 other times it wi&& mean &ettin! the !ro#p wor) in si&en$e. Aor the fo&&owin! e8er$ises5 yo# sho#&d ass#me the m#si$ is prere$orded5 p&ayed on a so#nd system and $ontro&&ed 4y the tea$her5 dire$tor or so#nd person. Go# $an #se a $onso&e5 a 4oom 4o85 et$.5 4#t it is $r#$ia& that the system #sed prod#$es eno#!h so#nd so that the entire !ro#p $an hear the m#si$ we&& from any point in the spa$e. A tinny 4oom 4o8 wo#&d not wor) we&& in spa$es s#$h as a !ym or 4a&&room. It is prefera4&e to wor) with a system that ena4&es 3#i$) shifts from one pie$e of m#si$ to another witho#t ha%9 in! to stop and start5 or to #se two independent systems5 s#$h as two 4oom 4o8es5 or one $assette p&ayer and one C; p&ayer5 et$. In this fashion5 yo# $an swit$h from one pie$e of m#si$ to another5 then

reset somethin! new in the first p&ayer whi&e the se$ond is on. If yo# on&y ha%e one so#r$e of m#si$5 it 4e$omes ne$essary to %ary how yo# !et in and o#t of m#si$ so that the pattern of si&en$e and m#si$ does not 4e$ome predi$ta4&e. In one $ase yo# mi!ht fade the m#si$ o#t s&ow&y5 in another stop it s#dden&y= yo# mi!ht ho&d the si&en$e for short or &on! periods of time5 and then 4rin! in m#si$ s#dden&y and &o#d&y5 or fade in the m#si$ a&most imper$epti4&y. The first thin! yo#7&& noti$e when p#ttin! on a pie$e of m#si$ d#rin! Viewpoints trainin! is that the !ro#p immediate&y mo%es to it5 and the openness and #npredi$ta4i&ity of the wor) are $ompromised. The !ro#p 4e!ins to dan$e to the m#si$: They are imprisoned rather than freed. There are many aspe$ts of m#si$ that $an easi&y dictate mo%ement rather than motivate or s#!!est it: /. TE*P2. P#t on a pie$e of m#si$ that is s&ow and peop&e wi&& mo%e s&ow&y5 p#t on a pie$e that is fast and they wi&& mo%e 3#i$)&y. The same ho&ds tr#e for: 2. RHGTH*. P#t on a wa&t> and peop&e wi&& emphasi>e the / or down4eat of e%ery three 4eats. 3. HAR*2FG. P#t on a harmoni$ $hora&e and the !ro#p wi&& ma)e ro#nd5 &o%e&y ima!es5 p#t on dissonan$e and the wor) wi&& 4e :a!!ed or %io&ent. 4. ;GFA*IC 2R V2@<*E. P#t on somethin! 3#iet and the !ro#p wi&& wor) sma&&5 p#t on somethin! &o#d and they wi&& wor) &ar!e. It ne%er fai&s... at first. These cause and effect re&ationships 4etween m#si$ and mo%e9 ment are nat#ra&. oth are or!ani$5 sprin!in! from int#ition and in4orn 4ody rhythms5 and a&so deep&y asso$iati%e5 sprin!in! from a %ast and Dpro4a4&yE semi$ons$io#s reser%oir of $#&t#ra& ima!es. We are 4o#nd 4y 4oth these instin$ts and these asso$iations whi$h ha%e pro4a4&y hardened o%er the years into habits of whi$h we are not e%en aware. Wor)in! with m#si$ in Viewpoints trainin! is yet another way to in$rease awareness of these patterns5 and there4y in$rease one7s a4i&ity to $hoose5 there4y e8pandin! one7s ran!e. There is nothin! wron! in 4ein! a s&a%e to the m#si$ when it is first introd#$ed as long as it is noted. 2#r #&timate !oa& when wor)in! with m#si$ is not to 4e he&d $apti%e 4y it 4#t rather to #se it as a sprin!4oard5 to &et it open #p5 rather than sh#t down5 possi4i&ities. The first step toward this e8pansion is often a ne$es9 sary awareness of &imitation. It is sometimes #na%oida4&e in the $ase of this most powerf#& of too&s.
EXERCISE I:"TO" AND "AGAINST"

The !ro#p 4e!ins to wa&) aro#nd the spa$e. P#t on a pie$e of m#si$ and instr#$t the !ro#p to &et the m#si$ inform the wa&). Choose a pie$e of m#si$ that is definiti%e in its rhythm and tempo: a mar$h5 a te$hno 4eat5 a hymn. The !ro#p wi&& ine%ita4&y
96 97 THE VIEWPOINTS BOOK CHAPTER 8: WORKING WITH MUSIC

4e!in wa&)in! to the m#si$5 and in some $ases mi!ht e%en &ean toward i&&#stratin! it5 acting out their idea of it. DThey mi!ht e%en start in$&#din! 0hape and -est#re.E As) them to note this5 and then to mo%e against the tempo andCor rhythm5 to mo%e in coun- terpoint If ne$essary5 remind them that they $an on&y wa&)5 noth9 in! more e8ists in their $#rrent %o$a4#&ary= they $an wa&) fast or s&ow or in hyper9speed5 et$.5 4#t they $an on&y wa&). E8p&ore at &east fi%e or si8 different tempos of wa&)in! in re&ationship to one pie$e of m#si$ whi$h is $onstant in its tempo. In this way5 %ery simp&y5 we pra$ti$e freein! o#rse&%es from 4ein! s&a%es to the m#si$.

EXERCISE 2: STARTING WITH MUSIC

An a&ternate way for introd#$in! m#si$ is to 4e!in a session with m#si$ as the !ro#p warms #p. The warm9#p $o#&d 4e anythin! from s#n sa&#tations Das des$ri4ed in Chapter 45 E8er$ise 2E to !enera&5 informa& stret$hin!. After the warm9#p5 ha%e the !ro#p 4e!in to mo%e aro#nd the spa$e. 0imp&y &et the m#si$ $ontin#e to p&ay. Aor this e8er$ise it is 4est to #se a !ent&e and fair&y $onstant pie$e5 may4e a $&assi$a& ada!io or an atmospheri$ Few A!e instr#menta&. Add an awareness of 0patia& Re&ationship. Then add Jinestheti$ Response. Then Tempo5 ;#ration and Repetition. The !ro#p wi&& nat#ra&&y find themse&%es wor)in! within the te8t#re of the m#si$5 4#t with a shiftin! %ariety of tempos. Fote: If the !ro#p is doin! e8a$t&y what the m#si$ is di$tat9 in!5 t#rn the m#si$ off. The !ro#p is5 in effe$t5 4#sted. They wi&& )now they were $a#!ht not f#&&y awa)e. -i%e them time to ret#rn to simp&y mo%in! thro#!h the spa$e in si&en$e Dwith awareness of Tempo5 ;#ration5 Jinestheti$ Response5 0patia& Re&ationship and Topo!raphyE5 then add a new pie$e of m#si$. The #&timate !oa& is neither to wor) e8$&#si%e&y to or against, 4#t with, in $on$ert with. As the m#si$ wor) $ontin#es5 thin) of m#si$ as a s$ene partner5 as another mem4er of the !ro#p. Its tas) is to affe$t and mo%e yo#. Go#r tas) is to 4e open to it. Thin) of it as yo# wo#&d the ar$hite$t#re5 that it is there to p&ay with, dan$e with, to em4ra$e in one moment5 i!nore in the ne8t. Go# $an i&&#strate the m#si$5 yes5 $ertain&y5 4#t yo# $an a&so fi!ht it5 $omment on it5 f&irt with it5 hai& it.
t

The #&timate !oa& is to $reate the impression5 4oth for the performers and the a#dien$e5 that the m#si$ is $omin! from the a$tors7 4odiesBit sho#&d 4e that or!ani$ and inte!rated.
EXERCISE 3: OPEN VIEWPOINTS WITHOUT RHYTHM

Choose a pie$e of m#si$ that is re&ati%e&y a4stra$t or atmospheri$5 somethin! with a &ot of te8t#re and not a &ot of rhythm Dfor e8amp&e5 am4ient or Few A!eE. ;o 2pen Viewpoints with the pie$e of m#si$. The !ro#p wi&& !et #sed to hearin! m#si$ witho#t it manip#&atin! them5 simp&y 4e$a#se yo# are wor)in! with so#nd that is present 4#t not domineerin! in its rhythm.
EXERCISE 4: OPEN VIEWPOINTS WITH RHYTHM

Choose a pie$e of m#si$ simi&ar to that #sed in E8er$ise /: a stron!5 repetiti%e 4eat. ;o 2pen Viewpoints with this pie$e of m#si$. En$o#ra!e the !ro#p7s awareness of Tempo5 ;#ration and Jinestheti$ Response5 so that they do not !et st#$) in the m#si$ and &ose to#$h with Viewpoints. En$o#ra!e them to wor) with as m#$h s#rprise and %ariety as they dis$o%ered in the pre%io#s e8er$ise5 when the m#si$ was &ess o4%io#s&y 4indin!.
EXERCISE 5: MUSIC AS THEME

Choose a sma&&er !ro#p to wor) in the spa$e5 idea&&y three to si8 indi%id#a&s. Ha%e them find a startin! point: an openin! position that is stron! 0patia&&y and Ar$hite$t#ra&&y. Ha%e them 4e!in 2pen Viewpoints5 4#t fair&y immediate&y after they start5 4e!in a pie$e of m#si$. Te&& them to #se the m#si$ as theme, as inspiration. They sho#&d &et it inform and $reate the wor&d of their pie$e. @et
THE VIEWPOINTS BOOK
CHAPTE! C WO!KING. WlTH %$SIC

the m#si$ &ead them to spe$ifi$ity of -est#re5 to a parti$#&ar #se of Ar$hite$t#re. This is the e3#i%a&ent of droppin! in a theme to 2pen Viewpoints Dsee Chapter /35 espe$ia&&y Compositions Toward a P&ay and the themeCComposition e8er$ises within that se$tionE. Go# sho#&d $hoose a pie$e of m#si$ that is e8treme&y e%o$ati%e and spe$ifi$: $a&&iope to s#!!est $hi&dhood or $ir$#s5 mi&itary mar$h to s#!!est dri&&s or war5 spa!hetti9

western m#si$5 Char&es9 ton5 7'1s dr#!9trip !#itar or sitar5 et$.

E<E!CISE :2 !AISING THE STAKES

0tart 2pen Viewpoints with am4ient m#si$ p&ayin!. Then $han!e to somethin! with a tiny 4it more e%ent in it: shifts5 stops5 4#rsts. As the !ro#p !ets #sed to the m#si$5 treatin! it &i)e another a$tor in the spa$e5 start raisin! the sta)es thro#!h yo#r m#si$a& $hoi$es: D/E swit$h to in$reasin!&y dramati$ pie$es of m#si$= D2E $han!e the m#si$ at more #ne8pe$ted inter%a&s= D3E s&am from one sty&e into its opposite= D4E p&ay two pie$es of m#si$ at on$e5 wor) in the e8tremes5 in%itin! the !ro#p to as we&&.
EXERCISE 6: MUSIC AS COUNTERPOINT

A sma&& !ro#p Dthree to si8 indi%id#a&sE wor)s in 2pen View9 points. Their tas) is to wor) in opposition to the m#si$: if the m#si$ is soothin! they sho#&d wor) a!!ressi%e&y5 if it is fast they sho#&d wor) s&ow&y5 et$. 0wit$h m#si$ often. The Ability to Juggle. In these e8er$ises it7s $r#$ia& that indi9 %id#a&s 4e a4&e to maintain their awareness of the !ro#p and that they do not 4e!in wor)in! as so&oists with the m#si$. The !oa& is to 4a&an$e the impa$t of 2pen Viewpoints with that of the m#si$. If the m#si$ ta)es o%er5 t#rn it off immediate&y and5 whi&e the !ro#p $ontin#es wor)in!5 remind them to wor) off ea$h other. Repeat the phrases: 60ti$) with the Viewpoints.6 6@isten to ea$h other.6 6P#t yo#r fo$#s on others.6 As we dis$#ssed in Chapter "5 in$orporatin! the indi%id#a& Viewpoints is &i)e &earnin! to :#!!&e. At first5 one mi!ht 4e a4&e to ha%e on&y two 4a&&s in the air. Go# pra$ti$e and a$hie%e three5 then fo#r5 and so on. *#si$ is another 4a&& in the air. Te8t wi&& 4e yet another Dsee ne8t $hapterE. It ta)es pra$ti$e to add m#si$ witho#t droppin! one of the other 4a&&s. *#si$ sho#&d ne%er e8ist at the e8pense of an indi%id#a& Viewpoint: it sho#&d 4e added when the !ro#p $an :#!!&e eno#!h 4a&&s sim#&taneo#s&y Dand with eno#!h easeE so that a 4rand9new e&ement wi&& not de$rease awareness of Viewpoints. Go#7&& pro4a4&y drop a 4a&& or two. That7s o)ay. Pi$) #p the 4a&&s5 start a!ain5 find yo#r rhythm5 add the m#si$.

EXERCISE 8:THE SOUNDS OF SILENCE

After yo#7%e wor)ed a whi&e with m#si$5 !o 4a$) to the silence of the room for 2pen Viewpoints. Point o#t how silence is a$t#a&&y f#&& of so#nds whi$h mi!ht not at first 4e a#di4&e or deemed #se9 f#&. Wor) off these so#nds. Thin) of these so#nds as the music with whi$h yo# are now Viewpointing. @istenBwor) off 4odies shiftin!5 a $rea) in the f&oor5 a $ar horn from o#tside5 a siren5 et$.

Au1iliar/ E1ercises ,or Wor0in. wit+ %usic

AUXILIARY EXERCISE I

In$orporate m#si$a& se&e$tions that ha%e spo)en te8t in them= en$o#ra!e the !ro#p to wor) off the te8t as we&& as the m#si$. If yo# do this e8er$ise after spea)in! has 4een introd#$ed5 en$o#r9 a!e the !ro#p to spea) and mo%e off the re$ordin!5 to e$ho it5 answer it5 twist it.
AUXILIARY EXERCISE 2

Choose a pie$e of themati$a&&y spe$ifi$ m#si$ or $&ear&y de&ineated !enre m#si$. -i%e the !ro#p a settin! or $hara$ter types or 4oth.
100 101

THE VIEWPOINTS BOOK CHAPTER 8: WORKING WITH MUSIC

And 4e!in 2pen Viewpoints. Aor e8amp&e5 ha%e the !ro#p wor) a!ainst a wa&& or with a spe$ifi$ door or in a $orner. Then !i%e them the settin! of an a&&eyway or a 4ar or a street at ni!ht. Then state the theme of5 e.!.5 fi&m noir5 and p&ay a pie$e of $oo& 7"1s :a>> or somethin! from a noir fi&m.

THINGS WE?VE #EA!NE" IN WO!KING WITH %$SIC

K In &istenin! to m#si$5 yo# $an &earn 4oth from the $ompo sition and from the performan$e. The way -&enn -o#&d p&ays a$h is remar)a4&y different from the way Jeith Iarrett does. 0ame m#si$a& notesBa wor&d of differen$e. P *#si$ $an deaden. We re$ent&y o4ser%ed a Viewpoints ses9 sion in whi$h the instr#$tor p#t on a pie$e of m#si$ Da $on9 temporary pop t#ne she &o%edE and &et it p&ay for three or fo#r min#tes. It 4e$ame the e3#i%a&ent of the !ro#p sti$)in! with an a$ti%ity or tempo witho#t possi4i&ity for $han!e. @a$) of $han!e p#t the !ro#p to s&eep. They were Viewpointing a&& ri!ht5 4#t were on a#tomati$ pi&ot. The re&i9 a4i&ity of the m#si$ p#t the performers to s&eep. When ser%9 in! as deejay d#rin! Viewpoints trainin!5 the most essentia& awareness to de%e&op is that of ;#ration. How &on!5 how short5 do yo# &ea%e on a pie$e of m#si$? When do yo# $han!e5 and in response to what? A!ain5 ;#ration is a4o#t )nowin! how &on! to stay in somethin! Din this $ase a pie$e of m#si$E5 so that somethin! o$$#rs5 so that yo# e8p&oit the moment of a$t#a& e%ent5 4#t not so &on! that it starts to fa&& as&eep or die. P We&&9)nown or $#rrent pop t#nes are not !reat to wor) with5 e8$ept as an aero4i$ warm9#p or in %ery short insta&&ments. 0on!s that the !ro#p )nows Dand wi&& want to sin! a&on! with or dan$e toE are #s#a&&y the most &imitin!. P ;ifferent )inds of m#si$ wor) 4est for different &e%e&s of Viewpoints trainin!. In !enera&5 !rad#ate from the &east intr#si%e to the most.

%usic ,or Be.innin. Viewpoints

<se pie$es witho#t &yri$s5 whi$h are atmospheri$5 am4ient5 repet9 iti%e5 open:
Will Ackerman Cirque du Soleil Philip Glass Henryk Gorecki Gregorian chant John Hodian Wim Mertens Michael Nyman Penguin Cafe Orchestra Rachel's

0te%e Rei$h
Adagios (see Samuel Barber's "Adagio for Strings," Gustav Mahler's Fourth Symphony, Maurice Ravel's "Pavane for a Dead Princess")

%usic ,or %iddle Viewpoints

Introd#$e pie$es that e%o)e time5 p&a$e5 ima!e5 !enre:
Johann Sebastian Bach

Car&a &ey
John Lurie Wolfgang Amadeus Mozart Arvo Part

Astor Piazzolla TomVerlaine

Tom Waits
Big Band/Swing (Cab Calloway,Tommy Dorsey, Glenn Miller) Country (Johnny Cash, Patsy Cline, Hank Williams)
102 103

THE VIEWPOINTS BOOK fl|

%usic ,or Ad4anced Viewpoints

Add m#si$ whi$h is errati$5 #npredi$ta4&e5 e8treme5 attention9!ettin!: CHAPTER 9

STA!TING TO SPEAK
Ludwig van Beethoven Heiner Goebbels Gyorgy Ligeti Gustav Mahler Einsturzende Neubauten Arnold Schoenberg Igor Stravinsky Anton Webern John Zorn

A
there $omes the moment for the h#man %oi$e. Vo$a& View9 s e&ements a$$#m#&ate in the pro$ess of Viewpoints trainin!5 points addresses so#nd in the same way that the Physi$a& View9 points addresses mo%ement5 i.e.5. 4y in$reasin! an awareness of p#re so#nd separate from psy$ho&o!i$a& or &in!#isti$ meanin!. Rather than hearin! on&y what a $ertain word $onnotes5 we start to address how it so#nds and how the so#nd itse&f $ontains infor9fnation and e8pressi%ity. Additiona&&y5 ha4it and fear too often en!ender a narrow ran!e in an a$tor7s physi$a& and %o$a& e8p&oration. Vo$a& Viewpoints hi!h&i!hts the &imitations of one7s %o$a& ran!e and s#4se3#ent&y en$o#ra!es more radi$a& and dynami$ %o$a& $hoi$es. Vo$a& Viewpoints !enerates an ad%ent#ro#s attit#de to the %oi$e7s potentia& thro#!h freedom5 $ontro& and responsi%eness. As an a$tor9trainin! too&5 the introd#$tion of these points of view $an 4e in%a&#a4&e in $#&ti%atin! %o$a& %irt#osity. ;#rin! the rehearsa& of a p&ay5 the time set aside for Vo$a& Viewpoints train9
04

THE VIEWPOINTS BOOK CHAPTER 9: STARTING TO SPEAK

in! offers a $han$e to dea& with the p&ay7s te8t nonpsy$ho&o!i$a&&y5 whi$h5 in t#rn5 opens #p ri$h new possi4i&ities within s$ene wor). Chan!in! %o$a&ity $an a&ter meanin! and impa$t. The Vo$a& Viewpoints are s&i!ht&y different than the Phys9 i$a& Viewpoints Dfor instan$e5 we do not wor)

with Topo!raphyE. When wor)in! on the Vo$a& Viewpoints5 we #se: Tempo5 ;#ration5 Repetition5 Jinestheti$ Response5 0hape5 -est#re5 Ar$hi9 te$t#re5 Pit$h5 ;ynami$5 A$$e&erationC;e$e&eration5 Tim4re and 0i&en$e. These Viewpoints sho#&d 4e introd#$ed one at a time. ;e%e&opin! with ea$h indi%id#a&&y wi&& &ead to a remar)a4&e awareness of the potentia& of the %o$a& instr#ment5 for 4oth the spea)er and the &istener. Fote: This e8er$ise hei!htens awareness of o#r traditiona&&y &im9 ited pit$h ran!e5 and stren!thens a4i&ity to e8pand that ran!e. The same ho&ds tr#e for the e8er$ises that fo&&ow in terms of e8pandin! the performers7 dynami$ ran!e5 tempora& ran!e5 et$.
EXERCISE 2: DYNAMIC

/. 0tartin! at yo#r most 3#iet %o&#me D4are&y a#di4&eE5 spea) yo#r !i44erish word5 and $ontin#e repeatin! it5 with ea$h repetition in$reasin! a not$h in %o&#me. The e8er$ise is $omp&ete when yo# are %o$a&i>in! yo#r word at the &o#dest D4#t sti&& safeE possi4&e %o&#me. 2. Fow e8periment with swit$hin! dynami$5 or %o&#me5 on ea$h sy&&a4&e of the word5 e.!.5 &o#dC4are&y a#di4&eCmedi#m or 3#ietC&o#dC3#iet5 et$.

INT!O"$CING THE IN"IVI"$A# VOCA# VIEWPOINTS Startin. Solo

EXERCISE 3:TEMPO AND DURATION

Ea$h parti$ipant wor)s a&one at first5 $hoosin! a p&a$e in the room where sChe $an most effe$ti%e&y $on$entrate on herChis own %oi$e and so#nd. As) ea$h person to ma)e #p a three9sy&&a4&e word of !i44erish5 e.!.5 6)a94in!9>on!56 6yip9eed9oh56 et$.

Repeat the same form as a4o%e e8$ept in terms of Tempo5 mo%in! from the s&owest possi4&e speed to the fastest. Then swit$h tempoC d#ration on ea$h sy&&a4&e.
EXERCISE 4:TIMBRE EXERCISE I: PITCH

E8periment with yo#r !i44erish word #sin! different physi$a& resonators to prod#$e the so#nd5 e.!.5 nasa&5 from yo#r a4domen5 yo#r throat5 et$. *i8 and mat$h as a4o%e. N /. 0tart at yo#r &owest possi4&e pit$h5 intonin! yo#r three9sy&&a4&e !i44erish word5 and $ontin#e repeatin! it5 with ea$h repetition risin! a not$h in pit$h. The e8er$ise is $omp&ete when yo# are %o$a&i>in! yo#r word at the hi!hest possi4&e Dand safeE pit$h in yo#r ran!e. 2. Wor) indi%id#a&&y5 e8perimentin! with swit$hin! pit$h on ea$h sy&&a4&e of yo#r word. Aor instan$e5 try &owC&owChi!h or %ery hi!hC%ery hi!hCmedi#m &ow5 et$. Try $reatin! as many $om4inations as possi4&e.

EXERCISE 5: SHAPE

/. As) the parti$ipants to ta)e their three9sy&&a4&e !i44erish word and5 sti&& wor)in! indi%id#a&&y5 ad:#st the %owe&s and $onsonants as ne$essary to prod#$e a word whi$h is made
107

THE VIEWPOINTS BOOK CHAPTER ?: STARTING TO SPEAK

of round shapes. What so#nds fee& round? Why? Whi$h are $&ear&y not? Fow $han!e the sy&&a4&es into a !i44erish word whi$h is linear or jagged in its $omponent shapes. 2. 3. *i8 and mat$h as a4o%e. Thin) of and say a&o#d to yo#rse&f re$o!ni>a4&e words from the En!&ish &an!#a!e Dor any other &an!#a!eE whi$h are spe$ifi$a&&y round, soft or fluid in shape5 or spe$ifi$a&&y sharp, spiky or percussive.
EXERCISE 6: GESTURE

I#st as in Physi$a& Viewpoints5 Vo$a& Viewpoints $an 4e either E8pressi%e or eha%iora&. We &earn to ma)e Vocal Gestures, whi$h are so#nds with a 4e!innin!5 midd&e and end5 #n&i)e words whi$h ha%e spe$ifi$ &in!#isti$ definitions. Expressive. Ea$h indi%id#a& prod#$es a series of E8pressi%e Vo$a& -est#res on their own. These are so#nds that are not of e%eryday 4eha%ior 4#t5 rather5 e8press in a more a4stra$t way a state of 4ein!5 an emotion or an idea. Aor e8amp&e5 what is a Vo$a& -est#re that e8presses !rief? D*a)e s#re to distin!#ish 4etween a eha%iora& Vo$a& -est#re for !rief5 whi$h mi!ht 4e the so#nd of a so4 or a wai&5 and an E8pres9 si%e one5 whi$h mi!ht 4e an e&on!ated hi!h 6eeeeeeeeeeeeey6 fo&&owed 4y a deep &ow 6oh ... ooooh.6E What is a Vo$a& -est#re that e8presses Areedom? Terror? What a4o#t a Vo$a& -est#re that e8presses the idea of a&an$e? 2r I#sti$e? 2r Home? Behavioral. I#st as with Physi$a& Viewpoints5 eha%iora& Vo$a& -est#res are of e%eryday o4ser%ed &ife5 whether p#4&i$ or pri%ate5 and !i%e $on$rete information re!ardin! a person7s time5 p&a$e5 $ondition or $hara$ter5 as we&& as e8press spe$ifi$ meanin! or intention. /. Prod#$e a series of eha%iora& Vo$a& -est#res whi$h peop&e aro#nd yo# are ma)in! e%ery day on the street5 4#s or s#49 way5 et$. These mi!ht in$&#de $&earin! the throat5 swa&&ow9 in!5 e8ha&in!5 sniffin!5 et$. 2. Prod#$e a series of eha%iora& Vo$a& -est#res that !i%e information a4o#t the weather Dteeth $hatterin!E or a per9 son7s hea&th D$o#!hin!E or their a!e Dwhee>in!E. 3. Prod#$e a series of eha%iora& Vo$a& -est#res that e8press or !i%e information a4o#t a person7s persona&ity or demeanor5 for e8amp&e5 !rindin! teeth5 $onstant $&#$)in! or &i!ht whist&in!. 4. Prod#$e a series of eha%iora& Vo$a& -est#res that ha%e a tho#!ht or intention 4ehind them 4#t do not #se words. Aor e8amp&e5 a &o#d5 p#rposef#& $&earin! of the throat: 6e9hem56 a 6ts)9ts)6 reprimand5 a moan e8pressin! p&eas#re.
EXERCISE 7:ARCH1TECTURE

Ret#rnin! to the three9sy&&a4&e !i44erish word5 #se it repeated&y5 and in different %o&#mes5 to e8p&ore the physi$a& spa$e in whi$h yo# are wor)in!. This is e8a$t&y what a so#nd te$hni$ian or a sin!er does when standin! onsta!e5 $&appin! herChis hands to &is9 ten for how live or dead the room is. E8p&ore $orners5 wa&&s5 their %aryin! te8t#res and materia&s5 distan$e5 o4:e$ts5 et$.

Continuin. in Groups
EXERCISE 8: REPETITION

/. The !ro#p sits in a $ir$&e. Two peop&e !o into the $enter of the $ir$&e. Person A is the &eader and Person is the repeater. <sin! a three9sy&&a4&e !i44erish word5 Person A !enerates a series of so#nds #sin! pit$h5 dynami$5 tempo and d#ration in an E8pressi%e fashion. Person repeats e8a$t&y. . 2. 0ame as a4o%e5 e8$ept Person swit$hes one Viewpoint whi&e repeatin! the others e8a$t&y. 0tart with repeatin! pit$h Dhi!h to &owE 4#t $han!in! dynami$ D3#iet to &o#dE. Aor e8amp&e5 if A7s word is 6L9G9Q6 and sChe says it: L Dhi!h and 3#ietE5 G Dhi!h and 3#ietE5 Q D&ow and &o#dE= mi!ht
08 109 THE VIEWPOINTS BOOK CHAPTER 9: STARTING TO SPEAK

THE NE<T STEP Incorporatin. "ialo.ue

repeat the pit$h 4#t $han!e the dynami$ 4y #tterin!: L Dhi!h and &o#dE5 G Dhi!h and &o#dE5 Q D&ow and 3#ietE. Contin#e p&ayin! with this #nti& the person fo&&owin! is a4&e to respond spontaneo#s&y and p&ayf#&&y. 3. 0ame as a4o%e5 e8$ept Person does e8a$t repetition on dynami$5 and swit$hes $hoi$e of pit$h. This e8er$ise $an $ontin#e or 4e refined with any $om4ination of Vo$a& Viewpoints Di.e.5 repeat pit$h and dynami$ 4#t swit$h tempo5 et$.E. 4. Re%erse ro&es5 with now !eneratin! and A repeatin!.

EXERCISE I: SPEAKING AND BREATHING

/. ;i%ide the parti$ipants into two !ro#ps: A and . Ha%e ea$h !ro#p sit a$ross from ea$h other in a $ir$&e. Introd#$e a pie$e of dia&o!#e to 4e memori>ed on the spot5 idea&&y si8 to twe&%e &ines of te8t that are $on$ise and open in their meanin!. An e8amp&e5 dia&o!#e of 0arah and Ri$hard from Haro&d Pinter7s p&ay The Lover:
EXERCISE 9: KINESTHETIC RESPONSE, SILENCE AND ONWARD...
A: Ri$hard? : *mn? A: ;2 yo#

e%er thin) a4o#t me at a&& . . . when

:

yo#7re with her? : 2h5 a &itt&e. Fot m#$h. We ta&) a4o#t yo#. A: G2< ta&) a4o#t me with her? 2$$asiona&&y. It am#ses her. A: Am#ses her? : *mnn.
A: H2W

... do yo# ta&) a4o#t me?

: ;e&i$ate&y.

Ao#r peop&e sit in the $enter of a $ir$&e with their eyes $&osed. Ea$h $hooses a word5 either !i44erish or not5 as per the &eader7s dis$retion. The &eader a&so may !i%e one word or phrase with whi$h the who&e !ro#p wor)s. y e8$&#din! the option of %ariety in words5 and 4y who&&y fo$#sin! on the stim#&i pro%ided 4y oth9 ers5 ea$h indi%id#a& $on$entrates not on what so#nd sChe prod#$es 4#t on when. The timing is determined 4y respondin! )inestheti$a&&y to the so#nds of the others. Fote: This e8er$ise $&ose&y para&&e&s @ane Wor) in Physi$a& Viewpoints in that there is a &imited %o$a4#&ary Dthe $hosen word or phraseE5 a sma&& !ro#p of parti$ipants and5 therefore5 an oppor9 t#nity to

pra$ti$e a tr#e s#rrender of $ontro& in fa%or of simp&e5 dire$t rea$tion to the e8terna& a$tion5 in this $ase so#nd. I#st as stillness f#n$tions in Physi$a& Viewpoints5 so does si&en$e f#n$9 tion here. The parti$ipants mi!ht need to 4e reminded to in$&#de and tr#st the si&en$es in a proa$ti%e5 $reati%e fashion rather than a passi%e one. 0i&en$e 4e$omes &ess an ina$ti%e period of waitin! than an E8pressi%e fie&d of so#nd a&& its own. The A and !ro#ps &earn this te8t first as a $hor#s thro#!h a$$#m#&ation5 addin! the ne8t &ine with ea$h ro#nd. Aor instan$e5 ha%e a&& the A7s say in #nison5 6Ri$hard?6 Then add the 7s &ine5 6*mn?6 whi$h they say in #nison. -o 4a$) and repeat these two &ines5 this time tea$hin! and addin! the third5 6;o yo# e%er thin) a4o#t me at a&&...6 and so forth. As they &earn the te8t they sho#&d a&so &earn to 4reathe whi&e their partner is spea)in!5 i.e.5 whi&e the A7s spea)5 the 7s inha&e= and whi&e the 7s spea)5 the A7s inha&e. 2. As) one A and one to spea) the dia&o!#e on$e thro#!h with spe$ia& attention and responsi%eness to what the other initiates. 2n$e the $o#p&e has spo)en the te8t thro#!h5 as)
THE VIEWPOINTS BOOK CHAPTER 9: STARTING TO SPEAK

4&e and a4&e to respond and ad:#st is the parti$ipant to herChis partner7s pit$h? The person who 4e!ins the dia&o!#e a4o%e initi9 ates with a parti$#&ar pit$h with as m#$h $&arity and e8a$tit#de as possi4&e. Thereafter5 the $hoi$e of pit$h at any !i%en moment is a&ways a response to the pit$h in p&ay. them to do it a!ain5 on&y different&y. Then as) the same $o#p&e to a$$omp&ish the tas) in a $omp&ete&y new way. In this parti$#&ar e8er$ise5 yo# are $ons$io#s&y as)in! for %ari9 ety simp&y for %ariety7s sa)e D#n&i)e in the ear&y Viewpoints trainin!5 where an imposed attempt at %ariety is dis$o#r9 a!edE. En$o#ra!e differentiation. A&&ow for ar4itrariness. Foti$e the narrow &imitations in ran!e and how 3#i$)&y a psy$ho&o!i$a& interpretation $an e&iminate the potentia& for spontaneity and p&ay. Are the %o$a& $hoi$es rea&&y a response to the other person? How m#$h of the spea)in! seems premeditated or a#tomati$? When the a$tors are tr#&y sensiti>ed to ea$h other7s $hoi$es and ad:#stments5 then the wor) rea&&y 4e!ins. It is %a&#a4&e for se%era& $o#p&es to try this Pinter dia9 &o!#e with one another to e8perien$e the ne$essity of &is9 tenin! and respondin!5 and for others to o4ser%e differen$es in atta$) and %o$a& f&e8i4i&ity in the intera$tions.
EXERCISE 2: DYNAMIC________________________________

In Vo$a& Viewpoints5 ;ynami$ is %o&#me5 or the &o#dness of any !i%en so#nd. ;ynami$ is an e8pression of the de!ree of a!!ression or atta$) 4y the spea)er. Foti$e how a simp&e $han!e in ;ynami$ $an radi$a&&y $han!e the meanin! of a moment or intera$tion. A!ain5 the $hoi$e of dynami$ sho#&d emer!e as a response to the dynami$ offered 4y a s$ene partner.
EXERCISE 3:TEMPO __________________________________

As in Physi$a& Viewpoints5 Tempo is speed. In the $ase of Vo$a& Viewpoints5 Tempo is the speed with whi$h the words or so#nds are e8pressed. Attention to tempo %ariation and responsi%eness to a partner7s tempo are essentia&. 2ne responds to the other7s tempo with a $hoi$e of tempo. Foti$e how Tempo $an a&so a&ter the meanin! of the dia&o!#e and the fee& of the re&ationship e8pressed in spea)in! the dia&o!#e.

Addin. Vocal Viewpoints to "ialo.ue Wor0

Fow it is time to in$orporate the Vo$a& Viewpoints one at a time. When introd#$in! ea$h Vo$a& Viewpoint5 as) a different $o#p&e to try o#t the dia&o!#e whi&e fo$#sin! on the parti$#&ar Viewpoint in 3#estion. E%ent#a&&y a&& the Vo$a& Viewpoints $an 4e in p&ay to!ether Dm#$h &i)e Physi$a& Viewpoints5 on$e ea$h is masteredE. #t initia&&y5 $on$entrate on ea$h Vo$a& Viewpoint one at a time.
EXERCISE 4: ACCELERATION/DECELERATION ____________ EXERCISE I: PITCH

As) an AC $o#p&e to a$$e&erate the speed of the dia&o!#e to!ether5 startin! s&ow and !rowin! faster5 maintainin! an a$$e&eration5 ne%er &e%e&in! o#t. 2n$e this is possi4&e5 try the opposite dire$9 tionB de$e&erationB4y startin! fast5 and to!ether $o&&a4oratin! on 4rin!in! the speed s&ower toward the end of the dia&o!#e. How wide $an the ran!e of speed 4e? Can the fast start very fast and the s&ow end very slowly? Foti$e a!ain how A$$e&eration and Pit$h is the &e%e& of a so#nd in the s$a&e5 defined 4y its fre3#en$y. As with sin!in! or p&ayin! a m#si$a& instr#ment5 Pit$h is where a so#nd &ies within the possi4&e ran!e of the instr#ment5 in this $ase5 the %oi$e. In Vo$a& Viewpoints a $hoi$e is made a4o#t where a note is p&a$ed in the %o$a& ran!e5 from &ow to hi!h or hi!h to &ow. How wide is the pit$h ran!e of ea$h parti$ipant? How f&e8i9
112 THE VIEWPOINTS BOOK CHAPTER 9: STARTING TO SPEAK

words. E8periment with how 0i&en$e5 when p&a$ed spe$ifi$a&&y and sparin!&y5 $an $reate or a&ter meanin!. Wor) with the a4o%e dia&o!#e5 ma)in! s#re that A inha&es d#rin! 7s &ines so that sChe is a4&e to spea) ri!ht on the tai& of 7s &ine5 and %i$e %ersa= there sho#&d 4e no #nintentiona& interr#ption of the f&ow of the dia&o!#e. In &ife5 as peop&e spea) to!ether5 there is a f&ow and often an o%er&appin!. 0i&en$es are meanin!f#& 4e$a#se they are rare and emer!e from the spe$ifi$ity of the sit#ation. A$tors too often ta)e their ne$essary inha&e after their partner7s &ine5 4efore they 4e!in to spea). They either prepare to spea) 4efore doin! so5 or a$t 4efore their own &ine rather than on it. This s&i!ht 4rea) stops the f&ow of ener!y. The dia&o!#e 4e$omes 6ta)in! t#rns ta&)in!56 whi$h $an ne%er 4e tr#&y spontaneo#s5 #npredi$ta4&e or dynami$. The a$t of spea)in!5 a$$ordin! to !enera& anthropo&o!y5 was 4orn as an a$t of s#r%i%a&Bso#nd si!na&ed dan!er= it anno#n$ed h#n!er and se8#a& need. 0pea)in! remains5 at 4est Donsta!e and in o#r $#&t#reE5 an a$t of s#r%i%a&. 0pea)in! is a physi$a& a$t5 not a psy$ho&o!i$a& one. Wor) with the notion that onsta!e one m#st spea) from ne$essity: when a&& e&se is physi$a&&y si!na&ed and e8pressed5 one spea)s. 0ee what happens if spea)in! 4e$omes the final sta!e of the physi$a& ne$essity to e8press or $omm#ni$ate. Wat$h o#t for ha4it#a& catch-breaths: 4reaths ta)en in%o&9 #ntari&y that stop the f&ow of words. The ha4it#a& $at$h 4reaths #s#a&&y o$$#r from dis$onne$tion and fear when one doesn7t )now the words or doesn7t mean them eno#!h. ;e$e&eration a&ter the meanin! of dia&o!#e as we&& as o#r per$ep9 tion of Re&ationship.
EXERCISE 5: REPETITION

With an a$#te sensiti%ity to Repetition5 parti$ipants sho#&d p&ay with their partner7s pit$h5 dynami$ or tempo thro#!h Repetition. *#si$ians #se Repetition to $reate me&odies. A$tors $an #se Repetition as one of the ways they $omm#ni$ate with one another.
EXERCISE 6:TIMBRE

0hape5 si>e and s#4stan$e determine the parti$#&ar tim4re of any m#si$a& instr#ment. Aor e8amp&e5 the so#nd an o4oe ma)es is $reated 4y the )ind of wood it is made from and 4y the $a%ity $re9 ated 4y its shape. 2pera sin!ers are often renowned for their par9 ti$#&ar so#nd5 their tim4re. The parti$#&ar physi$a& resonators5 the shape and s#4stan$e of their 4odies and &#n!s determine a sin!er7s distin$ti%e so#nd. A$tors sho#&d e8periment with prod#$in! so#nd from %ario#s physi$a& resonators5 nasa&5 deep9throated5 4e&&y5 et$.5 dependin! #pon the $hara$ter and the sit#ation the $hara$ter is fa$in!.
EXERCISE 7: SILENCE

Incorporatin. %o4e ent

EXERCISE I: SPEAKING FROM SATS POSITION

This e8er$ise fina&&y 4rin!s to!ether 4oth the Physi$a& and Vo$a& Viewpoints. /. Ea$h parti$ipant 4rin!s in a short mono&o!#e. 2. As) one person to wa&) to $enter sta!e5 stand in 0ats Position Dsee Chapter 'Cpa!e ,3E and spea) &o#d&y5 p&a$in! the The $omposer Iohn Ca!e said that a so#nd is on&y as &o#d as the si&en$e on either side of it. E%en more than sti&&ness in Physi$a& Viewpoints5 0i&en$e offers an in$redi4&y powerf#& too& for e8pres9 sion= we sho#&d a$)now&ed!e it5 e8periment with it and e8p&oit it. Rather than a series of #n$ons$io#s and random pa#ses5 0i&en$e !ains meanin! when it is intentiona& and aestheti$a&&y p&a$ed. Try dia&o!#e where the two parti$ipants $hoose on&y one si&en$e. ;o not $hoose the spa$e 4etween the partners7 &ines for the si&en$e5 4#t rather find it within senten$es or in the midd&e of
THE VIEWPOINTS BOOK CHAPTER 9: STARTING TO SPEAK

first inha&ation after the 4e!innin! of the mono&o!#e as &ate as possi4&e in the te8t. e s#re that as sChe r#ns o#t of 4reath5 an attempt is made to !et &o#der rather than softer toward the end of the 4reath. @isten for the res#&ts. At whi$h moment5 as one 4e!ins to &ose air5 does spea)in! 4e$ome physi$a& and ne$essary? How often do the #n$ons$io#s catch-breaths interfere with the f&ow of the words? 35 Ha%e se%en to nine parti$ipants stand in 0ats Position5 in a hori>onta& &ine #psta!e5 &eft to ri!ht5 ea$h with a prepared mono&o!#e. 4. 2ne 4e!ins to spea) herChis te8t. At the moment of the per son7s first inha&ation5 another person m#st 4e!in to spea) and the pre%io#s person m#st stop. 2n&y one person at a time sho#&d e%er 4e spea)in! in this e8er$ise. At ea$h inha&ation5 any other person may ta)e o%er spea)in!. The o4:e$ti%e is for a&& parti$ipants to !et thro#!h their entire te8t on$e. H This e8er$ise demands an intense &istenin! and awareness of 4reath. 2ne a&ways pi$)s #p where sChe &ast &eft off #nti& the mono&o!#e is $omp&eted. 2n$e e%eryone has $omp&eted herChis mono&o!#e5 an 2pen Viewpoints session may fo&&ow5 whi&e maintainin! the 0ats &ine #psta!e. At any moment5 whi&e in 0ats5 a parti$ipant may spea) any part of herChis mono&o!#e or fra!ments of someone e&se7s. As a&ways5 maintain an attention to the who&e5 to what is seen and heard 4y those not parti$ipatin! Dthe a#dien$eE. It is a&so possi4&e to remo%e the 0ats Position in the midd&e of 2pen Viewpoints5 and instead ha%e peop&e spea) as they mo%e in Physi$a& Viewpoints. This is a !ood way to p#t the Physi$a& and Vo$a& Viewpoints to!ether for the first time.

EXERCISE 2:THE CHAIR PIECE

/. ;i%ide e%eryone into two !ro#ps a!ain DA and E. Aorm AC $o#p&es. Ea$h $o#p&e sho#&d )now 4oth parts of the Pinter te8t 4y heart. 2. Ha%e a $o#p&e !o onsta!e with a $hair and demonstrate for the others. The ar$hite$t#re for this wor) is simp&y the $hair and ro#!h&y ei!ht s3#are feet aro#nd the $hair. The $hair remains where it is d#rin! the $o#rse of this pie$e. The $on9 te8t for the $o#p&e7s mo%ement is the 4eha%ior one mi!ht !enerate in a )it$hen in the midd&e of the ni!ht. The $o#p&e e8p&ores a re&ationship in tro#4&e and the dynami$s of 4ein! drawn to!ether and yet p#&&ed apart. It is important not to dis$#ss this re&ationship= rather5 find it in the doin!. 3. 0tart the $o#p&e in a 4e!innin! position= one that thro#!h where and how they are positioned physi$a&&y e8presses somethin! of the tension in a re&ationship. Aor e8amp&e5 A sits on the $hair5 hand on one )nee5 starin! off into the dis9 tan$e5 and 5 4a$) t#rned5 hands on hips5 fa$es #psta!e. The $o#p&e7s #se of 0hape and 0patia& Re&ationship e8presses somethin! of the re&ationship. We wi&& $a&& this zero position, as it is simp&y the point from whi$h we are startin!. 4. 2n$e the >ero position is esta4&ished and $&ear5 as) the $o#p&e Dwor)in! to!ether with ViewpointsE to find another position5 whi$h is a 4rand9new ta4&ea# e8pressin! a f#rther aspe$t of the re&ationship. We7&& $a&& this / position. 2n$e / is $&ear5 ma)e s#re the $o#p&e $an mo%e smooth&y from >ero to /. ". Fow !o on to 2. *a)e a new ta4&ea# e8pressin! a f#rther dynami$ of the re&ationship. '. 2n$e 2 is $&ear mo%e on to 35 and so forth #nti& ,. ,. 2n$e , is $omp&eted D( ta4&ea#85 or positions5 ha%e 4een $omp&eted in a&&B>ero to ,E5 as) the $o#p&e to mo%e thro#!h these ( positions to!ether5 this time p&ayin! them as a s$ene. A&tho#!h the mo%ement m#st stay the same5 the interpretation of the mo%ement $han!es 4y how the two a$tors hand&e time to!ether. They respond Jinestheti$a&&y with attention to Tempo and ;#ration. They find the meanin! of the s$ene 4y how they p&ay to!ether. (. As) the $o#p&e to perform the se3#en$e se%era& times5 simp&y a&terin! their timin!5 #sin! Jinestheti$ Response5 Tempo and ;#ration. Ea$h %ersion sho#&d now te&& a new story and $reate new dimensions of re&ationship5 arri%ed at or!ani$a&&y.
117 THE VIEWPOINTS BOOK

+.

Fow ha%e a&& the AC $o#p&es $ome #p with their own >ero thro#!h , ta4&ea#85 a&so 4ased on the dynami$s of their own $o#p&e in a )it$hen. They sho#&d wor) witho#t spea)in! m#$h5 e8$ept to $o#nt their ta4&ea#8. They sho#&d $on9 $entrate on the detai&s and s#4t&eties of the mo%es5 #sin! their e8perien$e with Viewpoints to find so&#tions. /1. 2n$e a&& the AC $o#p&es ha%e set the se3#en$e5 and on&y after e%ery mo%e is se$#re5 as) them to find a way to p&a$e the Pinter te8t 6on top6 of the se3#en$e witho#t $han!in! the mo%es to s#it the te8t. *a)e s#re they simp&y a&&ow the te8t to f&oat on top of the mo%ement. Ca&& them on it if DwhenE they 4e!in to m#s$&e the te8t or for$e a$tin! 4eats. //. En$o#ra!e the $o#p&es to dis$o%er moments 4ased simp&y on the $om4ination of what &ine is spo)en with what phys9 i$a& a$tion. A&&ow a &itt&e time for this tas)5 and then as) the $o#p&es5 one at a time5 to perform their $hair pie$es for the rest of the !ro#p. Foti$e how the $o9in$identa& :#8taposition of the te8t and the mo%ement a$t#a&&y ser%es to $&arify one another Dsee ;#rrenmatt referen$e5 Chapter /"5 pa!e /(,E. Foti$e how the a$tors are no &on!er p&ayin! a psy$ho&o!y5 4#t rather are p&ayin! with one another. They &ea%e the $on$&#9 sions to the %iewers. Foti$e how speed and atta$) $han!e meanin!.

EXERCISE 3: ACTION AND SPEAKING

/. 2.

;i%ide the !ro#p into $o#p&es. -i%e ea$h $o#p&e the fo&&owin! fi%e a$tions: D/E o%er$ome a resistan$e= D2E $at$h= D3E 4ow= D4E )iss= D"E r#n off. As) ea$h $o#p&e to $reate a mo%ement pie$e #sin! these fi%e a$tions in any order.

3.

2n$e they ha%e $omp&eted a s)et$h5 as) the $o#p&es to intersperse their pre%io#s mono&o!#es Dfrom E8er$ise /5 0pea)in! from 0ats PositionE within the set a$tion5 so that they are spea)in! dia&o!#e whi&e mo%in!.

CHAPTER 9: STARTING TO SPEAK

4. Ea$h $o#p&e sho#&d perform its mo%ementCspea)in! se3#en$es for the who&e !ro#p one at a time. Fote how5 when the spea)in! emer!es from and is $onne$ted to the physi$a& a$tion Das opposed to remainin! separate from itE5 the te8t 4e$omes passionate and persona&. This e8er$ise demonstrates how powerf#& it is to speak from the actual physical experience. Ima!ine yo# ha%e :#st e8perien$ed a $ar $rash. Go# !et o#t of the wre$)ed $ar5 wa&) pre$ario#s&y down the road5 find a person who mi!ht he&p5 and say the fo&&owin! words: 6I was :#st in a $ar $rashH6 Go# wo#&d pro4a4&y not shout: 6I was :#st in a $ar $rashH6 Arom the heat of the e8perien$e of the $ar $rash5 whi$h &i%es fresh&y in the 4ody5 yo# spea) with ne$essity5 e$onomy and in #nion to the e%ent. Go# do not need to sho#t or pro%e any thin!. The re$ent e8perien$e is $onne$ted to the a$t of spea)in!.
Do you feel fear and run from the bear or does the act of running generate the feeling of fear?
JEAN-JACQUES ROUSSEAU

In a$tin! we $an &earn to re&y &ess on !eneratin! fee&in! o#t of thin air, and instead start tr#stin! the simp&e physi$a& a$tions that we &i%e thro#!h onsta!e.
EXERCISE 4: PERSONAL MATERIAL

/. Ea$h parti$ipant $hooses a memory of a rea& e%ent that sti&& e&i$its a stin! of emotion. Perhaps the memory tri!!ers a sense of &oss or intense happiness. 2. Ea$h person sho#&d then $reate a $hain of physi$a& a$tion that em4odies the a$t#a& remem4ered e%ent. Aor e8amp&e5 at a train station yo# are 4iddin! farewe&& to a &o%ed one:
119 I Mr VIEWPOINTS BOOK

4&ow a )iss and wa%e5 t#rn5 wa&) off &oo)in! one time o%er yo#r sho#&der. 3. 2n$e the physi$a& a$tion is determined5 as) a parti$ipant to perform that a$tion se3#en$e5 im4#ed with herChis persona& e8perien$e. Fote how physi$a& a$tion is a $ontainer for fee&in!. 4. ". Fow as) a&& the parti$ipants5 one at a time5 to spea) their memories whi&e mo%in! thro#!h their own physi$a& a$tion5 a&& the whi&e s#stainin! the memory and its effe$t. Fe8t5 !ro#p the parti$ipants into $o#p&es. Ha%e ea$h $o#p&e t#rn its so&o a$tions and mono&o!#es

into s$enes 4y sp&i$in! them to!ether. '. Ea$h $o#p&e presents its $omp&eted s$ene5 one $o#p&e at a time5 for the others.
CHAPTER 10

VIEWPOINTS IN !EHEA!SA#

The
most $ommon&y as)ed 3#estion a4o#t Viewpoints is: 6How do I #se this in rehearsin! a p&ay?6 The app&i$ation of Viewpoints trainin! to the rehearsa& pro$ess is $omp&e8 and $han!es a$$ordin! to the materia&5 the dire$tor7s andCor p&ay9 wri!ht7s point of %iew and the dynami$s of the $ast. Viewpoints trainin! $an 4e in$orporated thro#!ho#t a&& the sta!es of the rehearsa& pro$ess and has a wide ran!e of 4enefits. Fote: This parti$#&ar e8er$ise res#&ts in spontaneity and a &a$) of se&f9$ons$io#sness5 4e$a#se the parti$ipants are 4ein! as)ed to :#!!&e so many thin!s at on$e: physi$a& a$tion5 spea)in!5 inha49 itin! a memory5 and a re&ationship with a partner It is impossi4&e to think yo#r way thro#!h this e8er$ise. There is simp&y too m#$h !oin! on. The m#&tip&i$ation of tas)s in these e8er$ises may seem o%erwhe&min! 4#t is5 in fa$t5 desi!ned to a&&ow int#ition to )i$) in and o%erta)e some of the more &imitin! and $ontro&&in! me$h9 anisms of the 4rain. P ;#rin! the first stages of rehearsal it $an 4e #sed to D/E $reate an ensem4&e and D2E de%e&op a physi$a& %o$a4#&ary for the wor&d of the p&ay. P In the second stages of rehearsal it $an 4e #sed to D/E deepen $hara$ter5 D2E find the physi$a& &ife for the p&ay and D3E app&y dire$t&y to the sta!in! of s$enes or transitions. P ;#rin! the running of a show it $an 4e #sed to D/E pro%ide a $ompany warm9#p and D2E maintain freshness and spon9 taneity in performan$e.
THE VIEWPOINTS BOOK

EA!#& !EHEA!SA#S
It is 4est to in$orporate Viewpoints trainin! into the ear&y rehearsa& pro$ess5 e%en on the first day of a pro:e$t. In wor)in! with %ery e8perien$ed a$tors5 or perhaps somewhat prote$ted a$tors5 ma)e a point of as)in! the !ro#p to 4e open5 to a&&ow for p&ay5 mista)es5 intima$y and em4arrassment. It is he&pf#& to say somethin! &i)e: 6Go# don7t ha%e to &i)e this or a!ree with it5 4#t I as) that5 for today5 yo# approa$h the wor) with an open heart7 Introd#$ed with sensiti%ity5 passion and $&arity5 Viewpoints trainin! a&ways 4rea)s down 4arriers of resistan$eBand 3#i$)&y. App&yin! Viewpoints trainin! at the start of the rehearsa& pro$ess is an e8$e&&ent way to ta)e in new 4odies5 in a new time5 in a new spa$e5 on a new pie$e. When wor)in! with a new !ro#p5 yo# sho#&d a&ways introd#$e the indi%id#a& Viewpoints in a simp&e fashion5 fo&&owin! 4asi$ !#ide&ines Dsee Chapters / and 2E5 e%en if one or more parti$ipants are a&ready e8perien$ed with the pra$ti$e. 2#r s#!!estion is to first mo%e thro#!h the 4asi$ introd#$tion of Viewpoints5 in$&#din! the indi%id#a& Viewpoints5 soft focus, -rid Wor)5 @ane Wor) and 2pen Viewpoints. In the first se%era& days of rehearsa&5 Viewpoints trainin! is primari&y #sed to $reate an ensem4&e5 esta4&ish a short$#t %o$a49 #&ary and esta4&ish a physi$a& %o$a4#&ary.

Create an Ense -le

y ha%in! a !ro#p wor) in $&ose DsweatyE physi$a& $onta$t5 Viewpoints trainin! 3#i$)&y 4rea)s down 4arriers of po&iteness and indi%id#a& fears 4y en$o#ra!in! indi%id#a&s to 4#st thro#!h5 &oosen #p5 p&ay. It7s the differen$e 4etween dippin! yo#r toes in the water and p&#n!in! inBViewpoints is a p&#n!e5 a way to !et the !ro#p f#n$tionin! as a group. Va&#e is p&a$ed on &istenin! and respondin! to others. Press#re is re&eased from any one person who fee&s that they ha%e to $reate in a %a$##m. Emphasis is p&a$ed on the fa$t that the pie$e wi&& 4e made 4y and 4e&on! to e%eryone in the ensem4&eBthere are no sma&& ro&es. Very often5 if
CHAPTER 10: VIEWPOINTS IN REHEARSAL

the p&ay is not ensem4&e in nat#re5 these sessions 4e$ome one5 if not the on&y5 opport#nity for the7$ompany to 4e to!ether and wor) to!ether as a $ompany #nti& the 4e!innin! of te$h andCor performan$es. DParti$ipants ha%e often $ommented that were it not for Viewpoints5 they mi!ht ne%er ha%e )nown that so9and9so was in the same show.E

Esta-lis+ a S+ortcut Spo0en Voca-ular/

2n$e the termino&o!y of Viewpoints is introd#$ed5 it $an remain a short$#t for !i%in! dire$tion or as)in! for ad:#stment thro#!ho#t the entire pro$ess. If yo# are wor)in! with ten peop&e onsta!e5 rather than ta)in! fi%e min#tes to say: 6Iohn5 mo%e downsta!e ri!ht a4o#t a foot5 no #psta!e a 4it more5 !ood ...6 or 6Fow 0arah5 ta)e a step to yo#r &eft... no5 :#st one step ...6 yo# $an simp&y say: 60patia& Re&ationship6 and the !ro#p wi&& instant&y ad:#st themse&%es into more powerf#& e8pressi%e re&ationships and sta!e pi$t#res. Famin! ways to ta&) a4o#t time and spa$e onsta!e &eads to a shared &an!#a!e5 a $ommon %o$a4#&ary. This sa%es time and $ir$#m%ents mis#nderstandin!.

Esta-lis+ a P+/sical Voca-ular/ ,or t+e Pla/DWorld

What ma)es one prod#$tion different from another? What ma)es ten a$tors in one prod#$tion a&& seem &i)e they7re in the same pro9 d#$tion5 whi&e ten in another are a&& a$tin! in different p&ays? What ma)es a P&ay9Wor&d spe$ifi$ and therefore memora4&e? The f#ndamenta& notion imp&i$it in a&& o#r dis$#ssion of 4oth View9 points and Composition is that there is an a$t#a& &an!#a!e in the physi$a& &ife of a prod#$tion. There is a spo)en te8t D#s#a&&yE5 4#t there is a&so a mo%ement andCor ima!isti$ te8t. As dire$tors and desi!ners and performers5 we say thin!s5 ma)e statements5 $reate meanin!5 with the physi$a& &ife of a prod#$tion. We need to ma)e o#r writing as spe$ifi$ as we wo#&d wish of the p&aywri!ht. This
123 THE VIEWPOINTS BOOK CHAPTER 10: VIEWPOINTS IN REHEARSAL

ear&y wor) on esta4&ishin! the %o$a4#&ary of a P&ay9Wor&d is the same as a writer $o&&e$tin! phrases or resear$h5 a painter $hoosin! the $o&ors for the pa&ette5 a $omposer e8p&orin! fee&s Dor fie&dsE 4efore any of the spe$ifi$s are set in stone. Fot a&& paintin!s in$&#de a&& $o&ors= e%en a pie$e of 4aro3#e m#si$ is identified 4y distin$t $hara$teristi$s of harmony and meter.
ET+at?s Vice.E

The prod#$ers of the te&e%ision show Miami Vice emp&oyed a man whose :o4 it was to meet with whoe%er was dire$tin! that wee)7s episode5 !o with himCher to s$o#t &o$ations5 shop for $&othes5 et$.5 and determine if somethin! was or was not "Vice." When somethin! 4e&on!ed in the wor&d of the show5 he7d say: 7That7s Vice"; when it didn7t5 he7d say: 6That7s not Vice." When wor)in! on a prod#$tion5 these ear&y Viewpoint ses9 sions are a4o#t &eadin! the !ro#p to a $o&&e$ti%e a!reement a4o#t what is and what is not "Vice" for the parti$#&ar P&ay9Wor&d.

EPoint to it.E

If the p&ay is set in a parti$#&ar period or p&a$e5 do 2pen View9 points with that settin! as a theme. Ima!es and patterns and te89 t#res wi&& appear that yo# sho#&d note and then point o#t to the $ompany. As the phi&osopher Witt!enstein said: 6If yo# $an7t say it5 point to it.6 A pi$t#re of the thin! to 4e $reated wi&& s&ow&y emer!e. It wi&& in$&#de $ertain thin!s Dmay4e swir&in! topo!raphy5 may4e peop&e on the f&oor5 may4e s&ow temposE and it wi&& e8$&#de others. Aee& free to point to thin!s that are not of the P&ay9Wor&d and e8p&ain why. If yo# are $reatin! a pie$e with an in%ented P&ay9Wor&d yo# wi&& 4e!in to define it. How does time wor) here? What #ne89 pe$ted opposites !o to!ether? Very often5 we $annot p#t into e8a$t words what a pie$e sho#&d &oo) &i)e5 mo%e &i)e5 fee& &i)e. 0ometimes we don7t e%en )now o#rse&%es. #t we )now it when we see it. We )now what mo%es #s and e8$ites #s. 0o5 &et7s say yo# are !oin! into rehearsa& for a prod#$tion of E&mer Ri$e7s The Adding Machine or the /+"1s m#si$a& The Boy Friend, whi$h is set in the /+21s. Go# mi!ht do 2pen Viewpoints 4y droppin! in 6The /+21s.6 Ha%e ha&f the $ompany wor)5 the other ha&f wat$h. When yo#7re done5 as) the !ro#p that wat$hed to say what they o4ser%edBnot !ood or 4ad5 4#t simp&y what emer!ed. What topo!raphy did the a$tors wor) on? What shapes were repeated? What !est#res? Go# mi!ht note fast tempos5 !eo9 metri$ shapes5 isolation of 4ody parts. Then dis$#ss whether the patterns that emer!ed are or are not "Vice," or rather: 6That7s Adding Machine" or 6That7s Boy Friend," and why.
EAn/t+in. is possi-le.E

As dis$#ssed ear&ier5 Viewpoints $an free an a$tor from the 4e&ief that: 6*y $hara$ter wo#&d ne%er do that.6 Viewpoints is a too& for dis$o%erin! a$tion5 not from psy$ho&o!y or 4a$)story5 4#t from immediate physi$a& stim#&i. A$tors and dire$tors sho#&d wat$h the $ompany Viewpoint5 and note not on&y the moments that are o4%io#s&y in the p&ay5 4#t those that could 4e. As dire$tors5 we $an 4e :#st as narrow9 minded in sayin!: 6*y p&ay wo#&d ne%er in$&#de that.6 Viewpoints is yo#r !ift for e8p&odin! the en%e&ope5 wor)in! o#tside the 4o85 findin! more #ne8pe$ted $hoi$es5 remainin! open to what happens and what stirs yo#5 rather than what yo# ori!ina&&y tho#!ht sho#&d and sho#&d not. Consider e%erythin!. y o4ser%in! emer!in! patterns in Viewpoints5 yo# wi&& 4e a4&e to de%e&op what we $a&& an Ingredients List Jeep a &ist of what o$$#rs time and a!ain and is of yo#r P&ay9Wor&d. Jeep a &ist of what persists and resonates. @et these impressions form the fo#ndation of yo#r In!redients @ist: the possi4&e items yo# mi!ht #se to $reate yo#r mi8t#re Din this $ase the prod#$tionE. These mi!ht
F'; F')

THE VIEWPOINTS BOOK

CHAPTE! F(2 VIEWPOINTS IN !EHEA!SA#

in$&#de %ery spe$ifi$ !est#res5 types of mo%ement5 or a$t#a& se3#en$es yo# wi&& &ater in$orporate into the prod#$tion. DThe In!redients @ist is dis$#ssed in !reater detai& in the ne8t $hapter.E En$o#ra!e them to &et thin!s emer!e5 rather than play at or illustrate. They do not need to wa&) or 4eha%e different&y5 on&y 4e$ome aware of how the idea of their $hara$ter mi!ht s#4t&y shift their $hoi$es of tempo D;oes this person mo%e fast or s&ow?E5 their re&ationship to ar$hite$t#re D;oes the person h#! wa&&s or thri%e in the $enter of open spa$e?E5 and so on. *aintain awareness of the indi%id#a& Viewpoints and $ontin#e to wor) off others. When yo# stop the Viewpoints wor)5 dis$#ss what re&ationships emer!ed between peop&e. ;id the parti$ipants find themse&%es $&ose to $ertain indi%id#a&s= far from others? Were there $omfort >ones and dan!er >ones? Aor f#rther e8p&oration5 se&e$t a sma&& n#m4er of peop&e to do 2pen Viewpoints in $hara$ter. Ha%e them $hoose distin$t or heated relationships horn the wor&d of the p&ay yo# are rehearsin!: a !ro#p of fo#r who are 4&ood re&ations5 a $o#p&e who is fa&&in! in

&o%e5 two !ro#ps at war with ea$h other. Repeat the a4o%e5 4#t within a !i%en setting. Go# $an $hoose a doorway or stairwe&&5 yo# $an $hoose to !i%e them one $hair and fi%e feet of p&ayin! spa$e. Repeat the a4o%e Dwith the same or different $hara$tersE5 4#t add a situation or circumstance. Go# $an state that it is &ate on a $o&d winter7s ni!ht5 yo# $an state that they a&& want to &ea%e 4#t on&y one of them $an.

%I""#E STAGES
In the ear&y to midd&e sta!es of rehearsa& yo# start to address if5 and how5 yo# wo#&d &i)e to app&y Viewpoints to the spe$ifi$s of the te8t Dass#min! there is oneE. The e8er$ises in whi$h View9 points trainin! is most #sef#& in terms of approa$hin! te8t5 $har9 a$ter and s$ene wor) are e8p&ored more $omp&ete&y in Composi9 tion e8er$ises DChapters //9/"E rather than Viewpoint e8er$ises. #t here are some !enera& e8er$ises that $an he&p 4rid!e the !ap 4etween the open 3#a&ity of the Viewpoints and the $on$rete nat#re of the te8t.

T+e Pla/
Go# $an Viewpoint with any word or dire$ti%e as a stim#&#sB9we7&& $a&& this the seed. The word or phrase yo# drop in for the !ro#p is meant to 4e on&y a startin! point5 o#t of whi$h somethin! wi&& e%o&%e. Aor e8amp&e5 in wor)in! on Che)ho%5 yo# mi!ht 4e!in 2pen Viewpoints with the seed of: 6R#ssia6 or 6The -entry6 or 6*emory6 or 6*a)in! Theater6 or 6<nspo)en Passion.6 Add spe$ifi$s as desired= for instan$e a $onfined spa$e in whi$h to wor)5 a !i%en $ir$#mstan$e5 or $hara$ter assi!nments.
EXERCISE 2: LIFE STORY TOPOGRAPHY FOR CHARACTER

I#st as ea$h indi%id#a& wor)ed on $reatin! herChis own &ife story thro#!h Topo!raphy Dsee Chapter "5 Additiona& E8er$ises for Ao$#sin! on Indi%id#a& Viewpoints5 E8er$ise 'E5 now ea$h indi9 %id#a& does the same for a $hara$ter in the p&ay Dor the one sChe is p&ayin!= this is the dire$tor7s $hoi$eE. -i%e them fi%e to ten min#tes to wor) on and de%e&op their se3#en$e of f&oor patterns. Ea$h indi%id#a& presents herChis mo%ement pie$e for the !ro#p.

C+aracter
EXERCISE I: OPEN VIEWPOINTS "IN CHARACTER"

e!in 2pen Viewpoints. Ha%e the $ompany drop in the idea of $hara$ter. @et 6who they are6 inf&#en$e their $ontin#in! wor).

F':

THE VIEWPOINTS BOOK CHAPTER 10: VIEWPOINTS IN REHEARSAL

EXERCISE 3: ELEMENTS OF A CHARACTER PORTRAIT, OR THE HOT SEAT (TWO PARTS) ________________________________ As your character, fill in these statements:

It7s #sef#& to do this e8er$ise ear&ier rather than &ater in the rehearsa& pro$ess5 idea&&y 4efore or :#st as the a$tors !et on their feet for the first time. Aor some5 this wi&& fee& premat#re. They mi!ht insist that they don7t )now anythin! a4o#t who their $hara$ters are yet5 and that ma)in! $hoi$es now wi&& 4e &imitin! &ater. It7s important to stress to the $ompany that yo# are p#rpose&y as)in! them to approa$h the wor) from two %ery different an!&es: D/E from the head5 4y doin! te8t wor)5 dis$#ssion5

readin! the p&ay a&o#d and D2E from their int#ition5 dreams and impressions. @et them )now that for the moment they7re s#pposed to ma)e immediate and rash de$isions5 and that nothin! they say today m#st 4e tr#e tomorrow. This e8er$ise $an 4e de%e&oped 4y the dire$tor to in$&#de some5 a&&5 or none of the fo&&owin! spe$ified 3#estions. Choose what is most #sef#& for yo#r parti$#&ar p&ay and $ompany. And5 if interested5 yo# $an #se what the a$tors $ome #p with &ater in Composition wor)5 4y ha%in! them $om4ine the separate e&e9 ments they $reate here into a f#&& Composition: a Chara$ter Composition Dsee Chapter /35 E8er$ise 4E.
My name is _____________________________________________ . I am _________________________________years old. I am from _____________________________________________ . My profession is _____________________________________________ . Five facts I know from the text are: I am a student. I am single. My father just passed away. I take long walks. I say, "Excuse me," frequently.

Part I: Writing

-ather the !ro#p to!ether in a $ir$&e5 ea$h with pad and pen$i&. As) them to $omp&ete a series of persona& statements a4o#t their $hara$ter Dsamp&e statements and responses are 4e&owE. They sho#&d write down the entire senten$e as yo# state it5 then fi&& in the 4&an)s= when they read their answers 4a$) &ater5 they m#st answer with the f#&& statement e8a$t&y as it was posed to them. -i%e them a tiny 4it &ess time for ea$h 3#estion than yo# thin) they need to answer it tho#!htf#&&y= $reate Exquisite Pressure 4y red#$in! time and in$reasin! spontaneity.

Five things I intuit (but which are not stated in the text) are: I sleep poorly at night. I'm afraid of being alone. I laugh in a high cackle. My favorite color is blue. I'm embarrassed by my height. A telling action I perform in the play is _______________________________________________ . A telling line I speak is _______________________________________________ . My greatest fear is________________________________. My greatest longing is_____________________________. Odd habits I have are _____________________________. My likes include, _________________________________. My dislikes include _______________________________________________ .
129 128

THE VIEWPOINTS BOOK CHAPTER 10: VIEWPOINTS IN REHEARSAL

Part 2: Moving

After yo#7%e finished with the 3#estions from a4o%e5 and 4efore yo# read them a&o#d5 !et the $ompany to wor) on their feet. 0tate o#t &o#d to them the fo&&owin! &ist of mo%ements5 whi$h they need to !enerate on their own5 and !i%e them fi%e to ten min#tes to prepare: S An a$tion with Tempo that e8presses $hara$ter S An a$tion with ;#ration that e8presses $hara$ter S A f&oor pattern that e8presses $hara$ter S Three eha%iora& -est#res that are parti$#&ar to the $hara$9 ter7s persona&ity5 $#&t#re5 time or p&a$e S Two E8pressi%e -est#res that e8press the essen$e of $hara$9 ter5 a prope&&in! for$e or a $onf&i$t within S A wa&) a$ross the room with 4o&d $hoi$es re!ardin! Tempo5 0hape and Topo!raphy. -ather the !ro#p 4a$) to!ether and sit as an a#dien$e. As) one indi%id#a& at a time to !et #p into the hot seat and share herChis statements and mo%ement5 in e8a$t&y the way yo# ordered it5 with the e8a$t wordin!. Aor instan$e5 the indi%id#a& sho#&d say5 6*y name is &an$he ;# ois56 then !o on to state her a!e5 et$.5 endin! with Das a $omp&eted e8amp&eE5 6*y dis&i)es in$&#de na)ed &i!ht 4#&4s5 et$.6 When ea$h parti$ipant performs herChis mo%ement5 sChe sho#&d state the name= for instan$e5 sChe sho#&d anno#n$e5 6Tempo56 then perform the a$tion5 then 6;#ration56 et$.5 ma)in! s#re there is a $&ear start and finish to ea$h a$tion5 ret#rnin! to ne#tra& in 4etween. Alternative: Ha%e $ast mem4ers wor) on and present a $har9 a$ter that someone e&se is p&ayin!5 instead of the $hara$ter they ha%e 4een $ast to p&ay.

SCENE WO!K
EXERCISE: VIEWPOINTS AND TEXT_____________________

0$ene partners Viewpoint off ea$h other. They $an wor) with or witho#t te8t. Primary fo$#s is on the indi%id#a& Viewpoints5 with the te8t f&oatin! on top of the mo%ement. 6Fo a$tin!5 p&ease6 is the operati%e here5 #nti& the mo%ement or!ani$a&&y and ine%ita4&y 4e!ins to inform the a$tion and &ead to emotiona& $hoi$es. D0ee more on this in Chapter +5 0pea)in! from 0ats Position5 E8er$ise /5 pa!e //".E
EXERCISE 2: EXPRESSIVE STAGING

;i%ide the $ompany into !ro#ps of s$ene partners a$$ordin! to who p&ays with whom in the te8t. A !ro#p mi!ht end #p ha%in! two peop&e of twenty. Ha%e ea$h !ro#p $reate a se3#en$e of mo%e9 ment that e8presses one of the fo&&owin! three assi!ned topi$s: /. The essen$e of their re&ationship to ea$h other. 2. The essen$e of their re&ationship to the spa$e. 3. The 4&o$)s of a$tion in a parti$#&ar s$ene. Aor this5 4rea) the s$ene down into three to fi%e se$tions5 and !i%e ea$h se$tion a tit&e5 as if it were a $hapter in a 4oo). Create mo%ement that e8presses the essen$e of the tit&e for ea$h se$tion. Aor instan$e: 6The Arri%a&56 6Cat and *o#se56 6The Ai!ht e!ins6 and 6@eft A&one6 mi!ht 4e the $hapter tit&es of a !i%en s$ene. The mo%ement sho#&d not 4e i&&#strati%e and 4o#nd 4y the detai&s of the s$ene. The point of the tit&es is to trans&ate the a$tion of the s$ene into &ar!er5 more s$hemati$ or i$ono!raphi$ ideas.

The se3#en$e of mo%ement sho#&d #se a&& the indi%id#a& Viewpoints5 and sho#&d $onsist of fi%e to ten mo%es Dyo# $an assi!n any n#m4erE. Ea$h !ro#p sho#&d refine and repeat their se3#en$e #nti& it is set. The mo%ement sho#&d 4e E8pressi%e rather than des$ripti%e.
130 THI VIEWPOINTS BOOK CHAPTER 10: VIEWPOINTS IN REHEARSAL

Fe8t5 one !ro#p performs their mo%ement for the other !ro#ps. At this point5 4ased on yo#r $aref#& o4ser%ation of where this parti$#&ar !ro#p is and what wo#&d 4e he&pf#&5 yo# $an $hoose one of the fo&&owin! fo#r options: /. 2. Ha%e the !ro#p repeat the form of the mo%ement5 4#t p&ay with different Tempos and ;#ration5 with e8treme aware9 ness of Jinestheti$ Response Dshifts in timin! wi&& not $han!e what is performed 4#t how it is performed= see the Pinter e8er$ise in Chapter +E. Ha%e the !ro#p repeat the mo%ement whi&e addin! te8t. The te8t sho#&d float on the mo%ement rather than m#s$&e it into somethin! new. Pay attention to how the meanin! of &ines and a$tin! 4eats $han!e 4y the physi$a& a$tion with whi$h it is a&i!ned. This pro%ides an immediate e8p&osion of e8pe$tations aro#nd a s$ene. When yo# wor) on noni&9&#strati%e mo%ement $omp&ete&y separate from the te8t and then p#t the mo%ement and te8t to!ether5 the possi4i&ities of a s$ene e8p&ode open. Ha%e the !ro#p in$orporate the te8t with their mo%ement5 as a4o%e5 and then $ontin#e thro#!h the rest of the s$ene #sin! 2pen Viewpoints. Witho#t any te8t at first5 ha%e the !ro#p 4e!in their mo%e9 ment and ma)e a f&#id transition into Viewpointin! off ea$h other when they !et to the end of their set se3#en$e. As they are wor)in!5 at any point when yo# fee& that they are $omp&ete&y $onne$ted and &istenin! to ea$h other7s 4odies5 ha%e them add te8t and th#s 4e!in the s$ene5 witho#t de$reasin! any awareness of Viewpoints.

3. 4.

Ha%e ea$h !ro#p wor) in this fashion5 and with yo#r !#idan$e. When a&& !ro#ps ha%e !one5 dis$#ss what emer!ed as possi4i&ities for yo#r prod#$tion.

STAGING
Viewpoints trainin! $an 4e #sed to $reate sta!in! D4&o$)in!E for a prod#$tion. Aor 4oth a$tor and dire$tor5 Viewpoints is a pathway to #ne8pe$ted $hoi$es not di$tated 4y te8t5 psy$ho&o!y or inten9 tion. This does not mean that Viewpoints is in$ompati4&e with other approa$hes to a$tin!5 on&y that it pro%ides an a&ternati%e and a $omp&iment. Aor instan$e5 one of the most rewardin! app&i$ations of Viewpoints trainin! for Tina has 4een at the 0teppenwo&f s#mmer pro!ram in Chi$a!o5 where a three9ho#r dai&y Viewpoints $&ass is fo&&owed 4y a *eisner te$hni3#e $&ass ta#!ht 4y 0teppenwo&f ensem4&e mem4er Amy *orton. Whi&e the means are different5 we ha%e dis$o%ered that the ends of 4oth te$hni3#es are %ery m#$h the same: to 4e in the moment5 to &isten5 to respond to what yo#r partner !i%es yo#. A reminder: Viewpoints does not imp&y a sty&e. The wor) prod#$ed 4y Viewpoints $an 4e hi!h&y forma& and $horeo!raphi$ or hi!h&y nat#ra&isti$ and 4eha%iora&. To one e8treme5 yo# $an #se Viewpoints to find mo%ement that yo# then set5 independent&y from the te8t Das stated a4o%eE. The te8t is p#t to!ether with the set mo%ement to $reate tension and :#8taposition. The te8t and mo%ement 4e$ome hi!h&y &e!i4&e thro#!h their difference from ea$h other. To the other e8treme5 yo# $an simp&y rehearse a s$ene whi&e maintainin! awareness of the indi%id#a& Viewpoints. Peop&e ta&)5 sit5 drin) $offee5 p&ay $ards5 et$.5 whi&e ta)in! $are of 0patia& Re&ationship . . . whi&e ha%in! a sense of ;#ration ... whi&e #sin! Ar$hite$t#re ... 2f $o#rse dire$tors $onstant&y ma)e $hoi$es5 $ons$io#s or not5 in%o&%in! Viewpoints5 most o4%io#s&y in their 4&o$)in!5 whi$h #ti&i>es Ar$hite$t#re and Topo!raphy5 DAor more tho#!hts on Viewpoints and dire$tin!5 see Chapter /,.E If yo# are dire$t9 in!5 as) yo#rse&f: What is the sta!in! in this pie$e? Is it the way we o4ser%e peop&e in real life? Am I sta!in! a rep&i$ation5 a do$#9 mentary5 a $ommentary? Is it

someone7s dream5 a ha&&#$ination5 a fantasy? Is it an e8pression of one $hara$ter7s fee&in!? 2r a memory from a parti$#&ar point of %iew? Is it a diatri4e or a p&ea?
132 133 THE VIEWPOINTS BOOK CHAPTER 10: VIEWPOINTS IN REHEARSAL

In o#r e8perien$e5 Viewpoints trainin! has 4een in%a&#a4&e for maintainin! freshness in the &on! r#n of shows. Viewpoints as)s the a$tors to remain $onstant&y awa)e. A&tho#!h the form is more or &ess repeated ni!ht to ni!ht5 the 6how it is fi&&ed6 $ertain&y $han!es5and5 e%en more important&y5 what a$tors are !i%en 4y their partnerDsE is ne%er the same. Viewpoints trains a$tors to remain awa)e to the most s#4t&e shifts of their partners. The stories of a$tors who ha%e !otten offsta!e on&y to 4e to&d a4o#t an a$$ident that o$$#rred #psta!e ri!ht 4ehind them ... or who didn7t hear the siren o#tside ... or5 may4e worse5 who were payin! so m#$h attention to the siren o#tside that they did not noti$e their s$ene partner7s ad:#stment... or of the a$tors who say their &ines e8a$t&y the same way ni!ht after ni!ht whi&e the wor&d shifts seismi$a&&y aro#nd them Bthese are the wonders and pitfa&&s of 4ein! onsta!e witho#t awareness. Ha%e the parti$ipants $reate mo%ement5 #sin! Viewpoints5 whi$h a$$omp&ishes any or a&& of the 4e&ow: G Re9$reates 4eha%ior G E8presses re&ationship G E8poses s#4te8t G Hei!htens $onf&i$t G 2perates from one $hara$ter7s point of %iew. ;ifferent aspe$ts of the p&ay wi&& 4e re%ea&ed 4y 6sta!in!6 from dif9 ferent points of %iew. There wi&& ine%ita4&y 4e n#mero#s possi4i&ities that arise here. Thin) of a&& mo%ement that is $reated here as 4ein! $omm#na& property. The $ompany is $o&&e$ti%e&y $omin! #p with as many options and approa$hes as possi4&e. The mo%ement5 they !enerate is yo#rs to edit5 shape or #se in another se$tion.

*O! *$!THE! !EHEA!SA#

After a s$ene is f#&&y rehearsed and sta!ed5 as) the performers to r#n the s$ene whi&e payin! hei!htened attention to the indi%id#a& Viewpoints. They sho#&d pi$) #p on thin!s of whi$h they were pre%io#s&y #naware: &itt&e 4eats5 mo%ement5 4reaths5 t#rns of the head. In%ite them to ad:#st and $han!e within the s$ene5 in response to the new information they are per$ei%in!. 2r5 if yo# want to wor) on a !i%en se$tion5 or if yo# are st#$)5 4e!in to Viewpoint. 0top the $ompany when somethin! #sef#& o$$#rs. As) them to repeat and refine it. Then mo%e on to the ne8t &itt&e $h#n) of materia&. In this way yo# $an a&so ma)e mod#&es of materia& that $an 4e $#t and pasted in other ways &ater.

VIEWPOINTS IN PE!*O!%ANCE
Feither one of #s has e%er done a prod#$tion $onsistin! entire&y of 2pen and unplanned Viewpoints. This wor) wo#&d 4e $&oser to what we $a&& impro%isation.

134

135

INT!O"$CING CO%POSITION

Composition
is a nat#ra& e8tension of Viewpoints trainin!. It is the a$t of writin! as a !ro#p5 in time and spa$e5 #sin! the &an!#a!e of the theater. Parti$ipants $reate short pie$es for the sta!e 4y p#ttin! to!ether raw materia& into a form that is repeat9a4&e5 theatri$a&5 $omm#ni$ati%e and dramati$. The pro$ess of $reatin! Compositions is 4y nat#re $o&&a4orati%e: within a short amo#nt of time5 parti$ipants arri%e at so&#tions to $ertain de&ineated tas)s. These so&#tions5 arran!ed and performed as a pie$e5 are what $onstit#te a Composition. The $reati%e pro$ess demands $ooperation and 3#i$)5 int#iti%e de$isions. It is possi4&e to #se the prin$ipa&s of Physi$a& and Vo$a& Viewpoints whi&e $onstr#$tin! these Compositions. Compositions $an 4e $entered on parti$#&ar p&ays or $an 4e #sed for !eneratin! ori!ina& wor) 4ased on a theme or an idea or a h#n$h. Composition wor) f#n$tions the way s)et$hin! does for a painter: Compositions5 $reated from ideas s)et$hed in time and spa$e5 introd#$e notions that may 4e #sef#& for a !i%en prod#$tion.

I
137 THE VIEWPOINTS BOOK CHAPTER I I: INTRODUCING COMPOSITION

E<5$ISITE P!ESS$!E AN" S$BHECTIVE TI%E

The )ey to Composition wor) is to do a &ot in a &itt&e time. When we are not !i%en the time to thin) or ta&) too m#$h D4e$a#se someone has set a time &imitE5 wonderf#& wor) often emer!es= what s#rfa$es does not $ome from ana&ysis or ideas5 4#t from o#r imp#&ses5 o#r dreams5 o#r emotions. A&& )inds of press#re affe$t the rehearsa& pro$ess of a prod#$tion: openin! ni!ht5 $riti$s5 friends and fami&y5 et$. These press#res are rare&y freein! or $on9 str#$ti%e. E83#isite Press#re $omes from an en%ironment where for$es &ean on the parti$ipants in a way that ena4&es more5 not &ess5 $reati%ity. E83#isite Press#re $omes from an attit#de of ne$essity and respe$t for the peop&e with whom yo#7re wor)in!5 for the amo#nt of time yo# ha%e5 for the room yo# wor) in5 for what yo#7re doin! with a&& of these. When a Composition assi!nment is !i%en5 it7s a&ways impor9 tant to remind the !ro#ps not to spend their time sittin! and dis9 $#ssin! and p&annin!. Arom the start5 they sho#&d !et #p on their feet and 4e!in. Whene%er !ro#ps are spread o#t wor)in! on their own assi!nments5 yo# $an a&ways te&& where the st#$) peop&e areBthey are in%aria4&y sittin! in a $ir$&e5 &oo)in! at their pie$es of paper5 either a&& ta&)in! at on$e or no one ta&)in! at a&&5 as they try to 6$ome #p with ideas.6 Go# $an a&ways spot the !ro#p where the :#i$es are f&owin!: they &oo) &i)e )ids in a p&ay!ro#nd. They are #s#a&&y r#nnin! aro#nd5 with one person sho#tin!: 6I7&& !et the 4roomH6 2r someone &eapin! #p and down in the air5 sayin!: 62ooh oooh5 oooh5 I !ot itH I !ot itH6 2r two peop&e ta&)in! o%er ea$h other at on$e with: 6GesH6 and 6What if.. .6 What are the $onditions ne$essary to $reate E83#isite Press#re for yo#r !ro#p? -i%e them :#st eno#!h time in the Composition assi!nment to $reate somethin! they $an own and repeat Dso it7s not :#st impro% and a$$identE5 4#t not so m#$h time that they $an stop to thin) or :#d!e e%en for an instant. It7s often #sef#& to say: 6Go# ha%e twenty min#tesB!o.6 And then wait it o#t. 0ee how the !ro#ps are fairin!. They wi&& ne%er )now that yo#r wat$h r#ns on subjective time. If they &oo) &i)e they are $&ose to finishin!5 !i%e them a 6one9min#te6 warnin!. P#sh them. If twenty min#tes ha%e a$t#a&&y passed and they7re sti&& in the heat of somethin! rea&&y !oin! on5 and need more time5 !i%e them 6another fi%e56 et$. Pay attention and )eep the press#re on.

E83#isite Press#re is a&so $reated 4y !i%in! :#st the ri!ht amo#nt of in!redients for the assi!nment Dnot too few5 not too manyE5 p#ttin! the proper n#m4er of peop&e in ea$h !ro#p5 and determinin! the $omp&e8ity of the assi!nment. There sho#&d 4e &e%e&s of diffi$#&ty with whi$h yo# 4e!in and to whi$h yo# !rad9 #ate. #t in a&& $ases5 the $ha&&en!e needs to 4e !reat eno#!h5 the sta)es hi!h eno#!h5 for the !ro#p to enter into a state of sponta9 neo#s p&ay. In determinin! how to $reate a s#$$essf#& Composition assi!nment5 how hi!h to t#rn on the heat5 et$.5 $onsider: n#m4ers5 &eader %s. $o&&e$ti%e5 in!redients5 $omp&e8ity and preparation time.

Nu -ers
The number of people in each group. Ear&y on5 it7s #sef#& to 4e!in Composition wor) with three to fi%e peop&e in a !ro#p5 and !row from there. D2n$e5 when Tina was finishin! a three9wee) trainin! pro!ram at 0teppenwo&f5 she !a%e a Composition assi!nment to the entire !ro#pCmade #p of twenty9fi%e indi%id#a&s wor)in! to!ether.E

#eader Vs. Collecti4e6 Includin.2 "Yes, and . . .E

Whether or not there is a leader or director elected in each group. In ear&y Composition wor)5 it7s often 4est not to ha%e one person in a more dominant position than the others. 2ne of the !ifts of Composition is the way in whi$h it as)s #s to 4e$ome a#thenti$ $o&&a4orators5 to wor) with a spirit of !enerosity. If a !ro#p is wor)in! to!ether5 &istenin! to ea$h other5 not worryin! a4o#t power and $ontro&5 theCwor) is #s#a&&y fantasti$. When a !ro#p
139 THE VIEWPOINTS BOOK CHAPTER II: INTRODUCING COMPOSITION

4e!ins assessin! and ar!#in!5 the wor) sta&&s. The a4i&ity to 4e open to whate%er is offered 4y others is $a&&ed: "Yes, and . . .6 En$o#ra!e ea$h mem4er of the !ro#p to say: 6Ges5 and . . .6 as opposed to: 6Fo5 4#t . . .6 When someone offers a s#!!estion5 &oo) for what is #sef#& in it and 4#i&d on it DGes5 and . . .E5 rather than stressin! why it won7t wor) and what sho#&d 4e done instead DFo5 4#t. . .E. 0ay: 6@et7s try it.6 There $omes a point in Composition wor) when it is in%a&#9 a4&e to ha%e peop&e &eadin! the Compositions. When the time is ri!ht5 ha%e an indi%id#a& p#t herChis #ni3#e and persona& wor) o#t into the wor&dBthis is E83#isite Press#re. E83#isite Press#re as)s someone to #n%ei& herse&fChimse&f as an artist5 to stand 4ehind what sChe ma)es5 and to &earn from what sChe and others see. When there is a dire$tor on a Composition5 indi%id#a&s !et &ess time to pra$ti$e their 6Ges5 and . . .6 They are not as)ed as readi&y to $ontri4#te. Howe%er5 there is a person who $an pra$ti$e the 6Ges5 and ...6 in this sit#ationBthe dire$tor. Pra$ti$e 4y as)in!5 determine $ertain thin!s a4o#t yo#r Composition and &ea%e other thin!s open5 in%ite $ontri4#tions and5 most important&y5 4e open to others when they offer their inp#t5 e%en witho#t 4ein! as)ed.

In.redients
The elements you select to be included in any given composition assign- ment, and out of which the work will be composed. These mi!ht in$&#de o4:e$ts5 so#nds5 physi$a& a$tions5 te8t5 theatri$a& $on%en9 tions5 et$. The ri!ht )ind of E83#isite Press#re is $reated 4y how many in!redients yo# assi!n to 4e in$&#ded in the pie$e and how diffi$#&t they are to find5 ma)e or in$&#de.

Co ple1it/
Expressed in structure and length. A $omp&e8 assi!nment5 as opposed to a simp&e one5 in$reases E83#isite Press#re. A Compo9 sition that in$&#des three a$tions and is desi!ned to 4e one

min#te in &en!th is o4%io#s&y more $omforta4&e than a ten9min#te pie$e $omposed of fi%e different se$tions5 ea$h one with a $onf&i$t and reso&#tion. 0tart easy eno#!h to !et yo#r !ro#p on fire. As yo# mo%e forward in Composition wor)5 t#rn #p the heat5 so that yo#r !ro#p is a&ways f&yin! 4y the seat of its pants.

Preparation Ti e
The right amount of time. ;etermine whether to !i%e the assi!n9 ment in the moment and send the !ro#p off5 or assi!n it the day 4efore. When yo# assi!n a dire$tor to &ead the Composition5 it is often #sef#& for yo# to !i%e herChim the assi!nment ear&ier. This a&&ows herChim to determine how m#$h to $ome in with pre9 p&anned5 and how m#$h to $on$o$t in the moment with the ensem4&e. Whether yo# prep&an or $reate in the moment5 ne%er !i%e so m#$h time that the E83#isite Press#re def&ates.
COMPOSITION ASSIGNMENT I: GETTING STARTED AND INTRODUCING MONTAGE_____________________________

*onta!e is a way of p#ttin! ima!es to!ether that in$orporates :#8taposition5 $ontrast5 rhythm and story. It $reates a thro#!h9&ine 4y assem4&in!5 o%er&ayin! and o%er&appin! different materia&s $o&&e$ted from different so#r$es. *onta!e ori!inated with the !enesis of fi&m. In the %ery ear&y days of fi&mma)in!5 a hea%y $amera wo#&d 4e set #p and remain stati$ in order to re$ord $ertain e%ents. Aor e8amp&e5 a me&odrama wo#&d 4e p&ayed o#t in front of the $amera5 or a fire e8tin!#ished 4y fire tr#$)s and firemen wo#&d 4e fi&med from one spot. The $amera did not mo%e. It was pioneer fi&mma)er ;. W. -riffith who first s#!!ested5 m#$h to the s#rprise of his $ameraman i&&y it>er5 that the $am9 era 4e mo%ed $&oser to the a$tion. This one sho$)in! and inno9 %ati%e mo%ement of the $amera !a%e 4irth not on&y to the $&ose9#p5 4#t a&so to editing and point of view. A se3#en$e showin! a firefi!hter at wor) :#8taposed with a $&ose9#p of a woman wat$h9
140 Mi THE VIEWPOINTS BOOK CHAPTER I I: INTRODUCING COMPOSITION

in! the a$tion a&&ows the a#dien$e to see the fire thro#!h the eyes of the woman. The mo%ement of the $amera $reated the ne$essity for editin!. Fo &on!er simp&y a re$ordin! de%i$e5 the $amera 4e$ame a hi!h&y arti$#&ate and s#4:e$ti%e instr#ment. The R#ssian fi&mma)er 0er!ei Eisenstein refined editin! and monta!e into an art form thro#!h emphasis on rhythm and $on9 trast. A series of edited shots Dmonta!eE $o#&d in$orporate and :#8tapose $&ose9#ps5 pans and &on! shots5 and te&& a story in an entire&y new way5 e8pressin! a s#4:e$ti%e point of %iew. A se3#en$e $onsistin! of a series of disso&%es5 s#perimpositions or $#ts $o#&d $ondense time or s#!!est memories or ha&&#$inations. The impa$t of the story #pon the %iewer depended #pon how dis9 parate shots were p#t to!ether. This p#ttin!9to!ether is what $on9 stit#tes monta!e. In fi&m5 monta!e 4e$ame the primary method of te&&in! a story and remains so to this day. The theater $an #se these te$hni3#es5 s#4stit#tin! physi$a& mo%ement for $amera mo%ement and editin!. How $an yo# $reate a $&ose9#p or pan or :#mp9$#t witho#t the #se of a $amera? How $an yo# p#t to!ether disparate materia&s into a who&e5 #sin! the te$hni3#es of monta!e? DAor f#rther e8p&oration5 see Chapter /'5 Composition and Re&ated Arts.E /. ;i%ide into !ro#ps of three. In ea$h !ro#p5 de$ide who wi&& 4e /5 2 and 3. Ea$h parti$ipant wi&& ha%e fifteen min#tes to dire$t the other two !ro#p mem4ers in a short Composition 4ased on notions of monta!e.

2. 0tart the assi!nment 4y definin! monta!e and introd#$e its history and #se in fi&m. 3. ;e$ide on the spa$e in whi$h this Composition wi&& ta)e p&a$e. e$a#se there are so many peop&e dire$tin! and so many Compositions5 it is 4est to determine two distin$t areas: one for the sta!e and another for the a#dien$e. Idea&&y the area $hosen to 4e the sta!e offers some interestin! ar$hite$t#re5 s#$h as doors or windows or a 4a&$ony. 4. Ea$h parti$ipant $hooses a persona& story or in$ident a4o#t &o%e and &oss that sti&& retains a powerf#& persona& re&e%an$e. The tas) of this Composition e8er$ise is to sta!e an e8pression of this story or in$ident in the form of a fi%e9part monta!e5 within these $onfines: K 0tep /: Ten min#tes for e%eryone to &oo) $aref#&&y at the sta!e spa$e in order to storyboard in a note4oo) some ideas for their Composition. It is important that ea$h person a&&ow time for the ar$hite$t#re to inf&#en$e $hoi$es5 to &et the room 6spea)6 and s#!!est ideas a4o#t how it wants to 4e #sed and how it $an 4e #sed to re&ate this in$ident. K 0tep 2: Aifteen min#tes for dire$tor / to sta!e a Composition. K 0tep 3: Aifteen min#tes for dire$tor 2 to sta!e a Composition. K 0tep 4: Aifteen min#tes for dire$tor 3 to sta!e a Composition. The structure. Ai%e shots or ta)es5 ea$h one a ma8im#m of fif9 teen se$onds &on!5 separated 4y blackouts, d#rin! whi$h those in the a#dien$e $&ose their eyes. The dire$tor $an say5 for e8amp&e5 6@i!hts o#t56 and the a#dien$e mem4ers wi&& $&ose their eyes5 and5 6@i!hts #p56 and the a#dien$e mem4ers wi&& open their eyes. It is possi4&e to in$orporate minima& props or f#rnit#re in the monta!e Composition5 4#t on&y when it is ne$essary to e8press somethin! parti$#&ar. It is a&so possi4&e to #se so#nd or te8t5 4#t sparin!&y and with e8a$tit#de5 not impro%ised. E%ery mo%e5 e%ery o4:e$t and e%ery so#nd sho#&d 4e e&o3#ent. The fo&&owin! instr#$tions wi&& he&p ea$h dire$tor $re9 ate herChis monta!e Composition: K Within the fifteen min#tes of rehearsa& try to $horeo!raph the e%ents meti$#&o#s&y5 with !reat attention to detai&. K Wor) physi$a&&y. ;o not waste time des$ri4in! the psy$ho&o!y or meanin! of the in$ident to the
142

141
THE VIEWPOINTS BOOK CHAPTER I I: INTRODUCING COMPOSITION

a$tors. Instead5 spea) with 4re%ity and !i%e physi9 $a& instr#$tions5 s#$h as: 6Enter thro#!h the door 3#i$)&y5 ta)e fi%e steps5 &oo) to the ri!ht5 e8ha&e5 &oo) 4a$) s&ow&y whi&e drawin! o#t the word5 7AireH7 in a whisper56 ;ire$t from a physi$a& rather than a psy$ho&o!i$a& point of %iew. K <se the fifteen min#tes to sta!e an E8pression of the e%ent rather than a Description of it. Describing an e%ent is sta!in! a rep&i$a of it as o4:e$ti%e&y as possi4&e= Expressing an e%ent is sta!in! how it impa$ted yo#5 what it fe&t &i)e thro#!h a s#4:e$ti%e &ens. D0ee ;es$ripti%e Vs. E8pressi%e 0ta!in! a &itt&e f#rther down.E K 2n$e yo# !i%e instr#$tions5 &oo) $aref#&&y at what the a$tors do with them and ma)e ad:#stments

4ased on what yo# o4ser%e a4o#t their $ontri4#9 tion. How $an yo#5 the &eader5 #se the spe$ifi$ physi$a&ity and idiosyn$rasies of these parti$#&ar a$tors most effe$ti%e&y? K Jeep thin!s mo%in!. Wor) int#iti%e&y. Con$entrate on detai&s. Wor) with exactitude. *a)e it matter where thin!s happen and when they happen. ". 2n$e a&& three dire$tors in ea$h !ro#p ha%e had fifteen min9 #tes to sta!e their Compositions5 it is time to perform them for the a#dien$e Dthe other !ro#psE. efore these perfor9 man$es 4e!in5 ta)e a moment for f#rther instr#$tion to the a$tors Dwhi$h in this $ase in$&#des e%eryoneE as we&& as the dire$tors Da&so in$&#des e%eryoneE. To the Actors: K Fow that the de$isions a4o#t a series of $ertain a$tions ha%e 4een a!reed #pon in rehearsa&5 the per9 forman$e of these a!reements is not :#st a4o#t their proper e8e$#tion. A performan$e is on&y a possi4i&ity that somethin! mi!ht o$$#r5 a meetin!5 a rea& h#man en!a!ement. <se Viewpoints trainin! within this $horeo!raphed5 set materia& to remain en!a!ed )inestheti$a&&y and aware of how yo# are hand&in! time to!ether. How does the a#dien$e inf&#en$e the #se of time? Try to s&ow down time and meet one another onsta!e in front of the a#dien$e. K Ta)e $are of the jo-ha-kyu. 0imp&y stated5 the jo-ha-kyu is the 4e!innin!5 midd&e and end. It is the rhythmi$ :o#rney of a !est#re5 an intera$tion5 a story or an e%ent. D0ee des$ription on pa!e /4,.E To 6ta)e $are of the jo-hakyu" means that the a$tors tend to the :o#rney they shape for themse&%es and for an a#dien$e. K Ta)e a $#rtain $a&& at the end of yo#r !ro#p7s three Compositions. To the Directors: K A dire$tor has two ensem4&es: the a$tors and the a#dien$e. Composition wor) is a $han$e to pra$ti$e this d#a& responsi4i&ity. Ta)e $are of the a#dien$e. ;o not ass#me that they )now what to do5 when to $&ose their eyes5 or what wi&& happen ne8t. K Ta)e$areofthea#dien$e7s:o9ha9)y#Dseea4o%eE. e sensiti%e to the a#dien$e7s mood and stamina. Are they tired? ;o they need a 4rea) from: 6@i!hts o#tC@i!hts #p6? Is there a way yo# mi!ht he&p that sit#ation? K Ta)e responsi4i&ity for the a#dien$e7s e8perien$e of time and ;#ration d#rin! the Composition. *a)e s#re the 4&a$)o#ts are not too &on!. It is %ita& for a dire$tor to de%e&op a fee& for the a#dien$e7s e8peri9 en$e of time. K Ta)e $are of the a$tors7 safety and we&&94ein!. Composition wor) is a $han$e for dire$tors to pra$ti$e their re&a9 tionship to an a#dien$e. An a#dien$e $an a&ways sense a dire$9
145
THE VIEWPOINTS BOOK CHAPTER I I: INTRODUCING COMPOSITION

tor7s attit#de toward and re&ationship to them e%en when sChe is not present at the performan$e. 0pe$tators $an sense the dire$tor7s fear5 !enerosity5 $are&essness or $onsideration. <se the Composition e8er$ises to $onsider the a#dien$e7s e8perien$e5 ta)e $are of them5 !i%e them an a$$ess point to enter into yo#r wor). e sensiti%e to their attention.

HODHADK&$
A performance is a flow, which has a rising

and a falling curve.

PETER BROOK

"ESC!IPTIVE VS. E<P!ESSIVE STAGING

Qeami5 the fifteenth $ent#ry Iapanese fo#nder of Foh theater5 wrote 12 Treatises for the Theater, an astonishin! a$$o#nt of his dis$o%eries a4o#t a$tin! and theater that are sti&& re&e%ant and app&i$a4&e today Dsee i4&io!raphyE. 2ne of the f#ndamenta& 4#i&din! 4&o$)s of Qeami7s tho#!ht5 jo~ha-kyu is of parti$#&ai si! nifi$an$e to Viewpoints and Composition. Jo-ha-kyu is essentia&&y a rhythmi$ pattern. Jo-hu-kyu $an 4e simp&y trans&ated as 64e!innin!5 midd&e and end.6 #t5 in fa$t5 the meanin! is m#$h more $omp&e8 and #sef#& as yo# &oo) deeper: In sta!in! a Composition it is possi4&e to sta!e ;es$ripti%e&y or E8pressi%e&y. ;es$ripti%e sta!in! essentia&&y repeats the e8terna& physi$a& and %o$a& rea&ity of the e%ent 4ein! described. Aor e8am9 p&e5 if yo# were to sta!e the ni!ht yo#r !reat &o%e &eft yo#5 yo# $o#&d try to sta!e e8a$t&y what happened &itera&&y D;es$ripti%eE5 or yo# $o#&d sta!e what it fe&t &i)e DE8pressi%eE. Go# $o#&d sta!e a man pa$)in! his s#it$ase and sayin! !ood94ye to a woman sittin! at a ta4&e D;es$ripti%eE5 or yo# $o#&d sta!e a man and a woman s&ow&y wa&)in! 4a$)ward away from one another DE8pressi%eE. The s$#&ptor Constantin ran$#si des$ri4ed his attempt to !et at the E8pressi%e rather than ;es$ripti%e 3#a&ities of his art 4y as)in!: Io T Introd#$tion Ha T E8position Jy# T ;eno#ement. 2r:
Or:

Io T Resistan$e Ha T R#pt#re Jy# T A$$e&eration. Io T Hop Ha T 0)ip Jy# T I#mp.

"When you see a fish, you do not think of its scales, do you? You think of its speed, its floating, flashing body seen through water. Well, I've tried to express just that. If I made fins and eyes and scales, I would arrest its movement and hold you by a pattern, or a shape of reality. I want just the flash of its spirit"

Performan$es of Foh theater5 #s#a&&y presented d#rin! the $o#rse of a &on! e%enin!5 were $omposed of three disparate p&ays: a Foh p&ay D:oE5 a )yo!en or $omedy DhaE5 and another serio#s Foh p&ay
THE VIEWPOINTS BOOK CHAPTER II: INTRODUCING COMPOSITION

D)y#E. Qeami s#!!ests that it is the theater artists7 responsi4i&ity to attend to the a#dien$e7s e8perien$e or :o#rney thro#!ho#t the e%enin!. The :o#rney is di%ided into :o9ha9)y#: Io T Introd#$tion Ha T rea)in! Jy# T Rapid Da !rad#a& in$rease of pa$e from s&ow to fastE. The first p&ay5 :o5 warms the a#dien$e into the e%enin!. Ha 4rea)s the mood of :o= therefore5 in Foh5 the ha se$tion is the $omedy p&ay5 or )yo!en. The )y#5 the other Foh p&ay5 a$$e&erates toward the end. These three se$tions mo%e in an e%er9in$reasin! pa$e and form the 4asi$ dramati$5 rhythmi$ and me&odi$ 4asis of Foh. E%ery theater e%enin! has a :o9ha9)y#. #t now the theory !ets e%en more interestin!:

An e%enin! has a :o9ha9)y# A p&ay has a :o9ha9)y# An a$t of a p&ay has a :o9ha9)y# A s$ene has a :o9ha9)y# An intera$tion has a :o9ha9)y# An a$tion has a :o9ha9)y# A !est#re has a :o9ha9)y#. A$$ordin! to Qeami5 e%ery )y# Dendin!E $ontains the ne8t :o D4e!innin!E= e%ery endin! of a !est#re $ontains the 4e!innin! of the ne8t !est#re. 2n$e yo# 4e!in to re$o!ni>e and e8perien$e :o9ha9)y# in a$tion5 yo# are instant&y responsi4&e to it. It $an 4e a #sef#& too& in or!ani>in! ener!y and f&ow of a$tion on the sta!e: Io T e!in in an easy manner Ha T ;e%e&op dramati$a&&y Jy# T Ainish rapid&y. A s#$$essf#& prod#$tion is a !reat :o#rney. The :o#rney p#&&s an a#dien$e &i)e a ma!net. The e8perien$e draws yo# farther a&on!5 thro#!h tria&s and ro#!h mo#ntain pathways to s#dden $&earin!s and %a&&eys. There are moments to 4reathe and other moments of tension or dramati$ #phea%a&. There is $ontra$tion and e8pansion. @isten to the end of a *ah&er symphony. Hear how the endin!s s&ow down and speed #p sim#&taneo#s&y. *ah&er was a master of )y# in e%ery pie$e of m#si$ he wrote: Io T the initia& phase5 when the for$e is p#t in motion as if o%er$omin! a resistan$e Ha T the transition phase5 r#pt#re of the resistan$e5 in$rease of the motion Jy# T the rapid phase5 an #n4rid&ed $res$endo5 end9 in! in a s#dden stop. The opposition 4etween a for$e that tends to in$rease and another for$e that ho&ds 4a$) determines the first phase: :o Dto retainE. Ha Dto 4rea)E happens at the moment when one is freed from the retainin! for$e5 and de%e&ops #nti& the arri%a& of the third phase5 )y#. In )y# Dspeedin! #pE5 the a$tion $&ima8es with a&& its for$e5 then s#dden&y stops5 as if fa$ed with a resistan$e5 when a new :o is ready to start a!ain. Qeami a&so addressed the a$tor7s responsi4i&ity to the a#di9 en$e in :o9ha9)y#. If a &ate$omer arri%es in the midst of the :o se$9 tion of the p&ay5 Qeami writes5 the a$tor is responsi4&e for 4rin!in! the &ate$omer thro#!h the :o and into the ha with the rest of the a#dien$e. How different this notion is to o#r separation of a#dien$e in the Ameri$an theater. @oo)in! at Qeami7s writin!s $an on&y $ha&&en!e #s to ma)e a theater that is more %ita&.
COMPOSITION ASSIGNMENT 2:TELLING A STORY WITH OBJECTS AND SPATIAL RELATIONSHIPS

/. Ea$h parti$ipant dire$ts a Composition on herChis own5 #sin! o4:e$ts as a$tors. 2. The sta!e is the top of a ta4&e. 3. Te&& a story in fi%e ta4&ea#85 di%ided 4y 4&a$)o#ts5 on the ta4&etop #sin! on&y the o4:e$ts. The story sho#&d 4e e8pressed
148 149 THE VIEWPOINTS BOOK CHAPTER I I: INTRODUCING COMPOSITION

4y the p&a$ement of the o4:e$ts5 their distan$e from one another and what happens to them simp&y in the de%e&op9 ment of 0patia& Re&ationship in the fi%e ta4&ea#8.

A&&ow fifteen min#tes for preparation of these Compositions. In this e8er$ise5 thin) of the ta4&etop as the entire wor&d. Intro9 d#$in! any o4:e$t onto the ta4&e $reates a dramati$ sit#ation.
COMPOSITION ASSIGNMENT 3: LOSS/REUNION

/. 2. 3. 4.

;i%ide into !ro#ps of fo#r to se%en parti$ipants. Choose whether or not to assi!n a dire$tor in ea$h !ro#p. The !ro#ps wor) site9spe$ifi$a&&y5 sear$hin! o#tside of the norma& rehearsa& spa$e to find new &o$ations where they mi!ht sta!e and present their pie$es. Fo 4&a$)o#ts are a&&owed. The Composition sho#&d &ast a ma8im#m of ei!ht min#tes and 4e 4#i&t on the fo&&owin! str#$t#re: DPart /E The *eet9 in!= DPart 2E 0omethin! Happens= DPart 3E @oss= DPart 4E The Re#nion.

. ". The fo&&owin! in!redients need to 4e in$&#ded Din any orderE in this Composition: K Re%e&ationof0pa$e K Re%e&ationof24:e$t K Re%e&ation of Chara$ter K A s#stained moment when e%eryone is &oo)in! #p K 2ne e&ement Dair5 water5 fire5 earthE #sed in e8$ess K A referen$e to a famo#s paintin! K A s#rprise entran$e K A s#stained passionate )iss K ro)en e8pe$tations K 2ne !est#re repeated fifteen times K A sta!ed a$$ident K Twenty $onse$#ti%e se$onds of sti&&ness K Aifteen$onse$#ti%ese$ondsoftop9speedta&)in! K Aifteen $onse$#ti%e se$onds of #nison a$tion K Aifteen $onse$#ti%e se$onds of s#stained &a#!hter K 0o#nd Dother than %o$a&E #sed in three $ontrastin! ways5 for e8amp&e: re$orded m#si$5 &i%e per$#ssion and nat#ra&isti$ so#nd effe$ts K 0omethin! s#n! K 0omethin! %ery &o#d K 0i8 &ines of te8t Dthe instr#$tor sho#&d $hoose these from any te8t so#r$e5 and assi!n the same &ines to a&& !ro#ps= &ater5 as Composition wor) 4e$omes more $omp&e85 yo# $an in$rease how m#$h te8t yo# assi!nE. This Composition may at first seem &i)e an o%er&oad of e&ements5 4#t it wi&& introd#$e the 4asi$s of a theatri$a& !rammar in an e8$itin! way. *ost of the e&ements are an$ient. 6Re%e&ation of 0pa$e56 for e8amp&e5 o$$#rs e%ery time a $#rtain is drawn open. 6 ro)en e8pe$tations77 are fo#nd in e%ery !reat story. And so on. Initia&&y it is #sef#& to wor) site9spe$ifi$a&&y in $reatin! Compositions. This means $hoosin! a site o#tside a traditiona& theater str#$t#re5 s#$h as the side of a 4#i&din!5 a fie&d or a stair9 we&&. The pro$ess of wor)in! site9spe$ifi$a&&y de%e&ops a $ons$io#s9 ness a4o#t ar$hite$t#ra& and spatia& possi4i&ities5 whi$h $an then 4e $arried 4y the $reator 4a$) into a $on%entiona& theater spa$e. Thin) of fo#nd ar$hite$t#re as an a$t#a& set design, a set per9 haps that wo#&d 4e sensationa&&y e8pensi%e5 perhaps impossi4&e5 to 4#i&d in a theater. Thro#!h wor) with these spa$es5 parti$ipants &earn to dream more 4o&d&y5 and in$orporate the detai&s of a fo#nd spa$e to he&p te&& their stories.
150

CHAPTER 12

CO%POSITION TOWA!" %AKING O!IGINA# WO!K

There is a great appetite to work, and then my sketchbook serves me as a cookbook when I am hungry. I open it and even the least of my sketches offers me material for work.
GEORGES BRAQUE

Composition
e8er$ises are espe$ia&&y he&pf#& in the $reation of ori!ina& wor). The time set aside to !enerate Compositions ser%es as an opport#nity to s)et$h ideas in time and spa$e5 &oo) at them5 respond to and $riti3#e them5 and refine or define new dire$tions. <s#a&&y some of the materia& !enerated in the Compo9 sitiona& phase $an 4e #sed dire$t&y in a prod#$tion. The fo&&owin! steps are meant to s#!!est a way to 4e!in $re9 atin! new wor) #sin! Composition wor) as an aid to the in%esti9 !ation of a theme and the !eneration of new materia&.

153 THE VIEWPOINTS BOOK CHAPTER 12: COMPOSITION/MAKING ORIGINAL WORK

K The anchor: The a$t#a& testimonies and e8perien$es of peop&e who $reated and performed in %a#de%i&&e.

STEP I2 THE BASIC B$I#"ING B#OCKS *O! "EVISE" WO!K

K Thestr#$t#re:A%a#de%i&&eshowstr#$t#re. In the $reation of ori!ina& wor)5 it is he&pf#& for the pro$ess to 4e !ro#nded in three 4asi$ $omponents #pon whi$h a prod#$tion $an 4e $onstr#$ted: 3. Cabin Pressure Da p&ay 4y 0ITI Company5 $ommissioned 4y the H#mana Aesti%a& at A$tors Theatre of @o#is%i&&eE K The question: What is the $reati%e ro&e of a theater a#dien$e? K The anchor: A !ro#p of non9theater peop&e are as)ed a4o#t their spe$ifi$ e8perien$es en$o#nterin! theater. K The structure: An aw)ward a#dien$e 6ta&)4a$)6 in a theater 4e$omes a re%erie and meditation. K The3#estion K The an$hor K Thestr#$t#re. The question Dor themeE moti%ates the entire pro$ess. This $entra& dri%in! for$e sho#&d 4e 4i! eno#!h5 interestin! eno#!h and re&e9 %ant eno#!h to 4e attra$ti%e and $onta!io#s to many peop&e. The question emer!es from persona& interest and then spreads &i)e a %ir#s to other peop&e who $ome in $onta$t with it.

The anchor is a person Dor e%entE that $an ser%e as a %ehi$&e to !et to the question. The structure is the s)e&eton #pon whi$h the e%ent han!s. It is a way to or!ani>e time5 information5 te8t and ima!ery. Here are some e8amp&es of these three 4#i&din! 4&o$)s #sed in ori!ina& prod#$tions 4y Anne and Tina:

STEP '2 GATHE!ING %ATE!IA#

2n$e the 4asi$ 4#i&din! 4&o$)s of the pro:e$t are esta4&ished5 it is time to $o&&e$t materia& that mi!ht 4e #sed in the prod#$tion. /. *a)e a &ist of e%erythin! that yo# )now for s#re a4o#t the pro:e$t5 in$&#din! any ideas a4o#t $hara$ter5 te8t5 sit#ation5 story5 de%e&opment5 ima!ery5 et$. 2. *a)e a &ist of e%erythin! that yo# do not )now. What yo# do not )now $an 4e as #sef#& as what yo# )now. These !aps5 these mysterio#s #n)nowns that ma)e yo# #n$ertain and ner%o#s a4o#t the pie$e5 $onstit#te ferti&e !ro#nd. 3. Co&&e$t te8t5 ima!ery5 m#si$5 so#nd5 o4:e$ts and whate%er e&se fee&s "Vice" Dsee Chapter /15 pa!e /24E in re&ation to the pro:e$t. It is fine to 4rin! too m#$h to the ta4&e. Go# are simp&y pointin! at thin!s to he&p yo#r $o&&a4orators into the P&ay9Wor&d. E%erythin! yo# !ather may 4e$ome a $&#e or a %ita& $omponent. /. Culture of Desire Da p&ay de%ised 4y 0ITI Company a4o#t $ons#merismE K The 3#estion: Who are we 4e$omin! in &i!ht of the per%asi%e and rampant $ons#merism that permeates o#r e%ery mo%e thro#!h &ife? K The anchor. Andy Warho&. K The str#$t#re: ;ante7s Inferno. 2. American Vaudeville Da p&ay written 4y Anne and Tina for Ho#ston7s A&&ey TheatreE K The question: What are the roots of Ameri$an pop#&ar entertainment?
154
THE VIEWPOINTS BOOK CHAPTER 12: COMPOSITION/MAKING ORIGINAL WORK

STEP 92 #ATE!A# THINKING

I. 0hare this a$$#m#&ated information with yo#r $o&&a4orators. It is important that the entire !ro#p 4e$omes dire$t&y and persona&&y in%o&%ed ri!ht at the 4e!innin! of the rehearsa& pro$ess. This sense of ownership wi&& 4e pa&pa4&e to an a#dien$e in the fina& prod#$tion and $an !et yo#r $ompany thro#!h the dry spe&&s of a &on! r#n. In%ite them to find their own interest and to persona&i>e the materia&. I!nite their passion. 0harin! information $an either o$$#r In dis$#ssions aro#nd a ta4&e5 or in Composition assi!nments that are $reated 4y sma&& wor) !ro#ps Dsee 0o#r$e Wor) in the ne8t $hapterE. are empowered. This is the time for them in whi$h the pro:e$t 4e$omes &ess theoreti$a& and more persona&.

STEP ;2 CO%POSITIONS
It is now time to de%ise yo#r own Composition assi!nments for yo#r parti$#&ar pro:e$t. The 4asi$ imp#&se 4ehind the Composi9 tiona& sta!e of rehearsa& is the re$htian: 60how meH6 The o4:e$9 ti%e of Composition wor) is to trans&ate theory and ideas into a$tion5 e%ent and ima!e. It is an opport#nity for the ensem4&e to e8p&ore the materia& in $on$rete5 actable ways.

To $reate a Composition assi!nment5 start with what you are wonderin! or $onf#sed a4o#t. *a)e a &ist of ideas and materia& yo# wo#&d &i)e to e8p&ore. In !i%in! the assi!nment5 ma)e s#re that yo# are not des$ri4in! res#&ts5 4#t proposin! p#>>&es that the !ro#p mi!ht so&%e. Fote: There is m#$h o%er&ap 4etween the $on$epts and assi!n9 ments s#!!ested here and those in the ne8t $hapter DComposition Toward Rehearsin! a P&ayE. Aee& free to 4rowse and mi8 and mat$h. Ea$h Composition assi!nment mi!ht e8p&ore one or more of the fo&&owin! 3#a&ities: point of %iew5 ar$hite$t#re5 the ro&e of the a#dien$e5 storyte&&in!5 &i!ht and $o&or5 $hara$ter5 et$.

Point of View
Whose point of view is at p&ay? Whose story is it? How does the theme or s#4:e$t $han!e a$$ordin! to who te&&s it? Is the story9 te&&er seen5 em4odied or imp&ied? If the pie$e $ontains a 3#estion5 who is as)in! the 3#estion? If it is a dream5 who is the dreamer? If it is a memory or an e8or$ism or an ar!#ment5 whose is it?

Arc+itecture
How mi!ht yo# #se the parti$#&ar ar$hite$t#re of the theater andCor the set desi!n? A Composition assi!nment mi!ht address 2. 3. Present a&& the materia& yo#7%e !athered5 and 4e ready to &et any part of it !o when ne$essary Dsee 6Ho&d on ti!ht&y5 &et !o &i!ht&y56 pa!e /'/E. Wor) in the spirit of tria& and error. e open to ta)in! $on$ept#a& &eaps of faith in order to a&&ow for poetry and metaphor. e open to new inf&#en$es and points of %iew from other peop&e. At the same time5 try to stay in to#$h with the $entra& 3#estion5 the it$h5 yo#r interest. After a&& the $o&&e$ted materia&s and ideas ha%e 4een shared5 @atera& Thin)in! $an 4e!in. @atera& Thin)in! is a !ro#nd 4rea)in! method of $o&&a4orati%e Din a !ro#pE dreamin! Dsee Edward de ono7s 4oo) Lateral Thinking: Creativity Step by Step, Harper Perennia&5 Few Gor)5 /++1E. It is a non:#d!9 menta& pro$ess of $o&&e$ti%e&y r#minatin! o%er so&#tions to parti$#&ar shared pro4&ems. Aree&y asso$iatin! off one another7s ideas stim#&ates a $o&&e$ti%e ima!e of the wor&d of the p&ay5 and !enerates new and s#rprisin! ideas a4o#t what mi!ht happen within that arena. It is important for ea$h and e%ery parti$ipant to ta)e ownership in the pro$ess. In p#ttin! yo#r ideas o#t to the ensem4&e5 yo# are openin! yo#r pro$ess to in$&#de them. In pra$ti$in! @atera& Thin)in!5 yo# are pro%idin! spa$e for them to p&ay and dream 4eside yo#. Whi&e yo# remain the fina& word56 the parti$ipants 4e$ome yo#r $o9$reators. They
156
157 THE VIEWPOINTS BOOK CHAPTER 12: COMPOSITION/MAKING ORIGINAL WORK

and e8p&ore some no%e& ways to #ti&i>e the spa$e. Perhaps the assi!nment as)s the parti$ipants to 4rea) or f#&fi&& the e8pe$ta9 tions that the ar$hite$t#re $reates. How $an yo# wa)e #p the spa$e in whi$h the e%ent wi&& o$$#r?

!ole o, Audience

0$a&e
How mi!ht yo# #se o4:e$ts or a$tions that are %ery 4i! or sma&&?

#i.+t and Color

How are &i!ht and $o&or #sed to e8press the theme?

#an.ua.e C+aracter

Pla/DWorld STEP )2 ASSIGN AN" C!EATE

What is the re&ationship of the a$tors to the a#dien$e? 0ho#&d the a#dien$e fee& &i)e Peepin! Toms5 witness to somethin! they sho#&d not see? Are they present at a p#4&i$ $eremony? Are they a :#ry at a tria&? What is their ro&e in the e%ent? Compositions pro%ide a way to e8p&ore %ario#s possi4i&ities in determinin! a so&#tion to this 3#estion. What are the &an!#a!es spo)en? How do peop&e $omm#ni$ate? Where does the te8t $ome from and how is it p&a$ed and spo)en?

Stor/tellin. Tec+niIues
What are the storyte&&in! te$hni3#es that ma)e yo#r story $ome a&i%e? The 3#estion here is not what yo# are te&&in!5 4#t how, The Composition mi!ht e8p&ore fi&mi$ te$hni3#es Dmonta!eE or re$htian theatri$a& de%i$es. Are yo# ma)in! transitions with 4&a$)o#ts or the din! of a 4e&& or s&ow $ross9fadin! te$hni3#es? Are these storyte&&in! te$hni3#es $onsistent or do they transform d#rin! the $o#rse of the pie$e? What defines $hara$ter in yo#r wor)? ;o $hara$ters emer!e thro#!h a$tion5 des$ription5 m#si$5 et$.? What is the arena5 the &ands$ape or the wor&d of the p&ay? D0ee the dis$#ssion of P&ay9Wor&d in the ne8t $hapter.E

Genre *ra in. "e4ices

What is the !enre? How $an yo# emp&oy forms from other so#r$es? Is there a p&a$e for p#ppetry or 4a&&et? What theatri$a& !enres does this pie$e draw from? What histori$a& de%i$es mi!ht 4e #sef#&? Is there a -ree) $hor#s or a %a#de%i&&e s)et$h in the mi8? ;i%ide the ensem4&e into sma&& wor) !ro#ps and ha%e ea$h !ro#p ta$)&e the same assi!nment. A&&ow a minim#m of an ho#r and a ma8im#m of a few days for the !ro#ps to rehearse and sta!e their Compositions. En$o#ra!e the !ro#ps to wor) on their feet d#rin! at &east si8ty per$ent of the a&&otted time Dtoo m#$h dis$#ssion stymies the res#&tsE. En$o#ra!e e%eryone to $reate int#iti%e&y and witho#t fear of fai&#re. The 4est Compositions are often a $om4i9 nation of fai&#res and !iant &eaps. What $reates the 4orders5 or ed!es5 aro#nd the p&ayin! spa$eB and how are these frames possi4&y #sed or shifted?

158 159 THE VIEWPOINTS BOOK CHAPTER 12: COMPOSITION/MAKING ORIGINAL WORK

STEP B2 P!ESENT AN"J "ISC$SS

Hold on tightly, let go lightly.

Perform a&& the Compositions5 one after the ne8t5 with no $om9 mentary in 4etween. We&$ome the wor) with openness and !en9 erosity. En$o#ra!e the parti$ipants to ta)e time in the perfor9 man$es to rea&&y meet one another onsta!e5 rather than :#st me$hani$a&&y mo%in! from ima!e to ima!e5 idea to idea. As Peter roo) des$ri4ed in The Empty Space DTo#$hstone5 Few Gor)5 /++'E5 a sta!e spa$e has two r#&es: D/E Anythin! can happen and D2E 0omethin! must happen. It is the performers7 responsi4i&ity to ma)e s#re that somethin! a$t#a&&y o$$#rs 4etween them when they present their Composition. -i%e feed4a$) for ea$h Composition 4y fo$#sin! on the positi%e inno%ations. Arti$#&ate what is #sef#& to the prod#$tion. Re$o!ni>e any ris)s that were in$#rred5 and s#pport the effort. @ist the pitfa&&s that $ame #p and we&$ome dis$o%eries of what to a%oid whi&e p#ttin! to!ether the prod#$tion at hand. A&&ow for indi%id#a& rea$tions to the Compositions. @isten to a&& responses as $&#es to so&%in! a !reat mystery. Here are some phrases that we ha%e fo#nd #sef#& in dis9 $#ssin! the pro$ess of Composition wor): ;i%e into any endea%or with stren!th5 fortit#de and intention5 4#t at the same time 4e wi&&in! to ad:#st. Jnow what yo# want5 and 4e $omp&ete&y #natta$hed to !ettin! it.
Leap of faith.

Witho#t an int#iti%e leap of faith, wor) remains a$ademi$. Ha%e the $o#ra!e to ma)e $hoi$es that yo# $annot :#stify at the time. These $hoi$es $onstit#te a &eap.
Living is a form of not being sure, not know- ing what is next or how. The moment you know how, you begin to die a little. The artist never entirely knows, we guess. We may be wrong, but we take leap after leap in the dark.
AGNES DE MILLE

A universe from scratch. It is supposed to be the most difficult feat for a ballet dancer to leap into a specific posture in such a way that he never once strains for the posture but in the very leap assumes the posture .. . Most people live completely absorbed in worldly joys and sorrows; they are benchwarmers who do not take part in the dance. The knights of infinity are ballet dancers and have eleva-tion.They make the upward movement...

*a)in! ori!ina& wor) offers the opport#nity to $reate a universe from scratch. Go# $an5 in fa$t5 $reate a #ni%erse with its own &aws of time5 spa$e and &o!i$. It is $ertain&y possi4&e to do this 4y st#dyin! and rep&i$atin! an a$t#a& time and p&a$e if that is what the pie$e re3#ires5 4#t yo# a&so ha%e the a4i&ity to say: 6Anythin! is possi4&e. 0o what sho#&d happen?6 or 6Why sho#&d o4:e$ts fa&& to the !ro#nd as opposed to f&oat #pward?6 With a hea&thy sense of ad%ent#re and fa$in! a 4&an) pa!e5 yo# set off into the #n)nown. D0ee P&ay9Wor&d se$tion in the ne8t $hapter.E

S0REN KIERKEGAARD, FEAR AND TREMBLING /'1 /'/

CO%POSITION TOWA!" !EHEA!SING A P#A&

In
$reatin! new wor)5 yo# wor) from a source, whether it is a 3#estion5 an ima!e5 a histori$a& e%ent5 et$. In wor)in! on a p&ay5 yo# a&so en$o#nter a so#r$e. The p&ay 4e$omes yo#r so#r$e5 and it5 in itse&f5 $ontains others. 0o#r$e Wor) is a series of a$ti%ities done at the 4e!innin! of the rehearsa& pro$ess to !et in to#$h D4oth inte&&e$t#a&&y and emotiona&&y5 4oth indi%id#a&&y and $o&&e$ti%e&yE with the so#r$e from whi$h yo# are wor)in!. It7s the time ta)en D4efore yo# 4e!in rehearsin! anythin! the a#dien$e mi!ht a$t#a&&y witness onsta!eE to enter with yo#r entire 4ein! into the wor&d5 the iss#es5 the heart of yo#r materia&. 0o#r$e Wor) $an in$&#de5 4#t is not &imited to the wor) done in Viewpoints and Composition trainin!5 0o#r$e Wor) $an ta)e many forms. It may in$&#de presenta9tions or reports !i%en 4y a$tors on spe$ified topi$s5 &earnin! period
THE VIEWPOINTS BOOK CHAPTER 13: COMPOSITION/REHEARSING A PLAY

dan$es5 4#i&din! a !ro#p art insta&&ation and5 of $o#rse5 Compo9 sition. 0o#r$e Wor) $an 4e anythin! yo#r ima!ination de%ises5 as &on! as it mo%es the $ompany $&oser to the materia& and an in%estment in it. 0o#r$e Wor) a&&ows for si&ent and in%isi4&e $omm#ni$ation. 0o#r$e Wor) is a way of &i!htin! the fire so that e%eryone $an share in it. It7s not a4o#t sta!in!. It7s not a4o#t settin! the fina& prod#$t. It7s a4o#t ma)in! time at the 4e!innin! of the pro$ess Dsometimes on&y a day or two5 sometimes a month or more5 dependin! a&ways on time &imitationsE to wa)e #p the question inside the pie$e in a tr#e5 persona& way for e%eryone in%o&%ed. 0o#r$e Wor) as)s the entire $ompany to parti$ipate with its entire 4ein! in the pro$ess5 rather than ass#me a pres$ri4ed or passi%e ro&e. It as)s ea$h person to $ontri4#te5 $reate and $are5 rather than wait to 4e to&d what the p&ay is a4o#t or what their 4&o$)in! sho#&d 4e. A dire$tor often does 0o#r$e Wor) on herChis own 4efore rehearsa&s 4e!in. Anne reads a ton of 4oo)s and &istens to do>ens of new C;s. Tina $#ts o#t photo!raphs and sti$)s them a&& o%er her wa&&s. 2ther dire$tors mi!ht !o to the &i4rary5 ma)e fie&d trips5 ta&) to peop&e5 $ond#$t any )ind of resear$h or preparation that may inform the wor). 0o when a dire$tor wa&)s into rehearsa& on the first day5 sChe is often wee)s or months ahead of the rest of the $ompany in herChis o4session with the materia&. 0o#r$e Wor) is #sed to pro%ide a time and spa$e for all the $o&&a4orators to fi&& #p with their own )now&ed!e5 interest5 dreams and rea$tions to the materia&. Thin) of it this way: the dire$tor has $a#!ht a disease5 and somehow in these $riti$a& ear&y moments of the pro$ess5 sChe has to ma)e the disease $onta!io#s. 0o#r$e Wor) spreads the disease. Source Work is an invitation to obsession. The so#r$e is anythin! that is the ori!in for the wor) at hand. 0o#r$e Wor) is a4o#t !ettin! in to#$h with this ori!ina& imp#&se behind the wor)5 as we&& as the wor) itse&f5 i.e.5 the te8t5 its re&e%an$e5 its period5 its a#thor5 or the physi$a& and a#ra& wor&d of the prod#$tion. The so#r$e of a theater pie$e $an 4e as intan!i4&e as a fee&in! or as $on$rete as a newspaper $&ippin! or fo#nd o4:e$t. Theater $an 4e made with anythin! as its so#r$e. 0o#r$e Wor) is the time we p#t aside to riff off the so#r$e5 to respond to it as a !ro#p5 and to $a#se and identify an e8p&osi%e $hemistry 4etween it and #s.

Source Wor0 in !e+earsal

The $#stomary resear$h and dis$#ssion that often 4e!ins a rehearsa& pro$ess $o#&d 4e $onsidered a form of 0o#r$e Wor). These #sef#& a$ti%ities as) the $ompany to wor) from their heads. They in$&#de: K Wat$hin! re&ated mo%ies5 %ideos5 ;V;s K @istenin! to re&ated m#si$ K Reportin! on re&ated topi$s5 in$&#din! histori$a& resear$h on the mo%ement5 eti3#ette5 et$.5 of the period of the pie$e. #i&din! on this pre&iminary 6head wor)56 0o#r$e Wor) is desi!ned to awa)en the int#ition 4#t a&so the #n$ons$io#s. When introd#$in! 0o#r$e Wor) to a $ompany of a$tors5 &et them )now that you )now what yo# are as)in! them to do: to ma)e $hoi$es and de$&arations way too early and fast. This is p#r9 posef#&. Their $hoi$es are meant to er#pt o#t of instin$t. And the $hoi$es $an Dand wi&&E $han!e tomorrow. A$tors mi!ht initia&&y fee& that 0o#r$e Wor) is either 6a waste of time6 Danother si&&y theater !ameE or a mis#se of %a&#a4&e time that $o#&d 4e spent doin! ta4&e wor) or s$ene wor). The rea&ity is: 0o#r$e Wor) sa%es time. Time spent #p front in the rehearsa& pro$ess !ettin! the $ompany on the same pa!e is time sa%ed &ater from ha%in! to e8p&ain o%er and o%er a!ain what that 6pa!e6 is. Comin! to an a!reement a4o#t !oa&s and de%e&opin! a shared %o$a4#&ary sa%es time &ater5 as e%eryone mo%es into sta!9 in!5 r#n9thro#!hs5 te$h5 pre%iews5 openin!.
Source Work Rehearsal Example I: Katchen von Heilbronn 164
THE VIEWPOINTS BOOK CHAPTER 13: COMPOSITION/REHEARSING A PLAY

At the first rehearsa& for Heinri$h %on J&eist7s p&ay Katchen von Heilbronn, whi$h Anne dire$ted at Ameri$an Repertory Theatre7s Instit#te for Ad%an$ed Theatre Trainin!5 Anne as)ed e%eryone to $ome in on the se$ond day with a &ist or presentation that answered the 3#estion: 6What is -erman?6 0he was not interested in a$ademi$ resear$h that wo#&d 4rin! the a$tors to the materia& from their heads5 4#t in s#4:e$ti%e responses that wo#&d 4rin! them to the materia& from their ima!inations5 pre$on$eptions5 pre:#di$es5 fantasies5 memories5 histories and $#&t#re. 0he wanted to 4rin! their hidden se&%es to the s#rfa$e thro#!h 0o#r$e Wor). 0o when they $ame in on the se$ond day of rehearsa&5 one person read a &ist of thin!s -erman5 another 4ro#!ht in -erman food5 and Tina p&ayed the most $&i$hed -erman m#si$ she $o#&d thin) of on the piano5 ran!in! from eetho%en7s Aifth 0ymphony to the Fa>i anthem 6Tomorrow e&on!s to *e6 from Cabaret In this way5 they were a4&e to identify where they5 as a !ro#p5 were in re&ationship to the German-ness of the p&ay5 4e$ome aware of its $onte8t5 and de$ide how to operate o#t of that Dor notE. In this way5 a for!otten $#&t#re 4e$omes and a$ti%e $#&t#re.
Source Work Rehearsal Example 2: Strindberg Sonata

When Tina %isited Anne in rehearsa& for Strindberg Sonata Da pie$e she made a4o#t A#!#st 0trind4er!7s wor&d at the <ni%ersity of Ca&ifornia at 0an ;ie!oE5 Anne was in the midd&e of 0o#r$e Wor) with the $ompany. 0he had as)ed the a$tors to fi&& in the 4&an)s: 6When I thin) of 0trind4er!5 I see UUUUUUUUU 5 I hear UUUUUUUU 5 I sme&&UUUUUUUUUUU56 et$. 2n the day Tina %isited they were readin! their &ists o#t &o#d. They were f#&& of ima!es of men in top hats and women in &on! !owns of $rimson and 4&a$) %e&%et5 Ed%ard *#n$h paintin!s5 the so#nd of a piano p&ayin!5 a $&o$) ti$)in!5 a !#nshot5 the sme&& of paper 4#rnin!5 &i3#or on someone7s 4reath5 a 4o#3#et of f&owers5 et$. The

first thin!s that $ame #p were often the most o4%io#s5 4#t Anne en$o#ra!ed the a$tors to &ean into the $&i$hes and stereotypes rather than try to i!nore them. y !oin! thro#!h them5 she e8p&ained5 they wo#&d $ome o#t on the other side with somethin! that used, 4#t trans9 formed5 them. *ore important&y the &ists ser%ed to awa)en the ima!inations of the a$tors5 and he&p $reate the %o$a4#&ary for their P&ay9Wor&d.

THE P#A&DWO!#"
When dire$tin! a pie$e5 start with the ass#mption that yo# $an $reate an entire&y new #ni%erse onsta!e: a P&ay9Wor&d Dsee pre%io#s $hapter5 6a #ni%erse from s$rat$h6E. Rather than ta)e for !ranted that the rea&ity of the p&ay wi&& 4e the same as o#r e%eryday rea&ity5 wor) with an attit#de that anythin! in this P&ay9 Wor&d $an 4e invented from scratch. The P&ay9Wor&d is the set of &aws 4e&on!in! to yo#r pie$e and no other: the way time operates5 the way peop&e dress5 the $o&or pa&ette5 what $onstit#tes !ood or e%i&5 !ood manners or 4ad5 what a $ertain !est#re denotes5 et$. <se 0o#r$e Wor) to $reate the P&ay9Wor&d of any !i%en pie$e. 2#t of tas)s D&i)e the two rehearsa& e8amp&es pro%ided a4o%eE5 de%e&op a &ist that defines this new wor&d. 0ometimes these &ists are $on$rete and histori$a& Das in the way peop&e he&d $i!arettes in t#rn9 of9the9$ent#ry R#ssia5 so as to ma)e them &ast &on!erE5 sometimes they are in%ented Din Anne7s 0ITI prod#$tion of Small Lives/Big Dreams, a disti&&ation of Che)ho%7s fi%e ma:or p&ays5 e%eryone had to enter from sta!e ri!ht and e8it sta!e &eft5 so that to e8it sta!e ri!ht too) on a spe$ifi$ meanin! of 4rea)in! the r#&es5 &ea%in! the !ame5 !oin! 4a$)ward5 !oin! toward deathE. A so$iety in India is different than a so$iety in Aran$e9how e8a$t&y? What do these differen$es look like, how do yo# ma)e them a$ti%e onsta!e? Aren$h so$iety in /(11 is different from Aren$h so$iety in /("1Bhow e8a$t&y? E%ery $#&t#re has its own r#&es5 spo)en or not5 as does e%ery ho#seho&d5 e%ery re&ationship5 e%ery &ands$ape. E%en theater has its performati%e r#&es: fa$e the a#dien$e5 stand in the &i!ht5 pa#se for a &a#!h. Why? 0ays who?
167 THE VIEWPOINTS BOOK CHAPTER 13: COMPOSITION/REHEARSING A PLAY

Aind a $ompe&&in! reason to ma)e a pie$e where e%eryone has their 4a$)s to the a#dien$e e8$ept when they te&& a se$ret or te&& a &ieBon&y in those moments do they fa$e front. What wo#&d this e8press to an a#dien$e? Ass#me nothin!. Question e%erythin!. In%ent the r#&es. *a)e a #ni3#e P&ay9Wor&d.

Co positions Toward a Pla/

In rehearsa&5 4y ta)in! time to do Composition wor) toward a prod#$tion5 we !enerate materia&: K That $an 4e #sed in performan$e K That $an 4e a :#mpin!9off point for dis$#ssion and e8amp&e K That is 3#i$) and dirty5 e8treme and spontaneo#s and5 therefore5 often re%ea&s enormo#s and deep tr#ths a4o#t the p&ay that mi!ht 4e for!otten or ne%er e8p&ored. Go# $an $reate Composition assi!nments that fo$#s on: K Themes of the p&ay K The physi$a& wor&d of the p&ay K A $hara$ter in the p&ay K A re&ationship in the p&ay K A s$ene or e%ent in the p&ay.
EXERCISE I: BASIC THEME COMPOSITION

;i%ide the $ast into !ro#ps. As) ea$h !ro#p to de$ide5 amon! themse&%es5 and on&y for today5 6what the p&ay is a4o#t6 *a)e a three9min#te Composition that disti&&s the essen$e of the p&ay and e8presses its theme a$$ordin! to the !ro#p. The assi!nment $an 4e !i%en witho#t any other in!redients5 or may in$&#de as many as yo# thin) #sef#&.
EXERCISE 2: ADVANCED THEME COMPOSITION

/. 2. 3. 4. ;i%ide the $ast into !ro#ps. Arti$#&ate a theme of the p&ay that interests yo#. DPro%ide this for the $ompany5 or as) ea$h !ro#p to $hoose their own.E ;i%ide the p&ay into three main mo%ements Dsome p&ays $&ear&y ha%e three mo%ements5 others two5 others fi%eE. Fame and define these for the !ro#ps5 or &et ea$h !ro#p determine their own 4rea)down. Create a pie$e in three parts D$orrespondin! to the parts of the p&ayE that e8presses the themati$ $ore of the materia&. The se$tions $an either f&ow one into the ne8t5 or ha%e a separatin! de%i$e for ea$h Da tit&e $ard5 a 4&a$)o#t5 the rin!in! of a 4e&&5 a %oi$e9o%erE. In either $ase5 ea$h of the three parts sho#&d ha%e a $&ear 4e!innin!5 midd&e and end5 so there is no $on9f#sion a4o#t when one part $on$&#des and another 4e!ins. In$orporate the fo&&owin! e&ements one at a time: K Three &ines of te8t from the p&ay te8t Dno more5 no &essE K A spe$ifi$ ro&e for the a#dien$e5 and $hoi$e of per formin! spa$e in re&ation to %iewin! spa$e A pie$e of m#si$ from an #ne8pe$ted so#r$e K A re%e&ation of spa$e K A s#rprise entran$e K A 4rea) of frame K A se3#en$e of e8treme $ontrast K A repetition of an o4:e$t or ima!e three times K Anythin! e&se from yo#r spe$ifi$ &ist of in!redients5 from yo#r spe$ifi$ P&ay9Wor&d. ".
EXERCISE 3: COMPOSITION ON THE PHYSICAL/AURAL WORLD OF THE PLAY

This assi!nment sho#&d 4e !i%en the ni!ht 4efore the ne8t rehearsa&5 so that the $ompany has :#st eno#!h time D4#t not too m#$hE to s$a%en!e for st#ff.
168 169 THE VIEWPOINTS BOOK CHAPTER 13: COMPOSITION/REHEARSING A PLAY

/. 2.

;i%ide the $ast into trios5 pairs or ha%e peop&e wor) a&one. <sin! on&y fo#nd o4:e$ts and so#nds Dno a$torsE5 ha%e them $reate a two9min#te pie$e that e8presses the physi$a& and a#ra& wor&d of yo#r p&ay. Fo person $an appear in the pie$e5 e8$ept5 if ne$essary5 a te$hni$a& manip#&ator5 a )ind of p#ppeteer for the &ands$ape. Create somethin! e8pressi%e and s#4:e$ti%e5 rather than representationa&. Fot: 6What does o#r set &oo) &i)e?6 #t: 6What does the en%ironment of o#r P&ay9Wor&d feel &i)e?6 Is it $haoti$ or forma& or pin$hed or romanti$? How do yo# $reate this fee&in! thro#!h fo#nd

o4:e$ts and so#nds? 3. Choose a spa$e that is $ontro&&ed and fo$#sed5 so that there are no a$$idents in terms of &i!ht &ea)a!e or am4ient so#nds from o#tside. . 4. E&ements to $onsider and wor) with in$&#de: K P@ACE. Where does the pie$e ta)e p&a$e? Fot &itera&&y5 4#t e8pressi%e&y. Is it a 4att&efie&d5 a temp&e5 a no9man7s9&and5 a $ir$#s5 the inside of someone7s head5 a parti$#&ar $hara$ter7s dream? K TI*E. When does the pie$e ta)e p&a$e? 2ne mi!ht approa$h this &itera&&y and $reate5 for instan$e5 a portrait of the -i&ded A!e. 2r one mi!ht approa$h it more s#4:e$ti%e&y5 and fo$#s on the -i&ded A!e as remem4ered 4y someone parti$#&ar= or the way that the e%ents in the p&ay are a&& repetitions of ea$h other5 and therefore time is $ir$#&ar= or the notion that the entire p&ay fee&s $&oa)ed in a ne%er9endin! ni!ht. K *ATERIA@0 AF; TELT<RE0.Co&or5 wei!ht5 d#ra4i&ity. Is the &ands$ape a&& &#sh %e&%ets5 or is it a&& r#sty nai&s with a s&i%er of torn %e&%et in the $enter? K I*A-E0 AF; 2 IECT0. 0i>e5 shape5 $o&or. Is it a $o&9 &a!e made of h#ndreds of ma!a>ine $#to#ts5 or a fie&d of fi%e9foot9&on! stemmed roses5 or a sin!&e tiny !&itterin! o4:e$t in an empty spa$e? Is it a rose in a %ase5 or a rose ne8t to a re%o&%er? K P2IFT 2A VIEW. Perspe$ti%e5 s$a&e. Is the pie$e 4ein! remem4ered or dreamed or to&d 4y anyone in par9 ti$#&ar? What is her taste5 her opinion5 her inten9 tion? Who is the a#dien$e? ;o we &oo) from o#t9 side the P&ay9Wor&d or are we immersed in it? ;o we see thin!s from a4o%e or 4e&ow or in $&ose9#p? K 02<F;. *#si$5 te8t5 so#nd effe$ts5 re$orded or &i%e? Is there si&en$e or a &ot of noise? Is the noise 3#iet or &o#d? Is there te8t? What so#nds $reate the atmosphere? Is it a &on!5 me&an$ho&y $e&&o so&o5 or a &on!5 me&an$ho&y $e&&o so&o p#n$t#ated 4y 4#rsts of s#ppressed !i!!&in!? K @I-HT. Intensity5 dire$tion5 $o&or5 3#a&ity of air. Are thin!s $&ear and &#mino#s or mysterio#s and hidden in shadow? Is the en%ironment nat#ra& or man9made? Is it a f&ash&i!ht sear$hin! thro#!h smo)e or ten $and&es on the f&oor or a f&ood&i!ht thro#!h a door dire$ted at the a#dien$e? ;oes &i!ht $han!e imper$epti4&y or in sharp 4#mps? K PR2-RE00I2F. ;oes the physi$a& &ands$ape $han!e in the $o#rse of the a$tion? How? Is it s&ow&y !et9 tin! 4ri!hter o%er the $o#rse of two min#tes5 or does a 4a&& ro&& onsta!e in the &ast ten se$onds5 )no$)in! e%erythin! o%er?
EXERCISE 4: CHARACTER COMPOSITION

/. 2. 3.
170

Choose a $hara$ter that interests yo# today. DGo# $o#&d a&so !i%e the more $on%entiona& assi!nment of ha%in! ea$h a$tor wor) on the $hara$ter sChe is a$t#a&&y p&ayin!.E Create a $hara$ter st#dy in fi%e portraits5 ea$h portrait sep9 arated 4y a 4&a$)o#t of no more than ten se$onds. Ho&d ea$h portrait at &east twenty se$onds so it $an 4e st#died. Ea$h portrait of the $hara$ter m#st in$&#de:

THf! VIEWPOINTS BOOK CHAPTER 13: COMPOSITION/REHEARSING A PLAY

K 2ne o4:e$t K 2ne pie$e of m#si$ or e8terna& so#nd.

EXERCISE 6: EVENT COMPOSITION

/. Choose a pro4&emati$ or perp&e8in! s$ene in the p&ay. . 2. ;i%ide into !ro#ps. 3. Ea$h !ro#p sho#&d 4rea) the s$ene down into three to ei!ht se$tions or mini9$hapters. -i%e ea$h one a &a4e&5 indi$atin! the f#ndamenta& a$tion of that se$tion. 4. Ao&&owin! the o#t&ine of the determined mini9$hapters Drather than the &ines of te8t in the s$eneE5 trans&ate the a$tion of ea$h mini9$hapter into e8pressi%e mo%ement. ". Present5 dis$#ss5 point to Das in5 6If yo# $an7t say it5 point to it56 a method of simp&y identifyin! what 4e&on!s5 wor)s or sti$)s thro#!h e8amp&eE.

4. The tit&es of the fi%e portraits are as fo&&ows: K The fear of... Dm#st e8press somethin! a4o#t what the $hara$ter is most afraid ofE K Love or hatred of. . . D$hoose one= m#st identify a person or thin! the $hara$ter most &o%es or hatesE K Fantasies of. . . Dm#st portray what the $hara$ter fantasi>es a4o#t andCor howE K Memories of. . . Dm#st address what the $hara$ter remem4ersE K The desire for . . . Dm#st e8press somethin! a4o#t what the $hara$ter most wants5 &on!s for5 is pro9 pe&&ed 4yE.
EXERCISE 5: RELATIONSHIP COMPOSITION Part I: Essence of Relationship

/. ;i%ide the $ast into $o#p&es. 2. Ea$h $o#p&e has two min#tes to ma)e a mo%ement se3#en$e that e8presses the essen$e of their re&ationship thro#!h the #se of 0patia& Re&ationship5 Tempo5 -est#re5 Topo!raphy and any other indi%id#a& Viewpoints that $ome into p&ay.
Part 2: Progression of Relationship

/. 2.

;i%ide the $ast into $o#p&es. Ea$h $o#p&e has two min#tes to ma)e a mo%ement se3#en$e that te&&s the story of the pro!ression of their re&ationship thro#!h the $o#rse of the p&ay thro#!h the #se of 0patia& Re&ationship5 Tempo5 -est#re5 Topo!raphy and any other indi%id#a& Viewpoints that $ome into p&ay.

172 1

CHAPTER 14

CO%POSITION AS P!ACTICE AN" A""ITIONA# !ECIPES

A
4a&&et dan$er pra$ti$es 4y doin! e8er$ises at the 4ar. A pianist pra$ti$es 4y p&ayin! s$a&es. A 4as)et4a&& p&ayer shoots hoops5 whi&e another &ifts wei!hts or :o!s. How do we5 as ma)ers of the9 ater5 )eep in shape? How do we wor) o#t? Viewpoints $an 4e pra$ti$e for the parti$ipants as they e8er$ise the m#s$&es of open- ness, awareness and spontaneity. 0imi&ar&y5 Composition $an 4e pra$ti$e for dire$tors5 $horeo!raphers5 p&aywri!hts5 $omposers5 desi!ners5 performersBa&& $reators of theater. In Composition wor)5 we pra$ti$e creating. We )eep in shape o#r a4i&ity to 4e bold, articulate, playful and expressive. I#st as Viewpoints trainin! is desi!ned to he&p performers !et o#t of their heads5 so is Composition wor) desi!ned to he&p dire$tors5 et a&.5 !et o#t of their heads. Composition wor) does not ha%e to 4e #sed on&y in a prod#$tion or in ma)in! ori!ina& pie$es= it $an 4e #sed in $&ass5 wor)shop or anytime a !ro#p of peop&e want to !et to!ether to work out Thro#!h Composition wor)5 we &earn to tr#st o#r instin$ts5 to refine what we ma)e5 to
THE VIEWPOINTS BOOK CHAPTER 14: COMPOSITION/PRACTICE AND ADDITIONAL RECIPES

re$o!ni>e o#r stren!ths and wea)nesses as artists and5 a4o%e a&&5 we &earn se$rets a4o#t o#rse&%es thro#!h what emer!es. In %ario#s $ities in whi$h we ha%e wor)ed5 there are now ad ho$ !ro#ps that meet to simp&y pra$ti$e Viewpoints and ma)e Composition pie$es to!ether. In Few Gor)5 Chi$a!o and @os An!e&es5 these !ro#ps !ather and t#rn on some m#si$ and 4e!in Viewpointin!. 2r they $hoose a s#4:e$t and !enerate materia& thro#!h Compositions. They ha%e no openin! ni!ht5 no $riti$s5 no end in mindB on&y to pra$ti$e5 to )eep their $reati%e spirits a$ti%e and f&e8i4&e. 2. Aor a&& three: K ;es$ri4e how the so#r$e affe$ts yo#Byo#r int#9 iti%e response to it. D6It ma)es me fee& sad57 et$.E K ;e$onstr#$t why it affe$ts yo#. Ana&y>e the Compositiona& e&ements at wor). Try to arti$#&ate how form $reates feeling in ea$h parti$#&ar $ase. Is it the s$a&e that mo%es yo# or the opposition of &ines or the asso$iati%e &in)s yo# ha%e with a spe$ifi$ i$on? In de$onstr#$tin! yo#r so#r$e5 pay attention to si>e5 te8t#re5 shape5 $o&or5 tempo5 rhythm5 repe9 tition5 $ontrast D&i!ht and dar)5 fast and s&ow5 et$.E.
The word "composition" moved me spiritu- ally, and I later made it my aim in life to paint a "composition." It affected me like a prayer and filled me with awe. PRACTICE EXERCISE 2: LANDSCAPE AND TOPOGRAPHY

/. Wor) to!ether in !ro#ps of two. 2ne person wi&& in%ent the &ands$ape5 the other wi&& present it 4y tra%e&in! thro#!h it. 2. The $o#p&es wor) in an empty spa$e. The @ands$ape Ar$hite$t from ea$h $o#p&e menta&&y di%ides the spa$e into dis$rete se$tions5 in$&#din! spe$ifi$ si>es and shapes DsChe mi!ht wor) with 3#adrants5 &anes5 pathways5 et$.E5 and assi!ns a physi$a& 3#a&ity or &aw to ea$h area. Aor instan$e5 one $orner mi!ht re3#ire an e8treme&y fast tempo5 another mi!ht ha%e a re%ersed !ra%ity where thin!s !o #p instead of down5 another mi!ht $a#se e%erythin! to !o 4a$)ward5 another mi!ht demand a s&itherin! on the f&oor thro#!h an ima!inary $re%i$e. 3. 2n$e a $omp&e85 detai&ed5 spe$ifi$ invisible landscape has 4een $reated and e8perien$ed 4y the person mo%in! thro#!h it5 ea$h $o#p&e sho#&d present this to the !ro#p. The terrain sho#&d 4e $&ear&y &e!i4&e.

WASSILY KANDINSKY

P!ACTICE E<E!CISES
Go# $an pra$ti$e or e8p&ore anything in yo#r Composition wor). Go# $an do Composition e8er$ises on yo#r own5 with one other person5 or in &ar!er !ro#ps. Go# $an do them anywhere5 with a &ot of st#ff or nothin! at a&&. The s#4:e$t5 the fo$#s5 the !oa&5 the in!redientsBthey are a&& yo#rs to $hoose. Anythin! is possi4&e and the s)y is the &imit.
PRACTICE EXERCISE I: OBSERVATION AND ARTICULATION

/. Choose three so#r$es that affe$t yo# or interest yo#. Go#r so#r$e $an 4e an ima!e Dphoto5 post$ard5 Lero8E5 a story5 a newspaper $&ippin!5 a son!5 an o4:e$t5 et$. ;on7t worry a4o#t whether or not yo# $an or )now how to ma)e a pie$e from this so#r$e5 :#st 4e!in with what mo%es yo#.
PRACTICE EXERCISE 3: COLOR

/. Ha%e sma&& !ro#ps Viewpoint off $o&ors in the room5 whi&e the rest of the !ro#p o4ser%es.
176
THE VIEWPOINTS BOOK CHAPTER 14: COMPOSITION/PRACTICE AND ADDITIONAL RECIPES

2. 3.

2r5 ha%e ea$h !ro#p $hoose three o4:e$ts5 ea$h with a dis9 tin$t $o&or. <sin! these three o4:e$ts5 $reate a story5 that !rows o#t of the three $o&ors and how they intera$t. 2r5 indi%id#a&&y name a $o&or and &ist a&& asso$iations yo# ha%e with it. What fee&in! does it en!ender in yo#5 what does it remind yo# of5 what $hara$ters does it ma)e yo# thin) of5 what are its traditiona& sym4o&i$ referen$es? -o thro#!h many $o&ors. ;esi!n a Composition that e8p&ores a $ontro&&ed5 $ons$io#s $o&or $hoi$e. Aor instan$e5 yo# $o#&d do 6a p#rp&e pie$e56 or a pie$e in three se$tions tit&ed: 6White56 6Red56 6 &a$)56 or a pie$e in whi$h $hara$ters are defined and intera$t 4ased on the $o&or of a sin!&e o4:e$t they wear.

EXERCISE I: STAGE YOUR FAMILY AT DINNER____________

/. 2.

This e8er$ise $an 4e done with one or more !ro#ps. 2ne person in ea$h !ro#p dire$ts the others in a sta!in! of herChis own fami&y at dinner. The sta!in! sho#&d 4e 6E8pressi%e56 meanin! that it sho#&d 4e &ess a &itera& depi$9 tion of the $hara$ters and e%ents than an e8pression of the s#4:e$ti%e e8perien$e of what it fe&t &i)e to 4e there5 in the midst of that fami&y. Ea$h dire$tor $asts indi%id#a&s to p&ay si4&in!s and parents5 et$. The dire$tor m#st a&so $hoose someone to p&ay herChimse&f. The dinner $an 4e from any time in the fami&y7s history.

3.

2ne at a time5 ea$h !ro#p shows its Composition to the others.

4.

The dire$tor sho#&d !i%e ea$h indi%id#a& a persona& note5 and !i%e the !ro#p one !enera& note that wi&& he&p ma)e their performan$es e%en more e8pressi%e of the dynami$s of the fami&y. The Composition sho#&d then 4e performed a!ain.

In an e8er$ise &i)e this one5 sta!in! yo#r fami&y at dinner5 yo# )now the fee&in!5 the indi%id#a&s and the e%ent intimate&y. The dra9 mat#r!y is distin$t and parti$#&ar. When wor)in! on a p&ay yo# sho#&d stri%e for this same intima$y5 the same working-from-feel. This entai&s a !reat dea& of st#dy5

ima!ination and persona&i>ation.

EXERCISE 2: COMPOSITIONS BASED ON ARTHUR MILLER'S DEATH OF A SALESMAN

/. ELPRE00IF- CHARACTER. Choose a $hara$ter from Arth#r *i&&er7s Death of a Salesman, and a moment in the p&ay in whi$h this $hara$ter spea)s. 0ta!e the same moment in fi%e different ways with the same a$tor. 2. ELPRE00IF- RE@ATI2F0HIP. Choose two $hara$ters from Arth#r *i&&er7s Death of a Salesman, and a spe$ifi$ intera$tion they share in the p&ay. 0ta!e the same intera$tion in fi%e different ways with the same two a$tors. 3. P2IFT 2A VIEW and ;REA* @2-IC. 0ta!e Arth#r *i&&er7s Death of a Salesman as a dream or ni!htmare of one of the $hara$ters. <se as many a$tors as ne$essary. The e%ent sho#&d 4e a ma8im#m of ten min#tes. These Compositions offer the $han$e to app&y the prin$ip&es of Viewpoints trainin! dire$t&y to $hara$ter and re&ationships in a p&ay. 0#!!ested possi4i&ities to e8press $hara$ter and re&ationship: physi$a& a$tion5 distan$e from or $&oseness to the a#dien$e5 dis9 tan$e from or $&oseness to one another5 Tempo of spee$h5 Tempo of mo%ement5 #se of Ar$hite$t#re5 -est#re5 0hape5 ;ynami$ D&o#dness or softnessE5 Pit$h5 et$.
EXERCISE 3: CLASSICAL PLAYS AS THE SOURCE FOR COMPOSITIONS

In sma&& !ro#ps D#s#a&&y 4etween two to si8E: /. ;EC2F0TR<CTI2F. Choose a $&assi$ p&ay. ;o the entire p&ay in ten min#tes. 2. @IFE. Choose a s$ene from a $&assi$ p&ay. ;o the s$ene with $on$entration on the &ine5 the pull, so that there is an
178

179
THE VIEWPOINTS BOOK

#n4ro)en &ine of dramati$ a$tion mo%in! forward Dthat pulls the a#dien$e forwardE with no sna!s or deto#rs. 3. IFTERR<PTI2F0. Choose a s$ene from a $&assi$ p&ay. ;o the s$ene with fifteen interr#ptions.
EXERCISE 4: RADIO PLAY CHAPTER 15

/. In !ro#ps of three to ei!ht5 $reate an ei!ht9min#te Composition in the form of a radio p&ay. The p#rpose of the e8er$ise is to $reate a :o#rney for the a#dien$e thro#!h so#nd. 2. ;ependin! on whether yo# are doin! this Composition toward a prod#$tion or for pra$ti$e5 yo# $an assi!n the Composition to 4e 4#i&t aro#nd a parti$#&ar s$ene5 a theme5 a story5 et$. 3. ;e$ide whi$h in!redients to in$&#de5 #sin! any of the e&ements or de%i$es from the other Compositions5 s#$h as 4ro)en e8pe$tation5 s#rprise entran$e5 fifteen $onse$#ti%e se$onds of si&en$e5 a s&ap5 et$. 4. -i%e a ha&f ho#r for the !ro#ps to prepare their Compo9 sitions5 and then perform them one at a time5 with the a#dien$e )eepin! their eyes $&osed thro#!ho#t.

HOW TO "ISC$SS CO%POSITION WO!K IN A G!O$P

After
performin! some Composition wor)5 ha%e the entire !ro#p sit to!ether. As) e%eryone to $&ose their eyes. Ta&) to the !ro#p a4o#t ea$h Composition performed that day5 one at a time5 and as) peop&e what they remem4er. This pro$ess of remem9 4erin! sho#&d not 4e an inte&&e$t#a& or ana&yti$a& e8er$ise5 rather5 ea$h indi%id#a& sho#&d re&a8 and fo$#s on herChis memory of ea$h Composition to see what floats up into $ons$io#sness. Then as) e%eryone to state a&o#d what has stayed with them Dnot what they &i)ed and dis&i)edE. Peop&e sho#&d )eep their eyes $&osed and &isten so that they $an hear ea$h other= indi%id#a&s sho#&d spea) $&ear&y and &o#d&y and try not to o%er&ap ea$h other. What floats up wi&& 4e what drew !en#ine5 #nmediated interest. Go# mi!ht hear: 6The way A!nes to#$hed the f&ower6 or 6When the 4a&&oon was re&eased.6 The fo$#s sho#&d remain on a $on$rete a$$o#nt of e%ents and ima!es5 rather than their effe$t or interpretation. This time of ref&e$tion represents a f#ndamenta& too& in $re9 atin! wor) for the sta!e. A&tho#!h ana&yti$a& $riti$ism and theo9
180 THE VIEWPOINTS BOOK CHAPTER 15: HOWTO DISCUSS COMPOSITION WORK IN A GROUP

reti$a& dis$#ssion wi&& p&ay a si!nifi$ant ro&e in the feed4a$)5 one7s own 4ody and memory $an 4e the most meanin!f#& 4arometer in the artisti$ pro$ess. Re$a&& a prod#$tion or $on$ert or paintin! or pie$e of m#si$ that yo# en$o#ntered three or fo#r years a!o. What do yo# remem4er a4o#t it? V#ite often what yo# remem4er indi$ates what yo# m#st &oo) for in yo#r own wor). What stays with yo# mi!ht 4e $onsidered the most s#$$essf#& aspe$t of the e%ent. The same is tr#e for a rehearsa&. What floats up 4efore yo# !o to s&eep at ni!ht after a day of rehearsa&? V#ite often what stays with yo# was not a$t#a&&y p&anned 4#t5 rather5 happened 4y a$$ident. And yet these a$$idents are si!na&s to whi$h we sho#&d pay attention. <&timate&y5 as 0i!m#nd Are#d ta#!ht #s5 there is no s#$h thin! as an a$$ident. In this $ase5 it is a !ift. As) the parti$ipants to open their eyes. Fow as a !ro#p re%isit ea$h Composition5 one at a time5 $&ose&y ana&y>in! the wor). @oo) in detai& at the moments that were des$ri4ed as mem9 ora4&e. What made the $hoi$es theatri$a&? Try to re$o!ni>e and e8amine the 4#i&din! 4&o$)s of those memorable moments. -i%e %er4a& notes on a&& aspe$ts of e%ery Composition and a&&ow parti$9 ipants to $ontri4#te their own tho#!hts and rea$tions. If yo# are wor)in! toward a prod#$tion and the Compositions ha%e 4een e8p&orations toward sta!in!5 now is the time to $omment on what was 6 Vice" or 77not Vice" Dsee Chapter /15 pa!e /24E. If it is a $&ass5 now is the opport#nity to ana&y>e the &an!#a!e of theater and dis9 $#ss the point9of9 %iew5 the a#dien$e7s :o#rney and how the parti$9 #&ar a$tors em4odied the moments and met one another onsta!e. Here are some thin!s to wat$h for in Composition wor)5 whi$h may 4e #ti&i>ed in the dis$#ssion: K How did the !i%en in!redients Dthe &ist of what m#st 4e in$&#ded in the CompositionE affe$t the e8perien$e of wat$hin!? Aor e8amp&e5 if a broken expectation was one of the in!redients5 how did the broken expectation shape the a#dien$e7s e8perien$e? K How did the $o&&a4oration !o? Were there any moments where the pro$ess sh#t down? Were there any moments of ease and f&ow? Why? K As an a#dien$e5 what did yo# find e8$itin! in the e%ent? What happened that made the p#&se ra$e

faster? Why? K What did yo# pay attention to? Why? K When did yo# spa$e9o#t and not fee& part of the e%ent? Why? K ;id yo# empathi>e with anyone in the Composition? What made that happen? K How was $hara$ter $reated? Were yo# a4&e to identify $har9 a$ters and )eep tra$) of them? How? K Whi$h parts of the Composition were ;es$ripti%e and whi$h were E8pressi%e? D0ee Chapter //5 pa!e /4'.E K Were there any moments of p#re sta!e poetry? At whit moment does the &an!#a!e of the sta!e 4e$ome poeti$? K How was the :o9ha9)y# of the who&e e%ent5 and how did :o ha9)y# f#n$tion within the parts of the Composition? D0ee Chapter //5 pa!e /4,.E K How were transitions hand&ed? K What e8pe$tations did the openin! moments of the Com9 position $reate and how were those e8pe$tations hand&ed? K Was the endin! $&ear and ne$essary? K Was a stron! and a$ti%e $hoi$e made a4o#t spa$e5 settin! and ar$hite$t#re? K Was there a $&ear ro&e for the a#dien$e in this Composition5 and was it s#pported 4y the way they entered5 sat or mo%ed? K Co#&d yo# fee& the imp#&se 4ehind the wor)? Was there a question that had to 4e as)ed or a statement that needed to 4e made? Co#&d yo# fee& ne$essity in the pie$e? a How was te8t #sed5 and was there aw)wardness or ease in the moments when peop&e spo)e? Was there a p&a$e for the spo)en word? What made spea)in! ne$essary? K How arti$#&ate was the physi$a&ity in the Composition? K Were repetition and re$y$&in! #sed in an e8pressi%e way? K How were indi%id#a& Viewpoints apparent in the Composition? K What were the stren!ths of the pie$e and what were its wea)nesses? Was it stron! in $hara$ter5 story5 atmosphere5 ima!ery5 &an!#a!e or theme? And whi$h of those e&ements were wea)est?
183 THE VIEWPOINTS BOOK CHAPTER 15: HOW TO DISCUSS COMPOSITION WORK IN A GROUP

K How %i%id were the so#nd $hoi$es5 in$&#din! m#si$5 si&en$e and a#ra& &ands$ape? . K ;id the Composition find arti$#&ate ways to wor) with a%ai&a4&e &i!ht5 whether s#n&i!ht in the room5 o%erhead

f&#ores$ent or fo#nd &i!htin! Ds#$h as f&ash&i!hts5 $&ip9&i!hts5 $and&e&i!ht5 theatri$a& &i!htin!5 et$.E? K Can the Composition 4e dis$#ssed in terms of other art forms? Were there moments or de%i$es that para&&e& fi&m &an!#a!e5 s#$h as $&ose9#p5 esta4&ishin! shot5 monta!e5 et$.? 2r paintin!5 s#$h as framin!5 si>e of $an%as5 how many $o&ors were in the pa&ate? 2r m#si$5 s#$h as tempo5 $res$endo5 pit$h5 $odas et$.? K Was the &en!th of the pie$e itse&f e8pressi%e? Was it &on! eno#!h5 4#t not too &on! to a$$omp&ish what it needed to? K ;id the a#dien$e )now where to &oo) and did that matter? K Was there $onf&i$t in the pie$e and does that matter? Was there tension and s#spense in the pie$e and does that matter? K Was there h#mor and does that matter? Why? What ma)es somethin! f#nny? K Was there a sense from the a#dien$e of 4ein! firm&y in. someone7s hands. ;id they fee& ta)en $are of and !#ided?
Tesseracts.

*ade&ine @7En!&e in%ented the term tesseract in her 4oo) A Wrinkle in Time D antam ;o#4&eday ;e&&5 Few Gor)5 /+'2E. In the 4oo) she des$ri4es the ima!e of a pie$e of strin! that someone is ho&din! with one end in ea$h hand. 2ne end of the strin! is des$ri4ed as Point A and the other end is Point . We traditiona&&y 4e&ie%e that to tra%e& from Point A to Point We m#st tra%e& the &en!th of the strin!5 hori>onta&&y. In a tesseract, it7s as if we ta)e the two ends of the strin! and p#t them to!ether at the e8a$t same time and p&a$e so that the &en!th of the strin! $o&&apses into a %erti$a&5 and in this $ase5 in%isi4&e time and p&a$e. 0o what happens in a tesseract is that we instantaneo#s&y tra%e& from one state to another witho#t transition. This $an happen in timefor e8amp&e5 it7s winter and in the 4&in) of an eye it7s sprin!. It $an happen in placefor e8amp&e5 in des$ri4in! a dream5 we mi!ht say: 6. . . and s#dden&y I was in an open fie&d.6 It $an happen in the theater5 in a$tin!5 in a way that *s. @7En!&e pro4a4&y ne%er ima!inedBfor e8amp&e5 a $hara$ter doesn7t 4e$ome pro!ressi%e&y more an!ry5 sChe tesseracts from a state of a4so&#te $a&m to a state of a4so&#te ra!e5 without transition. In h#man psy$ho&o!y Dand in st#dyin! a te8tE5 we are ta#!ht that a person !oes from A to to C to ;. #t5 if a $hara$ter tesseracts onsta!e5 they mi!ht !o from A to -5 then 4a$) to and s#dden&y to L. 2n$e we open o#r eyes to the possi4i&ity of tesseracts, we 4e!in to noti$e that5 in fa$t5 it is not :#st a fan$if#& notion5 4#t a&so an a$$#rate des$ription of the way peop&e 4eha%e a&& aro#nd #s a&& the time. 0hort&y 4efore -erman p&aywri!ht Heiner *#&&er died5 he %isited Co&#m4ia <ni%ersity to spea) with !rad#ate theater st#9 dents. After a &on!5 4ri&&iant5 e&o3#ent5 $omp&e8 ta&)5 a 4ri!ht9eyed yo#n! st#dent raised his hand with the 3#estion: 6*r. *#&&er5 do yo# ha%e any ad%i$e for a yo#n! a$tor?6 There was a moment of si&en$e. 6Ges56 rep&ied *#&&er !enero#s&y5 64e$a#se yo# ha%e a 4ody5 yo# do not need transitions.6 This ad%i$e $o#&d re3#ire a &ifetime to #nderstand and di!est5 4#t at the same time it he&ps to $rysta&&i>e the notion that we don7t always ha%e to thin) o#r way from one state to another. 0o often we want to #nderstand why a $hara$ter !oes from A to -5 4#t we dis$o%er that in simp&y !oin! from A to -5 in simp&y p#ttin! it in o#r 4odies5 in simp&y doing it5 there is a )ind of #nderstandin! that emer!es5 an #nderstandin! 4eyond reason and psy$ho&o!y. 0ometimes5 witho#t reason or $ons$io#s moti9 %ation5 we simp&y transition from one e8treme state to another. This is h#man. This is nat#ra&. Tesseracts $an a&so 4e app&ied to p&aywritin!. Aor e8amp&e5 the p&aywri!ht Ch#$) *ee has said that he sometimes $on$ei%es of his $hara$ters 6as 4ein! &i)e 4ea#tif#& &on!9stemmed wine !&asses that ha%e 4een thrown to the !ro#nd and shattered into a mi&&ion pie$es.6 Rather than p#ttin! them 4a$) to!ether into an e8pe$ted $oheren$e5 *ee !&#es mismat$hin! shards in #ne8pe$ted

THE VIEWPOINTS BOOK CHAPTER 15: HOWTO DISCUSS COMPOSITION WORK IN A GROUP

ways5 $reatin! a new form o#t of o&d fra!ments. Instead of the e8pe$ted psy$ho&o!i$a& ar$ of a $hara$ter mo%in! from A to to C5 *ee7s $hara$ters often start in C5 then a4r#pt&y swit$h !ears into A or I or L5 witho#t the traditiona& psy$ho&o!i$a& si!nposts to !#ide them Dand #sE. DAor f#rther re%iew of Ch#$) *ee7s wor)5 see $har&esmee.or!.E
T+e sa e6 onl/ di,,erent

Composition is a form of writin!5 4#t it is writin! on yo#r feet in spa$e and time #sin! the &an!#a!e of the theater. I#st as there are &iterary de%i$es in fi$tion and poetry5 there are #sef#& theatri$a& de%i$es in ma)in! Compositions. Thin) of sma&& sta!e momentsB a !est#re5 a t#rn5 a &i!ht $#eBas words. In $om4inin! these words, yo# 4e!in to $reate senten$es. And in strin!in! these senten$es to!ether5 yo# 4e!in to 4#i&d a para!raph5 and so on5 into $hapters5 et$.5 a&& with a $om4ination of mo%ement5 &i!ht5 so#nd5 et$. In &iterat#re we are fami&iar with de%i$es s#$h as a&&#sion and onomatopoeia. These are too&s that a&&ow for a !reater ran!e of e8pression. Here we introd#$e a #sef#& theatrical equivalent, whi$h we $a&& the same, only different Repetition is a 4asi$ 4#i&din! 4&o$) in 4oth Viewpoints and Composition. The writer -ertr#de 0tein ta#!ht #s that with a sma&& %o$a4#&ary of words5 m#$h $an 4e e8pressed. When somethin! is repeated5 it is ne%er rea&&y the same and $ontains within it the memory of the &ast time it was seen or heard. We $a&& this the same, only different This $on$ept is #sef#& and $an 4e fo#nd in m#si$ Dthe repetition of me&odies or &inesE5 ar$hite$t#re Dthe repetition of shapes or %o&#mesE5 paintin!5 et$. y settin! #p a pattern of repetition5 we $an draw attention to what 4rea)s the pattern and is therefore different5 or what $han!es. Aor e8amp&e5 if yo# want a !ro#p of peop&e to appear to the a#dien$e as #ni3#e indi%id#a&s onsta!e5 yo# $an hi!h&i!ht their differen$es 4y ha%in! them a&& do the same thin!. If they a&& do somethin! different5 yo# wi&& on&y see what they do. If they a&& do the same thin!5 yo# wi&& see the differen$es 4etween themByo# wi&& see who they are. An e8amp&e: a Composition 4e!ins with a woman sittin! a&one at a 4are ta4&e. In the $o#rse of the Composition5 the woman !oes on a :o#rney of some )ind. The pie$e ends with the woman a!ain sittin! at the ta4&e. Howe%er5 this time there is a %ase with a red rose on the ta4&e. The presen$e of the rose now 4e$omes the fo$#s or the essen$e of the fina& ima!e5 4e$a#se e%erythin! e&se remains the same= it a&one is different. If other thin!s in the ima!e were to $han!e5 for e8amp&e5 the ta4&e is different5 the woman is sit9 tin! in a new position5 et$.5 the rose wo#&d not 4e as e&o3#ent.
Trac0s.

A $omp&ete theater moment is $omprised of separate tra$)s. I#st as in fi&m where there is a so#nd tra$) and a %is#a& tra$)5 in the theater there is a mo%ement tra$)5 a te8t tra$)5 a &i!htin! tra$)5 a so#nd tra$)5 a time tra$)5 and so on. The meanin! of the pie$e emer!es thro#!h the interre&ationship of these %ario#s tra$)s. ;o they a!ree or disa!ree? ;o they $omp&ement ea$h other or $on9 tradi$t ea$h other? The 0wiss p&aywri!ht Ariedri$h ;#rrenmatt insisted that the theater 4e!ins with a disa!reement 4etween what one sees and what one hears. 6If I !o to the theater56 he wrote5 6and I $&ose my eyes5 and I #nderstand what I am hearin!5 then it is not theater5 it is a &e$t#re. If I !o to the theater and $&ose my ears5 and I #nderstand what I am seein!5 then it is not theater5 it7s a s&ide show. The theater 4e!ins with a disa!reement 4etween what yo# see and what yo# hear.6 How many times ha%e yo# !one to the theater and wat$hed peop&e rotate aro#nd a $o#$h for two ho#rs5 i&&#stratin! what they say with what they do? Compare this 4eha%ior with that of rea& &ife where peop&e rare&y do what they say. It is a rare moment when one person fa$es another and says: 6I &o%e yo#.6 <s#a&&y the words are #ttered as someone is &ea%in! the room &oo)in! at

186 THE VIEWPOINTS BOOK

his wat$h. This differen$e 4etween what is seen and what is heard e8presses a 4asi$ tr#th a4o#t the re&ationship portrayed.
I, t+e trac0s all do t+e sa e t+in.6 t+e/ cancel eac+ ot+er out.

Ro4ert Wi&son often #ses the ima!e of a $ande&a4ra atop a !rand piano. e$a#se 4oth these o4:e$ts seemin!&y 4e&on! to!ether5 $ome from the same wor&d5 we &oo) at them with a sense of ease and fami&iarity. The re&atedness of the o4:e$ts doesn7t $ha&&en!e #s to per$ei%e what is distin$t a4o#t ea$h one. Wi&son s#!!ests that if yo# remo%e the $ande&a4ra and p#t in its p&a$e a Co)e 4ot9 t&e5 the $ontrast of the o4:e$ts and what they e%o)e wa)e the ima!e #p. The ima!e 4e$omes a strange attractor. In the fi&m Platoon, the dire$tor 2&i%er 0tone $hose to present his famo#s 4att&e se3#en$e not with the e8pe$ted a$$ompanyin! so#nds of %io&en$e and warfare5 4om4s !oin! off and $ries of an!#ish5 4#t a!ainst 0am#e& ar4er7s e8$r#$iatin!&y 4ea#tif#& and meditati%e 6Ada!io for 0trin!s.6 In addition to settin! %io&en$e a!ainst serene m#si$5 he wor)ed with an e8treme $ontrast of d#ration 4y :#8tapos9 in! the s#stained m#si$a& ar$ with shorter edited shots. As the m#si$ $&im4ed hi!her and hi!her5 the ima!ery san) deeper and deeper into the m#d. This dis:#n$tion 4etween what was seen and what was heard a$$e&erated d#rin! the $o#rse of the s$ene. 0tone7s $apa$ity to e8press 4oth horror and 4ea#ty in the same moment is what distin!#ishes his %ision and ma)es the se3#en$e remar)a4&e. Another e8amp&e of the #se of m#&tip&e $ontrastin! tra$)s appears in the p&ays of Anton Che)ho%. E%ery time Che)ho% writes in a sta!e dire$tion: 6&a#!hin! thro#!h tears56 he is drawin! a $ontrast 4etween what the $hara$ter is fee&in! and what they are doin!. At the end of Uncle Vanya when 0onya says: 6Wor)5 we m#st wor)56 her %er4a& and physi$a& a$tion is disparate from her interior emotiona& &ife. A&tho#!h she is e8perien$in! !rief and &oss she is not $ryin! 4#t statin! her reso&%e. In this way Che)ho% taps into a #ni%ersa& and per%asi%e tr#th a4o#t h#man nat#reBwhat we fee& and what we do are rare&y the same.

CHAPTER 16

CO%POSITION AN" !E#ATE" A!TS

Composition
wor) draws on a&& the arts5 4e$a#se to st#dy and &earn from all the arts is to enri$h yo#r o#tp#t as an artist. In this $hapter5 we offer some de%i$es or prin$ip&es from re&ated arts fie&ds that $an 4e espe$ia&&y #sef#& in ma)in! Compositions. Wat$h5 read5 &isten and st#dy: no%e&s5 essays5 mo%ies5 paint9 in!s5 $on$erts. What do yo# see and hear and e8perien$e that $an 4e app&ied to yo#r wor) in ma)in! theater? We ha%e not pro%ided answers here5 on&y 3#estions. To i&&#strate5 we offer a simp&e e8amp&e5 in this $ase from fi&m: How do yo# sta!e the theatri$a& e3#i%a&ent of a close-up? Possi4i&ities in$&#de:

K E%erythin! is 4&a$) e8$ept for a sin!&e pin spot on one hand. K A person is dressed in a&& red e8$ept for a sin!&e white !&o%e on one hand. K The entire sta!e is motion&ess e8$ept for one person7s hand5 whi$h is !ent&y tappin!.
188
THE VIEWPOINTS BOOK CHAPTE! FB2 CO%POSITION AN" !E#ATE" A!TS

K A !ro#p of peop&e r#sh to the downsta!e ed!e5 free>in! in a %ery e8a$t position5 e8$ept for the person at $enter who $on9 tin#es mo%ement 4y on&y t#rnin! herChis head %ery s&ow&y.
2RCHE0TRATI2F. H2W

is yo#r wor) or$hestrated? How many instr#ments are yo# #sin! to e8press9the materia&? Wo#&d yo# say yo#r pa&ette is more woodwind than 4rass5 more per$#ssion5 more strin!s? How is this trans&ated into theatri$a& &an!#a!e?

%$SIC PAINTING
*ETER. Is

yo#r pie$e in 3C4 or 4C4 or 'C( time? What are the dif9 feren$es 4etween these? Is yo#r pie$e more of a wa&t> or a mar$h? How do yo# manifest this?
0CH22@0. If

yo#r Composition were from a s$hoo& of paintin!5 whi$h one wo#&d it 4e?BImpressionism5 e8pressionism5 a4stra$9 tionism5 minima&ism? Is it a &ands$ape or fi!#re5 pastora& or portrait?
TE*P2. I0

yo#r pie$e fast or s&ow? How do tempos $han!e? What is ada!io5 &ar!o5 presto5 et$.? How do yo# in$orporate these notions of time into yo#r wor)?
ARA*IF-. What

is the frame of yo#r pie$e? Is it framed at a&&? What e&se $an 4e a frame other than a pros$eni#m? What dors it mean to break the frame?
T2FA@ITG DAF; AT2FA@ITGECJEG. Is

yo#r pie$e ma:or or minor? Is it tona& or atona&? Are the $hords harmonio#s or dissonant? And what do these mean in terms of sta!in!?
C2<FTERP2IFT. How

many sta%es are in yo#r Composition? How many %oi$es wor) in $o#nterpoint at on$e? Is it a smooth o44&i!ato in $ontrast to a $hoppy #nder4e&&y5 or what? 0IQE 2A CAFVA0. H2W 4i! is the $an%as #pon whi$h yo# are wor)9 in!? Is it epi$ in s$a&e or is it a miniat#re?
*E;I<*. H2W

$an yo# app&y the notion of different medi#ms to yo#r wor) in the theater? 0ta!e a pie$e that is a water$o&or5 as opposed to an oi& paintin! or $o&&a!e. What 3#a&ities does a water9$o&or possess? What are the sta!e e3#i%a&ents of these 3#a&ities?
0TR<CT<RE. What

is the structure of a f#!#e5 a symphony5 an et#de5 a no$t#rne5 et$.? Whi$h is yo#r pie$e

most &i)e?
C2;A. H2W

do yo# ma)e #se of the notion of a $oda? What p#r9 pose does it ser%e? What emotiona& satisfa$tion does it pro%ide? What wo#&d a $oda for yo#r pie$e 4e? Is it worth p&ayin! with one?

C2@2R. What

$o&ors are yo# paintin! with? How many? ;o they $omp&iment ea$h other or $&ash?

PER0PECTIVE. What

perspe$ti%e are yo# #sin! for the 6eye6 of the %iewer? @oo) at %ario#s paintin!s. Compare their %aried and e8treme #se of perspe$ti%e Dfrom 4e&ow5 >oomed in5 et$.E to that of theater prod#$tions yo#7%e seen.
REPEAT0. As

in m#si$5 when there are do#4&e &ines indi$atin! a ret#rn to pre%io#s materia&5 does yo#r Composition in$&#de rep9 etition o%er timeB!oin! 4a$) and $o%erin! the same meas#res a!ain? Why?
0CA@E. How

4i! are the o4:e$ts andCor fi!#res within the frame?

*<0ICA@ ;IRECTIVE. H2W

m#$h are yo# aware of yo#r pie$e as m#si$? Can yo# #se terms s#$h as $res$endo5 de$res$endo5 pianissimo5 a$$e&erando5 et$.5 to he&p shape yo#r materia&?
@IFE. Fote

how yo#r fa%orite paintin!s $an 4e red#$ed to a s)e&e9 ton of interse$tin! &ines and shapes. When yo# paint onsta!e5 how do yo# #se stron! &ines: dia!ona&s5 disse$tions5 $#r%es5 et$.?
19 1
THE VIEWPOINTS BOOK CHAPTER 16: COMPOSITION AND RELATED ARTS

C2*P20ITI2F. How

is yo#r sta!e &i)e a $an%as inside a frame5 and where are o4:e$tsCfi!#res p&a$ed within the $an%as to $reate stron! Composition? What is stron! Composition? How $an the separate e&ements 4e rearran!ed to $reate a new meanin! or fee&in!?
0HAPE. What

shape does the ar$hite$t#re $onsist of? Is it an!#&ar or ro#nded? Are shapes in harmony or

dis$ord?
*ATERIA@0. What

are the %ario#s materia&s that ar$hite$ts #se? What are their different f#n$tiona& and e8pressi%e 3#a&ities? Is yo#r P&ay9Wor&d f#&& of wood5 meta&5 !&ass5 $on$rete?
@I-HT AF; 0HA;2W. How

do painters #se &i!ht and shadow? @oo) at Vermeer5 onnard5 ;e Chiri$o5 Wyeth5 Ho$)ney5 Warho&. How do yo# paint with &i!ht onsta!e?
AWAREFE00 2A @I-HT. How

do ar$hite$ts $onsider &i!htin! when desi!nin! their str#$t#res? What $an yo#

&earn from this?

PRE0EFTATI2F. What

are the %ario#s ways in whi$h paintin!s are presented? What is the differen$e in !oin! to a !a&&ery as opposed to a m#se#m? Is there empty spa$e aro#nd indi%id#a& paintin!s or are se%era& p&a$ed in a !ro#p? Why did the $#rator do this? What is the para&&e& $hoi$e in theater? Why do so many !a&&eries emp&oy white spa$e aro#nd the indi%id#a& wor)s of art? What information is p&a$ed on the $ards #nder the paintin!s? What7s the e3#i%a&ent in the theater? What do yo# want yo#r a#dien$e to )now as 4a$)!ro#nd or $onte8t? How do $#rators $reate a path and :o#rney thro#!h the show o%er time for a %iewer? How do yo# enter and e8it? What is the &i!htin! &i)e? What $an yo# &earn and #se from these mode&s? A@2W. How do different 4#i&din!s a&&ow f&ow from one spa$e to another? How do p&ays do the same thin!? How do yo# mo%e inside of the ar$hite$t#re? ;o sma&& rooms open into &ar!er ones5 so that there is $ontra$tion and e8pansion? Are there ha&&ways that ma)e transitions !rad#a&5 or do yo# s#dden&y find yo#rse&f in a new spa$e? How does this wor) for the $hara$ters in yo#r pie$e? How does this wor) for yo#r a#dien$e in the $o#rse of the e%enin!? ;oes somethin! meander5 does it a&&ow for $hoi$e on the part of the inha4itant5 or does it te&& yo# e8a$t&y where to !o? How do so&id o4:e$ts $ontain f&ow?

TEF0I2F AF; C2*PRE00I2F. Is

the str#$t#re of the pie$e he&d to!ether 4y $ompression or extension?

A!CHITECT$!E
RHGTH*. H2W

is rhythm #sed in ar$hite$t#re? Can yo# app&y this to yo#r wor)?

App&y these questions to any $om4ination of D/E the theater itse&f Da#ditori#m5 ha&&5 o#tdoor %s. indoor5 pros$eni#m %s. arena %s. thr#stE= D2E the re&ationship 4etween p&ayin! spa$e and a#dien$e= D3E the pie$e itse&f= D4E the sets desi!ned for the pie$e. :

*I#%
0IQE. How

4i! or sma&& is the structure? How m#$h %o&#me does it $ontain? How does the si>e of different 4#i&din!s or rooms affe$t peop&e different&y? How $an yo# #se this in the theater?
P2IFT 2A VIEW How

does fi&m #se the $amera7s eye in different ways? How do yo# do this onsta!e? How does the a#dien$e &oo) thro#!h a &ens? Are yo# #sin! a sin!&e point of %iew? Is it s#4:e$9 ti%e or o4:e$ti%e? How do yo# sta!e somethin! $omp&ete&y from one $hara$ter7s s#4:e$ti%e point of %iew? Is it how sChe sees thin!s5 fee& thin!s5 remem4ers thin!s?
*A00. How

m#$h mass is there %s. how m#$h ne!ati%e or empty spa$e? What is the sta!e e3#i%a&ent of doors and windowsBthe moments in the theater that a&&ow #s to enter or e8it5 to &oo) o#t9 side5 to &et &i!ht in?
92
193

THE VIEWPOINTS BOOK CHAPTER 16: COMPOSITION AND RELATED ARTS

0H2T0. What

is5 and how do yo# sta!e5 an esta4&ishin! shot5 a tra$)in! shot5 a pan5 a $&ose9#p5 medi#m shot5 &on! shot? How do yo# see somethin! from an e8treme distan$e in theater? Arom o%erhead? Fote: The sp&it s$reen is one of the few te$hni3#es that fi&m has 4orrowed from &i%e theater5 and not %i$e %ersa. Theater 3#ite or!ani$a&&y pro%ides a home for m#&tip&e and sim#&taneo#s ima!ery5 &ea%in! the point of fo$#s #p to the a#dien$e7s dis$retion5 whereas fi&m typi$a&&y &imits the perspe$ti%e to one point of %iew at any !i%en moment.

"ANCE
A 0TRACTI2F. How

does form $reate $ontent? How are stories or!ani>ed and $hara$ters $reated in dan$e? How do $horeo!ra9 phers thin) a4o#t time?
A2R*0. What

are different dan$e formsBpo&)a5 pas de de#85 tan!oBand does ea$h imp&y a different: #se of 0hape5 Tempo5 intention? How $an yo# #se dan$e to wor) on a s$ene? How $an two peop&e onsta!e5 e%en in a nat#ra&isti$ p&ay5 en!a!e in a min#et or a &indy or a s&am dan$e?
E;ITIF-. How

do peop&e edit fi&m and how do yo# edit theater? How do yo# mo%e from one moment or s$ene to another? ;o yo# emp&oy :#mp9$#ts5 $ross9fades5 disso&%es? Can yo# s#perimpose? Are yo#r #nits &on! or short?
ACC<*<@ATI2F. How

does the rewor)in! of themati$ materia& affe$t the o%era&& impa$t of the dan$e?

POET!&
RHGTH*. What

is the meter? How does it s$an?

02<F; TRACJ. What

do yo# hear when yo# &isten to a mo%ie so#nd tra$)? How are fi&ms s$ored and why? What is am4ient so#nd? Are there s#$h thin!s as a#ra& $&ose9#ps? How do yo# $re9 ate these in the theater? Are so#nds diegetic or non-diegetic, i.e.5 $an the $hara$ters hear the so#nds5 or on&y the a#dien$e? What moments re3#ire m#si$? When does m#si$ !et in the way or manip#&ate? What is %oi$e9o%er and how $an yo# #se it in the theater?
RHG*E. Is

a poem rhymed or #nrhymed? How wo#&d this trans&ate into a theater pie$e?

A2R*. Can

yo# #se the forma& str#$t#re of a sonnet5 3#atrain or &imeri$) to str#$t#re a theater pie$e? What does a hai)# in the theater &oo) &i)e? Can a sin!&e &ine 4e a who&e s$ene?
TIT@E0 AF; 0< TIT@E0. I0

there a $redit se3#en$e? ;oes it o$$#r at the 4e!innin! or end of a fi&m5 and how does it affe$t yo# either way? How are openin! $redit se3#en$es #sef#&5 and is there a de%i$e in the theater that ser%es the same p#rpose? Can we #se the notion of s#4tit&es Dor tit&e $ards as they were #sed in si&ent fi&mE in the theater?
;EVICE0. What

&iterary de%i$es do we find in poetry5 and how $an we transm#te them into theatri$a& moments? What is allusion and metaphor and simile?

#ITE!AT$!E AN" "!A%A

-EFRE. What

3#a&ities and de%i$es 4e&on! to different !enres? What ma)es #p a !enre? ;o yo# want to em4ra$e5 $omment on5 or re%o&t a!ainst a !i%en !enre in yo#r wor)? What spe$ifi$ fi&m !enres $an we &earn from and 4rin! into the theater: spa!hetti western5 fi&m noir5 do$#mentary5 et$.?

IF0PIRATI2F. What

ma)es a !reat no%e&? What ma)es a !reat p&ay? What patterns emer!e for yo# as an artist in what yo# &o%e? What draws yo# in and mo%es yo# and stays with yo#? Why? How $an yo# app&y this to theater?
195 THE VIESWPOINTS BOOK CHAPTER 16: COMPOSITION AND RELATED ARTS

*<@TI*E;IA. Comp#ters5

%ideo5 e&e$troni$ !ames and C;9R2*s5 hyper&in)s5 na%i!ation windows5 $#t9 and9paste $o&&a!es5 win.9dows5 notions of intera$ti%e parti$ipation.
*2TIVATI2F. Is

there intention5 a $hara$ter wantin! somethin!? Is there a$tion? Is there o4sta$&e? Is there

$onf&i$t? As we&& as e%erythin! from s$#&pt#re to $omi$ 4oo)s to ma!i$

CHARACTER. What

is $hara$ter? ;oes someone $han!e or stay the same? How a$ti%e does the $hara$ter7s story ha%e to 4e in order to en!a!e yo#? to photo!raphy to $a&&i!raphy to $oo)in! ... @AF-<A-E. ;o yo# respond to simp&e or $omp&e8 &an!#a!e? ;o yo# respond to words yo# )now and say or words yo# don7t )now and ha%e to &oo) #p? What pie$es #se a &ot of words5 and Whi$h on&y a few?

Is there a )ind of writin! that t#rns yo# off? What7s the e3#i%a&ent of this in theater &an!#a!e or prod#$tion approa$h?
THE*E. What

is theme? How dire$t&y or indire$t&y is it addressed in %ario#s wor)s?

-EFRE. What

are %ario#s )inds of &iterat#re? 0t#dy the memoir5 the roman a $&ef5 the dete$ti%e story5 the e8pose5 the !raphi$ no%e&5 the epi$5 the short story5 the me&odrama56 the $y$&e5 the domesti$ drama5 the m#si$a&. How does ea$h wor)? What $an yo# stea&5 in$orporate5 re%ise?

OTHE! P#ACES TO #OOK

FEW0PAPER. Aeat#re5 hard news5 editoria&s5 et$. AA0HI2F. Ao#ndations5 &ayers5 ornamentation5 fa4ri$5

&ines.

We on$e as)ed a Composition !ro#p to &ist other art forms they $o#&d draw from5 and the &ist in$&#ded:
CIRC<0. The 2PERA. Aria5

ro&e of rin!master5 the three rin!s5 feats5 dan!er5 h#mor. so&oCd#etCtrioC3#artet5 the #se of $hor#s5 motifs.

VIEWPOINTS IN $NE<PECTE" P#ACES

iewpoints appears e%erywhere in &ife: in the way peop&e mo%e5 the way anima&s f&o$)5 the way $ars pass on the hi!hway.

Are3#ent&y5 when someone first &earns the names of the indi%id#a& Viewpoints5 they 4e$ome o4sessed with spottin! them at wor) everywhere: 6;id yo# see how those peop&e o%er there responded Kinesthetically to ea$h other?H6 2f $o#rse5 this is the way &ife a&ways is and has 4een= 4#t namin! the Viewpoints a&&ows #s to disse$t rea&ity into somethin! identifia4&e and perhaps repeata4&e onsta!e. In this $hapter we7&& dis$#ss some of the #ne8pe$ted p&a$es where yo# $an identify the Viewpoints at wor) in the theater and dai&y &ife5 startin! with p&aywritin! and e8pandin! o#tward to in$&#de di%erse $#&t#ra& stap&es5 s#$h as a 4ase4a&& !ame and the $a4&e te&e%ision networ) Anima& P&anet.
CHAPTER I7: VIEWPOINTS IN UNEXPECTED PLACES

VIEWPOINTS AN" P#A&W!ITING

In writing a te8t5 Viewpoints and Composition $an 4e #sed to !enerate materia& that the p&aywri!ht $an: K Trans$ri4e e8a$t&y K Edit5 #sin! on&y some moments and not others K Rewrite and shape K <se as a :#mpin!9off point or inspiration. In reading a te8t we $an find m#&tip&e e8amp&es of how the e&e9 ments we7%e dis$#ssed in pre%io#s $hapters are emp&oyed. Aor e8amp&e5 addressin! three of the Viewpoints: /. TE*P2.How3#i$)&ydoesap&aymo%e?Whatisthetempoof The Lady from the Sea as $ompared to Glengarry Glen Rossi How does Tempo e8press and differentiate $hara$ter? Fame some $hara$ters that spea) or thin) s&ow&y5 and some that speed. Ima!ine p&ayin! a s&ow $hara$ter at a fast tempo. Ima!ine a $hara$ter whose interna& tempo $ontrasts with herChis e8terna& one Di.e.5 sChe rea&i>es thin!s s&ow&y5 yet darts aro#nd the roomE. 2. ;<RATI2F. How &on! do thin!s &ast in a !i%en p&ay? Are s$enes short or &on!? Are they a&& of the same &en!th or is there %ariety of d#ration De.!.5 two short s$enes fo&&owed 4y a &on! one fo&&owed 4y ten 4rief

f&ashesE? Within ea$h s$ene5 are the e%ents short or &on!? Is a$tion drawn o#t or $#rtai&ed? How does the p&aywri!ht #se sta!e dire$tions and $reate spe$ifi$ity of e%ent with pa#se %s. 4eat %s. si&en$e %s. a &on! si&en$e? ;oes a $hara$ter ta)e a f#&& pa!e to te&& herChis story or a sin!&e senten$e? Is the p&ay epi$ in &en!th or a stream&ined one9a$t? Why? What does yo#r $hoi$e of d#ration say? The $hoi$es made !i%e information5 re%ea& $hara$terC4#i&d story and $reate meanin!. 3. REPETITI2F. A p&aywri!ht #ses Repetition in &an!#a!e5 in e%ent5 in $hara$ter5 in ima!ery and in str#$t#re. In the most 4asi$ form: K E%ery time a $hara$ter as)s: 6;o yo# &o%e me? ;o yo#?6 the p&aywri!ht is #sin! Repetition. D@an!#a!eE K E%ery time a $hara$ter attempts the same tas)5 the p&aywri!ht is #sin! Repetition. DE%entE K E%erytimethesame$hara$terenters5ore%erytime two $hara$ters e$ho ea$h other5 the p&aywri!ht is #sin! Repetition. DChara$terE K E%ery time the same e&o3#ent o4:e$t or sym4o& appears onsta!e5 the p&aywri!ht is #sin! Repeti9 tion. DIma!eryE K E%ery time we ret#rn to a &o$a&e5 the p&aywri!ht is #sin! Repetition. D0tr#$t#reE Additiona&&y5 a te8t $an emp&oy internal repetition Da $hara$ter repeatin! herse&fChimse&f in &an!#a!e or a$tionE or external repeti9 tion Da $hara$ter5 &an!#a!e5 e%ent repeatin! ea$h other thro#!ho#t the p&ayE. Composition is the a$t of writin! as a !ro#p5 in time and spa$e5 #sin! the &an!#a!e of the theater. E%ery dire$tor and per9 former and desi!ner is a writer in the sense that we are a&&B alwayscreating meanin!. Additiona&&y5 whereas p&aywri!hts mi!ht tend to fo$#s on $reatin! meanin! thro#!h the spo)en word5 they mi!ht a&so5 in enterin! the #ni%erse of Viewpoints5 4e!in to dream ways of writ9 in! ima!es5 impressions5 so#nds5 mo%ement.

VIEWPOINTS AN" "I!ECTING

Viewpoints pro%ides a too& for the dire$tor to #se with a $ompany of a$tors in the rehearsa& pro$ess= 4#t it a&so pro%ides a method of pra$ti$e and imp&ementation for herChim as we&&. A dire$tor $an tea$h Viewpoints. A dire$tor $an dire$t with Viewpoints. A dire$9 tor $an pra$ti$e Viewpoints in the way sChe ta&)s to others and $o&&a4orates.
200 201 THE VIEWPOINTS BOOK CHAPTER l7:VIEWPOINTS IN UNEXPECTED PLACES

Viewpoints wit+ &our Co pan/

When determinin! how to #se Viewpoints with a$tors in wor)in! on a pro:e$t5 $onsider the fo&&owin!: /. Wi&& I #se Viewpoints to 4#i&d ensem4&e? 2. Wi&& I #se Viewpoints as warm9#p and trainin!? 3. Wi&& I #se Viewpoints to !enerate materia& that I7&& edit? 4. Wi&& I #se Viewpoints to sta!e s$enes?

Viewpoints in &our "irection

When determinin! how to #se Viewpoints in dire$tin! a prod#$9 tion5 $onsider: /. How are ea$h of the indi%id#a& Viewpoints a&ready present in the materia&? Whi$h oneDsE is most manifest? ;o yo# ima!ine the same in the sta!in!? How o4%io#s wi&& the #se of Viewpoints 4e in yo#r wor)5 and why? How wi&& yo# #se Ar$hite$t#re5 for instan$e? In open9 in! #p to the possi4i&ities of Ar$hite$t#re5 $onsider e%ery9 thin! Dfrom s$rat$hE and as if for the first time: Where does theater happen? Where can theater happen? ;oes my pie$e 4e&on! in a traditiona& or nontraditiona& theater spa$e? 0t#dy the spa$e itse&f and determine how a$ti%e&y yo# wi&& use it Dnot what is 4#i&t inside of itE. Consider a&& possi4i&ities of how yo#r a#dien$e mi!ht enter5 sit or stand5 4e in re&ationship to the p&ayin! areaDsE. Ta)e nothin! for !ranted. Re&ated to yo#r #se of Ar$hite$t#re are: K T2P2-RAPHG. Is there a territory5 a %isi4&e or in%is9 i4&e &ands$ape5 in yo#r p&ayin! spa$e5 with defined areas5 shapes5 hi&&s5 %a&&eys5 et$.? Additiona&&y5 for 4oth the entire prod#$tion and a&so for e%ery s$ene yo# sta!e5 yo# wi&& ma)e $hoi$es a4o#t the si>e and shape of the p&ayin! spa$e. Rather than ass#min! K that e%ery s$ene o$$#rs in a !enera& area5 ro#!h&y 6$enter9ish5 )ind of 4i! eno#!h6 to ho&d the a$tion= as) instead if a s$ene wants to &i%e in one space or on a grid or in a tiny sliver of space a&& the way #psta!e a!ainst the 4a$) wa&& or in a pool of light downsta!e ri!ht. In ma)in! topo!raphi$a& $hoi$es5 s$ene 4y s$ene5 yo# $reate an #nfo&din! meanin! o%er time. The o%era&& Topo!raphy of yo#r prod#$tion wi&& 4e re%ea&ed to an a#dien$e o%er the $o#rse of the e%enin!.
TEMPO, DURATION, KINESTHETIC RESPONSE, REPETITION, SHAPE, GESTURE AND SPATIAL RELATIONSHIP.

How do yo# %is#a&i>e these Viewpoints in tin9wor)? -o thro#!h ea$h indi%id#a& Viewpoint in terms of the p&ay itse&f. -o thro#!h ea$h Viewpoint in terms of the $hara$ters within the p&ay. 2. Viewpoints is a&so $riti$a& in determinin! how a prod#$tion mo%es5 i.e.5 its transitions5 set mo%es5 &i!ht $#es5 so#nds $#es. Tempo5 ;#ration5 Jinestheti$ Response and Repeti9 tion are a&& a4o#t yo#r sense of timin!. D0ee Viewpoints and ;esi!n5 4e&ow.E

Viewpoints in &our Bein.

Tea$hin! and pra$ti$in! Viewpoints with yo#r $ompany he&ps yo# o4ser%e and arti$#&ate the indi%id#a& Viewpoints aro#nd yo#. y sharin!5 yo# are pra$ti$in!. e s#re to pra$ti$e what yo# prea$h. If yo# say that 4ein! open is important5 then 4e open. If yo# say that no one needs to fee& the press#re to $ome #p with st#ff a&one5 then ta)e that press#re off yo#rse&f. If yo# say it is important to #se what yo# are !i%en rather than what yo# want5 then #se what yo# are !i%en. Wor) hard in e%ery day of rehearsa& to e8emp&ify the phi&o9 sophi$ !oa&s of Viewpoints=
202 203 THE VIEWPOINTS BOOK CHAPTER I7.VIEWP0INTS IN UNEXPECTED PLACES

K @isten Pay attention K eopen K Chan!e K Respond K 0#rprise yo#rse&f

K <se a$$idents K Wor) with fear&essness and a4andon and an open heart.

VIEWPOINTS AN" "ESIGN

;esi!ners too wor) with Viewpoints5 whether or not they are aware of it or #se the spe$ifi$ %o$a4#&ary. ;esi!ners $an emp&oy the prin$ip&es of Viewpoints in the desi!n st#dio a&one5 whi&e dreamin! or draftin!5 and a&so in the rehearsa& st#dio5 4y a&&owin! Viewpoints to 4rin! them into a desi!n wor&d $&oser in pro8imity to the a$tors and the dai&y dis$o%eries of rehearsa&. In app&yin! the f#ndamenta&s of Viewpoints to desi!n5 a set desi!ner wi&& o4%io#s&y $onsider the 4asi$s s#$h as Ar$hite$t#re Dmass5 $o&or5 te8t#re5 %o&#me5 et$.E5 Topo!raphy5 0hape5 et$. #t there is an e8tension of how one mi!ht thin) of the Viewpoints in app&i$ation. Viewpoints imp&ies a wor&d where nothin! is fi8ed and anythin! $an happen. How does one desi!n a sta!e spa$e that en$o#ra!es Drather than inhi4itsE this m#ta4i&ity? A spa$e inspired 4y Viewpoints is one in whi$h fi8ed p&a$e does not ne$essari&y e8ist: p&a$e $han!es5 transforms5 ret#rns5 a$$ordin! to what happens inside of it. In this way5 it is often he&pf#& to thin) of the spa$e as an arena rather than a set. ;esi!nin! a spa$e that $annot $han!e or a spa$e that $annot intera$t is anathema to Viewpoints. As) yo#rse&f: What is the spa$e5 the arena? Is it a dream9s$ape5 the inside of someone7s head5 a r#in5 a temp&e5 a memory? *a)in! these $hoi$es wi&& te&& yo# not on&y what the spa$e &oo)s and fee&s &i)e 4#t how it operatesBthe r#&es for mo%ement and transition. In &i!htin! desi!n5 we $o#&d easi&y !o to a &i!ht p&ot and point o#t how Topo!raphy and 0patia& Re&ationship and K Repetition e8ist in the p&ot itse&f. The same in $ost#me s)et$hes: the #se of color and texture DAr$hite$t#re of $&othin!E5 the #se of 0hape and Repetition5 et$. #t what $an Viewpoints tea$h #s that is new to how we approa$h desi!n wor)? Viewpoints in%ites desi!ners into the rehearsa& room5 it !ets desi!ners wor)in! with, as opposed to a&one. 2pen the pro$ess to in$&#de them. When wor)in! with Viewpoints in rehearsa& yo# are $onstant&y pressin! to 6#se what yo# ha%e.6 0o often a $ompany wi&& dis$o%er ama>in! moments with a door5 a do&&y5 a 4room5 a $hairBis there no way to trans&ate it into pro9 d#$tion? <s#a&&y5 thro#!h a $o&&e$ti%e #n$ons$io#s a!reement 4etween dire$torCa$torCdesi!ner5 we 4ind o#rse&%es 4y what has 4een predetermined Dthe desi!nE and are not tr#&y open to what a$t#a&&y o$$#rs Dthe rehearsa&E. -et the desi!ner into the room. 0imi&ar&y5 !et the a$tors onto the set5 or !et the set into the room5 as ear&y and as f#&&y as possi4&e. There is on&y one way to $reate theater in whi$h the set f#n$tions as partner5 where it is #sed and &i%ed in and 4e$omes e8pressi%e5 and that is 4y in$&#din! it ear&y on. If rea&ity a4so&#te&y prohi4its this pro$ess5 ma)e s#re that when yo# do 6mo%e onto the sta!eC7 yo# ta)e time to a&&ow the a$tors to Viewpoint in the spa$e. E8p&ore the ar$hite$t#re. ;is$o%er the a$o#sti$s. 2therwise5 yo# wi&& find yo#rse&f with yet another prod#$tion where yo# $o#&d &ift the entire set and rep&a$e it with another5 and few wo#&d re!ister the differen$e. Em4ra$e the notion that a set is not 4a$)!ro#ndBit is spa$e5 it is an arena, it is a $onte8t within whi$h thin!s o$$#r5 and it is there to help those thin!s o$$#r. If yo# are a4&e to ha%e the desi!nerDsE in rehearsa& for e%en a short amo#nt of time5 do 2pen Viewpoints with a theme re&ated to the show. Create spe$ifi$ Compositions that the desi!nerDsE $an wat$h and dis$#ss with the !ro#p. As) the $ompany to ma)e a pie$e on how &i!ht f#n$tions in yo#r P&ay9Wor&d. What are the so#r$es of &i!ht? Are a&& $hara$ters &it e3#a&&y? ;o some 4e&on! more to shadow than &i!ht? How is &i!ht a $hara$ter itse&f in yo#r pie$e? As) ea$h $ompany mem4er to 4rin! in an arti$&e of $&oth9 in! that e8presses their $hara$ter and to ma)e a portrait Composition5 whi$h in$&#des how they #se this arti$&e5 why they
204 205

THE VIEWPOINTS BOOK CHAPTER l7:VIEWPOINTS IN UNEXPECTED PLACES

&o%e it5 where they fo#nd it5 et$. And5 a4o%e a&&5 ma)e s#re that yo#r desi!nerDsE #nderstand that the wor) is not meant to di$tate 4#t to inspire. If a desi!ner $an &ea%e the room with one new seed of inspiration5 it was time we&& spent. In te$h9in! a show5 Viewpoints of Time is present in e%ery de$ision a4o#t $#es and transitions. Fot on&y are we payin! pri9 mary attention to Tempo DHow fast does a #nit tra%e& onsta!e?E and ;#ration DHow &on! does it ta)e to $omp&ete?E5 4#t we m#st a&so re$o!ni>e that the most powerf#& $hoi$es we ma)e a4o#t whether or not transitions are effe$ti%e ha%e to do with Jinestheti$ Response. In determinin! how a &i!ht $#e s&ow&y fades then 4#mps o#t :#st as the m#si$ $omes on5 whi$h $ontin#es #nti& the set is in p&a$e5 whi$h finishes :#st as the m#si$ ends and the &i!hts 4#mp 4a$) on5 yo# are dea&in! f#ndamenta&&y with the Kinesthetic Response among movement, light and sound. @i!ht and so#nd $an respond Jinestheti$a&&y not on&y to ea$h other 4#t to mo%ement o#tside themse&%es. A set pie$e mo%es5 4#t so do the !est#res and te8t of an a$tor. Ima!ine moments in whi$h &i!ht responds Jinestheti$a&&y to a !est#re made 4y an a$tor5 and, %i$e %ersa5 ima!ine an a$tor respondin! Jinestheti$a&&y to &i!ht f&i$)erin! or !rowin! #n4eara4&y 4ri!ht. In performan$e5 Viewpoints finds e8pression not on&y a$tor9to9a$tor5 4#t in a$tor9to9&i!ht9to9so#nd and 4a$) a!ain. E%eryone from the performer to the sta!e mana!er to the te$hni$ians is en!a!ed in a !iant $o&&e$ti%e !ame of Viewpoints. And fina&&y5 too5 we m#st re$o!ni>e and em4ra$e the fa$t that the !ame not on&y in%o&%es the a#dien$e5 4#t e&e$ts them as the s$ene partner with whom we are a&&5 #&timate&y5 p&ayin!.

VIEWPOINTS EVE!&WHE!E2 IN SPO!TS6 WAITING TAB#ES AN" THE ANI%A# KING"O%

2n I#ne /,5 21115 an arti$&e appeared in the New York Times on then Few Gor) Gan)ee 4ase4a&& p&ayer Ch#$) Jno4&a#$h. The arti$&e5 4y Eri$a -oode5 4e!an: A desperate&y fr#strated Gan)ee se$ond 4aseman and a nineteenth $ent#ry R#ssian no%e&ist ha%e &itt&e in $ommon5 one mi!ht thin). #t5 in a way5 Ch#$) Jno4&a#$h is in the same pi$)&e as @eo To&stoy was as a $hi&d5 when his 4rother $ha&&en!ed him to stand in a $orner #nti& he $o#&d stop thin)in! a4o#t white 4ears. To&stoy5 the &e!end has it5 stood in that $orner for 3#ite a whi&e5 with white 4ears troopin! thro#!h his mind. To&stoy7s 4r#sh with o4session was tri%ia&5 4#t Jno4&a#$h5 who &eft a 4a&& !ame in fr#stration Th#rsday ni!ht after his ina4i&ity to ma)e simp&e throws to first 4ase res#&ted in three errors5 has a &ot more at sta)e .. . The pro4&em5 sports psy$ho&o!ists s#rmised yes9 terday5 is that an a$tion that Jno4&a#$h has instin$9 t#a&&y performed tho#sands of times is s#dden&y the o4:e$t of $ons$io#s tho#!ht. And in a re&ated arti$&e 4y Iames C. *$Jin&ey5 Ir.: W2ne &ife&on! Gan)ee fanX said: 6Go# $an see he7s thin)in! too m#$h. He7s not rea$tin!C7... 2thers said the $#re was 4oth simp&e and $omp&i$ated. Jno4&a#$h5 they said5 needs to empty his mind and :#st p&ay. WAor asX Go!i erra on$e said when he was a roo)ie5 6I $an7t thin) and hit at the same time.6 Arom sports to Qen #ddhism to TJte Wizard of Oz, the refrain is e$hoed time and a!ain:
"Thinking is stinking." says the baseball axiom. ______________says the Zen master. "Pay no attention to the man behind the curtain," says the Wizard.
THE VIEWPOINTS BOOK

When Jno4&a#$h &ater des$ri4ed theCinstant of tho#!ht that pro9 hi4ited him from throwin! to first 4ase5 he mi!ht as we&& ha%e 4een dis$#ssin! Viewpoints as 4ase4a&&. He said:
"The goal is to react spontaneously/'

There is a phrase in sports5 6In the QoneC7 whi$h pro%ides a #sef#& ana&o!#e for the state of openness and f&ow one hopes to a$hie%e in Viewpoints trainin!. @e!endary 4ase4a&& hitter Ted Wi&&iams $ommented that5 in this state5 sometimes he $o#&d see the seams on a pit$hed 4ase4a&&. -ymnast Caro& Iohnston fo#nd that on some days she e8perien$ed the 4a&an$e 4eam as wider5 so 77any worry of fa&&in! off disappeared.6 A#rther e8p&oration of the In the Zone phenomenon s#!!ests that $ommon $hara$teristi$s in$&#de: K RE@ALATI2F. Fo e8tremes. Attainment witho#t $ons$io#s9 ness of stri%in!. The mind $a&m= the 4ody t#ned5 fed and watered= pea$e within the physi$a& se&f= pea$e within the spirit. 0tren!th5 ease5 readiness witho#t fear. K C2FAI;EFCE. e&ief in yo#rse&f5 in yo#r fe&&ow ath&etes5 in the inte!rity of the sport. Pride in the hard wor) of trainin!5 in the history of the $ompetition5 stret$hin! 4a$) thro#!h the $ent#ries. Vi$tory in the mind5 &on! 4efore the moment when the spe$tators7 first roar washes thro#!h the stadi#m. K A2C<0. Comp&ete a4sorption5 tota&5 a4so&#te5 witho#t reser9 %ation. The past is witho#t form5 the f#t#re witho#t fai&#re. The tas)5 the need5 the now is a&& that yo# $an )now. K EAA2RT@E00FE00. E44 and f&ow in the !rasp of somethin! !reater than h#man frai&ty5 smooth and ine8ora4&e5 4eyond the in$on%enien$es of !ra%ity5 fati!#e5 fai&#re. -ra$ef#&5 easy5 $onne$ted and &i!ht. K 0E@A9C2FTAIF*EFT. Interna& harmony5 tho#!hts and emo9 tions5 senses e8terna& and interna&5 heart and m#s$&e and mind 4&endin! to!ether in the a#tomati$ity that dedi$ated
CHAPTER 17: VIEWPOINTS IN UNEXPECTED PLACES

pra$ti$e 4rin!s. Fo dis$ord= no hesitation= no dissonan$e 4etween the de$ision and the a$tion= instin$t rep&a$ed 4y somethin! hi!her5 yet somethin! more 4asi$ than reason= a stren!th of 4ein! that ta)es the h#man 4ein! to a &e%e& so far 4eyond day9to9day aw)wardness that e%ery mo%ement 4e$omes poetry. K I2G. P#re and inno$ent de&i!ht5 $hi&d&i)e happiness in the %e&%et f&ow of a$hie%ement5 f#&fi&&ment won at hard $ost5 with e%en the stin! of pain and the a$he of e8ha#stion warmin! and )ind&in! the p&eas#re of attainment5 the &o%e of the sport for a&& that it has 4een and a&& that it wi&& 4e. The para&&e&s 4etween this phi&osophy of sports and that of Viewpoints are 4oth astonishin!5 and5 on$e rea&i>ed5 %ery o4%i9 o#s. oth sports and Viewpoints in%o&%e play, the )ind of p&ay yo#n! $hi&dren en!a!e inBthat of rea$tin! to somethin! that happens in a spontaneo#s fashion5 witho#t se&f9$ons$io#sness5 :#d!ment or hesitation. In sports5 as in so many other thin!s in &ife5 we $an on$e a!ain witness the &essons of Viewpoints in a$tion. We $ontin#e to &earn a4o#t the time&ess art of ta)in! what is !i%en yo# Dwhether a !ro#nd 4a&&5 a toy fi!#re or a s#dden mo%e onsta!eE and o#t of it5 ma)in! somethin! wonderf#&. There are as many ways to des$ri4e this state5 these a$tions5 as there are $#&t#res and a$ti%ities. There is 6the 2$eani$ state56 $oined 4y 0i!m#nd Are#d= there is the $on$ept of 6A&ow6 in *iha&y Csi)s>entmiha&yi7s Flow: The Psychology of Optimal Experi- ence DHarper Perennia&5 Few Gor)5 /++/E= the 6Pea)9E8perien$es6 defined 4y A. H. *as&ow in 6Re&i!io#s Aspe$ts of Pea)9E8perien$es6 Din his 4oo) Religions, Values, and Peak-Experiences, Pen!#in5 Few Gor)5 /++4E= and essayist ;iane A$)erman7s phrase 6;eep P&ayC7 whi$h she 4orrowed from ei!hteenth $ent#ry phi&osopher Ieremy entham for des$ri4in! those moments when 6&e%ered 4y e$stasy5 one sprin!s o#t of one7s mind.6 We on$e as)ed a !ro#p of st#dents where e&se in &ife they re$o!ni>ed Viewpoints at wor). The answers f&ew. 2ne yo#n! woman ta&)ed a4o#t her waitressin! :o4 and how she s#dden&y 4e$ame aware of how she and her $o9wor)ers were Viewpointin!:
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THE VIEWPOINTS BOOK

77It7s a dan$e56 she said5 6one person wi&& 4e #p at the re!ister whi&e another &eans 4e&ow to !ra4 a )et$h#p 4ott&e from a she&f5 and witho#t e%er &oo)in! at ea$h other we )now e8a$t&y where the other is and what they7re doin!. If we &ost that awareness5 a$$idents wo#&d start happenin!Byo# )now5 p&ates f&yin!5 drin)s spi&&in!.6 0he went on to des$ri4e the diffi$#&ty of mane#%erin! with a tray of mi8ed drin)s thro#!h the 4ar $rowd on a 4#sy ni!ht: 6The on&y way I $an do it is with soft focusI've 4een doin! that fore%er5 I :#st ne%er had a name for it.6 Another st#dent ta&)ed a4o#t his new fa%orite te&e%ision station: Anima& P&anet. 0in$e startin! Viewpoints trainin!5 he had !one home e%ery ni!ht to o4sessi%e&y wat$h5 in his e8a$t words5 6A&amin!os and rhino$eri and 4eet&es doin! the View points.6 Wat$h the way anima&s f&o$). Wat$h the way a s$hoo& of fish shifts dire$tion as if one. Wat$h peop&e waitin! for a 4#s or trainBwhen one person &eans o#t to $he$) for the on$omin! %ehi$&e5 others immediate&y fo&&ow. Wat$h peop&e on the s#4way or wat$hin! a mo%ieBwhen one person shifts wei!ht or an!&e5 there is a ripp&e rea$tion that fo&&ows from one to another. The #&timate &esson of Viewpoints5 after a&&5 mi!ht 4e one of h#mi&ity. We did not in%ent a system that the wor&d mirrors. Rather5 it is the nat#ra& wor&d itse&f that ho&ds s#$h time&ess and $onsistent patterns of 4eha%ior. It is o#r str#!!&e to name the pat9 terns and then app&y them to o#r art.

A*TE!WO!"
Wor0in. wit+ SITI Co pan/
ANNE BOGART

In /++25 with the he&p of Iapanese dire$tor Tadashi 0#>#)i5 I fo#nded 0ITI Company5 whi$h 3#i$)&y 4e$ame the $ore of my $reati%e e8isten$e. Ear&y on in the &ife of 0ITI5 it 4e$ame $&ear that trainin! $onstit#tes the 4asi$ a!reement of the ensem4&eBthe !&#e that )eeps #s questioning and e%o&%in!. Viewpoints and 0#>#)i7s method of a$tor trainin! are the fo#ndation of o#r physi$a& and %o$a& trainin!. Composition wor) forms o#r approa$h to rehearsa&5 whether in the $reation of ori!ina& wor) or $&assi$a& p&ays5 new p&ays5 dan$e9theater or opera. This on!oin! trainin! and st#dy 3#i$)&y sharpene$& 0ITI into an effi$ient and pro&ifi$ !ro#p of artists. ased in Few Gor) City5 0ITI Company is $omprised of twenty9one stron!9wi&&ed indi%id#a&s: ten a$tors5 fo#r desi!ners5 one p&aywri!ht and a prod#$tion team. The $ompany7s mission is
A*TE!WO!" A*TE!WO!"

threefo&d: D/E to $reate5 perform and to#r new prod#$tions= D2E to pro%ide on!oin! trainin! for yo#n! theater artists= and D3E to foster opport#nities for $#&t#ra& e8$han!e with theater professiona&s and a#dien$es aro#nd the !&o4e. The $ompany is on to#r and in performan$e for &on! periods e%ery year. We a&so spend a &ot of time r#nnin! wor)shops and trainin! pro!rams aro#nd the wor&d. And we spend &ots of time in rehearsa& #t5 always, we find time to train to!ether. We 4e!in e%ery rehearsa& with a4o#t forty min#tes of train9 in!Btwenty min#tes of 0#>#)i trainin! Dsee i4&io!raphyE and then a fifteen9min#te Viewpoints session with m#si$5 fo&&owed 4y a very 4rief $riti3#e. efore e%ery performan$e5 e8$ept d#rin! te$hni$a& rehearsa& days5 the $ompany trains to!ether. When not wor)in! on a parti$#&ar prod#$tion5 we find ways to $ontin#e o#r trainin! pra$ti$e to!ether. A&& of the a$tors in the $ompany are a&so e8$e&&ent tea$hers. When not in performan$e5 $ompany mem4ers

$an #s#a&&y 4e fo#nd tea$hin!. We offer trainin! pro!rams in Few Gor) City5 @os An!e&es5 2hio5 Jent#$)y and Ire&and. E%ery I#ne in 0arato!a 0prin!s5 Few Gor)5 si8ty9fi%e theater professiona&s from aro#nd the wor&d :oin #s for fo#r remar)a4&y intensi%e wee)s of trainin!. Composition is a&so a too& that we #se as we&& as tea$h. The time set aside for Composition wor) a&&ows #s to s)et$h ideas that we $an show to one another. This a$ti%ity )eeps the rehearsa&s from !ettin! too heady or a$ademi$. We 4e&ie%e in the re$htian 6show me6 approa$h to !eneratin! sta!e moments. Rather than ta&)in! too m#$h5 we insist on s)et$hin! ideas onsta!e immediate&y. Viewpoints and Composition ser%e as shorthand d#rin! the heat of a rehearsa&. 0harin! a $ommon %o$a4#&ary stream&ines the pro$ess: 6Go#r 0patia& Re&ationship is wea) in that moment5 $an yo# fi8 it?6 or "\ thin) that the s$ene needs more a$$e&eration.6 When we are st#$)5 sometimes we Viewpoint a s$ene #nti& we find the hidden )ey. The Compositions that we $reate ind#$e ah instant historyBa reser%oir of referen$es and ideas to draw from. These approa$hes wor) for #s in a %ery pra$ti$a& sense. #t the approa$hes are not a 6te$hni3#e6 and they are $ertain&y not do!ma. They are an e%o&%in! pra$ti$e of in%esti!a9 tion into the &an!#a!e of the theater and penetration into the mysteries of a p&ay. When I first $ame into $onta$t with Composition and Viewpoints5 thro#!h the profo#nd inf&#en$e of Ai&een Pass&off and *ary 2%er&ie5 I fe&t instant&y that 6somethin! is ri!ht in the wor&d.6 At the time I $o#&d not p#t these fee&in!s into words5 4#t I $o#&d p#rs#e my e8$itement 4y tryin! o#t these ideas myse&f in my wor) with other peop&e. 0o I did. And this p#rs#it 4ro#!ht $onsistent insi!ht and a rehearsa& atmosphere where the $reati%e a$t was shared. This sharin! was !a&%ani>in! and ne$essary and far prefera4&e to any other way of wor)in!. This approa$h is5 for me5 more than a te$hni3#e5 more than a way of )eepin! a $om9 pany to!ether= it is a phi&osophy of 4ein! in the wor&d that I $an 4e&ie%e in. Inside this phi&osophy we don7t ha%e answers= rather5 we e8press o#r points of %iew a4o#t thin!s: our Viewpoints. These pro$esses pro%ide windows thro#!h whi$h one mi!ht5 for a short time5 see more $&ear&y. Ea$h 0ITI Company mem4er has $ontri4#ted to the e%o&#9 tion of Viewpoints and Composition. arney 27Han&on is perhaps the most ad%ent#ro#s pra$titioner and tea$her of Viewpoints. efore :oinin! 0ITI Company5 he st#died 4oth with *ary 2%er&ie and me5 and he has 4e$ome a radi$a& inno%ator. @eon In!#&sr#d and I. Ed Arai>a are 4oth dire$tors as we&& as a$tors in 0ITI and ha%e #sed Composition Wor) e8tensi%e&y and with remar)a4&e res#&ts. They 4oth )eep me on my toes. 0o#nd ;esi!ner ;arron West 4ro#!ht m#si$ and so#nd to Viewpoints5 and I ha%e to r#n at top speed to )eep #p with him. A$tors: E&&en @a#ren5 0tephen We44er5 Je&&y *a#rer5 Wi&& ond5 A)i)o Ai>awa5 0#san Hi!h tower and Tom Fe&is. ;esi!ners: Fei& Pate&5 Iames 0$h#ette5 *imi Iordan 0herin and rian 0$ott. P&aywri!hts: Ch#$) *ee and Io$e&yn C&ar)e. *ana!ers: *e!an Wan&ass 0>a&&a and E&i>a4eth *orea#. These are the peop&e who inspire inno%ation5 f&e8i4i&ity5 :oy and !rowth. 0ITI Company )eeps me honest. As I mo%e from one season to the ne8t with mem4ers of 0ITI Company5 I am inde4ted to the inf&#en$es that &ed me to them5 and I am !ratef#& to the Company for their patien$e5 inter9 est5 sweat and h#mor.
212 AFTERWORD AFTERWORD

Wor0in. wit+ t+e Steppenwol, Ense -le6 or An Old "o. #earnin. New Tric0s
TINA #AN"A$

I had more of an impression of what 0teppenwo&f was than a first9 hand )now&ed!e. I had on&y seen two of their prod#$tions and had on&y 4een to Chi$a!o twi$e D4rief&yE in my &ife. When I tho#!ht of 0teppenwo&f5 I tho#!ht )it$hen sin)s5 dirty wa&&s5 and peop&e s$reamin!5 throwin! $hairs5 4rea)in! f#rnit#re5 &o%in!5 sweatin!5 wrest&in! and !enera&&y &i%in! &ife o#t onsta!e at a hi!h pit$h. And this wasn7t who&&y #nappea&in! to me. #t I $ame from a different wor&d. When I tho#!ht 0teppenwo&f5 I tho#!ht

6method a$tin!6 and 6nat#ra&ism56 notions &ess #nappea&in! than fri!htenin!. *#si$ and history and poetryBthose I $o#&d dea& with= hand props and &i%in! rooms and 4eha%iorBI was &ess s#re a4o#t. How wo#&d I fit in? Co#&d I $omm#ni$ate with the a$tors and %i$e %ersa? Wo#&d they thin) I was a martian? #t a distant %oi$e a&so to&d me5 60teppenwo&f: a4andon5 spontaneity5 m#s$&e5 e8tremity5 dan!er . . .6 And I hoped some where that we wo#&d find $ommon !ro#nd. And so5 in /++'5 the person some of them tho#!ht of as 6the Few Gor) City a%ant9 !arde dire$tor9type6 pa$)ed her 4a!s and too) off to dire$t at 0teppenwo&f. I went with trepidation and s)epti$ism5 p&a!#ed 4y ima!es of5 we&&5 oi& and water. Aran) -a&ati5 a 0teppenwo&f ensem4&e mem4er5 had seen my prod#$tion of Floyd Collins Dwhi$h I wrote with Adam -#ette&E at P&aywri!hts Hori>ons in Few Gor). He had !one 4a$) to Chi$a!o and to&d *artha @a%ey5 0teppenwo&f7s Artisti$ ;ire$tor5 that she sho#&d see the show and 4rin! it to Chi$a!o. 0he $ame5 &i)ed the wor)5 and in the $o#rse of o#r dis$#ssions we determined to!ether that it wasn7t the ri!ht time or p&a$e for Floyd D0teppenwo&f had ne%er prod#$ed a f#&&94&own m#si$a&5 the $osts were prohi4iti%e5 et$.E. #t *artha in%ited me to dire$t somethin! e&se and we set9 t&ed on a new Ch#$) *ee p&ay5 Time to Burn, 4ased on -or)y7s The Lower Depths. It was materia& that seemed to 4rid!e o#r wor&ds: theatri$a&5 as on&y Ch#$) $an write5 4#t a&so f&#id and &yri$a& and h#man5 rea& peop&e in rea& time in a rea& p&a$e and5 a4o%e a&&5 an ensem4&e pie$e. I#st 4efore I &eft for Chi$a!o5 I was spea)in! to someone a4o#t Viewpoints and they said5 6We&&5 yo# )now the famo#s 0teppen9 wo&f story5 don7t yo#?6 6Fo56 I said. <h9oh5 I tho#!ht. 6We&&5 a yo#n! dire$tor was wor)in! with the ensem4&e on a new p&ay and !a%e them an e8er$ise re&atin! to !est#re5 and there they were wor)in!5 when s#dden&y one of the 0teppenwo&f ensem4&e mem9 4ers threw down her note4oo) and started s$reamin!5 7We don7t do !est#re wor) hereH We don7t do !est#re wor) AFGWHEREH In fa$t5 we don7t ;2 !est#re wor)H In fa$t5 I don7t ;2 !est#resHHH76 When I introd#$ed Viewpoints on my first day of rehearsa&5 I :o)ed a4o#t this story. I as)ed the $ompany simp&y to a$)now&9 ed!e whate%er pre$on$eptions and s)epti$ism they had5 and to open to the wor) nonethe&ess. I as)ed them to wor) with an open heart toward me5 toward the pro$ess5 toward ea$h other5 toward themse&%es. To p&ay &i)e )ids :#st for this one day. They didn7t ha%e to &i)e it or #nderstand its #se5 4#t :#st do it. The ne8t day we were ta&)in! as a !ro#p when *i)e F#ss4a#m raised his hand and said5 6I7d &i)e to ma)e a statement to e%eryone.6 Fow *i)e is a sta&wart of Chi$a!o theater5 a &e!end to many5 4y far the senior roya&ty in the $ast Dfrom his a!e5 his ta&ent and his e8perien$eE. *y 6#h9oh6 ret#rned. #t then *i)e said5 6I ha%e on&y one thin! to $ontri4#te and for the first time I rea&&y )now what it means: you can tea$h an o&d do! new tri$)s.6 The fo&&owin! season I wrote and dire$ted Space Dafter whi$h I was in%ited to :oin the ensem4&eE5 feat#rin! ensem4&e mem4ers *ariann *ay4erry5 Ro4ert re#&er5 Amy *orton and Tom Irwin. 2n the first day of Viewpoints5 *ariann soared. o4 )ept smash9 in! an oran!e into his forehead o#t of some need to def&e$t and entertain #s a&&5 Tom ro&&ed his eyes a &ot and Amy5 in a 4ra%e attempt to 4#st thro#!h her dis$omfort and fear5 )ept &oo)in! at wa&&s5 ta)in! aim &i)e a 4#&&5 and then r#nnin! at them to throw herse&f into the p&aster5 f#&& thrott&e. 2n the se$ond day5 a&& fo#r of them soared. And5 on the third day5 they to&d me who the ensem4&e mem4er was who had pro$&aimed: 6I don7t do !est#res.6
214 AFTERWORD AFTERWORD

I had the :oy of wor)in! with her for the first time in my prod#$tion of The Ballad of Little Jo, 0teppenwo&f7s first m#si$a&. Her name is Rondi Reed Dsome ensem4&e fo&) $a&& her 6;ame Reed6CE. Rondi 4&ew into rehearsa& on the first day and 4e&&owed: 62)ay5 so what is a&& this Viewpoints 4#&&shit?H6 0he &a#!hed5 as did I5 4#t fo#r ho#rs &ater Rondi not on&y did -est#res5 4#t 0hape5 Ar$hite$t#re5 Topo!raphy5 et$. 2%er a 4eer one ni!ht she $on9 fessed that the pre%io#s dire$tor 6didn7t e%en )now what a !est#re was herself, &et a&one how to ta&) to a$tors a4o#t themH 2f $o#rse I do !est#resBwe a&& do5 e%ery day5 onsta!e

and offB4#t not when it takes away from rather than adds to my &ife onsta!e. This dire$tor didn7t &o%e a$tors or a$tin!= she &o%ed her own ideas.6 DI $ontend that there is no s#$h thin! as a diva; on&y !reat artists wor)in! with peop&e who are more &a>y5 or !reat and s$ared artists &oo)in! for their net.E The strands of this story ha%e a happy endin!5 for the time 4ein!: the 0teppenwo&f ensem4&e is interested in Viewpoints. 0ome are mere&y interested eno#!h to as): 6What is that5 any9 way?6 2thers ha%e started showin! #p at my $&asses at the 0teppenwo&f 0#mmer 0$hoo&5 and one is e%en app&yin! to the fo#r9wee) 0ITI intensi%e in 0arato!a ne8t sprin!. 2i& and water. Hmmm. The inf&#en$e wor)s 4oth ways of $o#rse. Thro#!h these e8traordinary artists5 I ha%e 4een inspired and $ha&&en!ed on$e a!ain to deep&y ref&e$t on the art of a$tin!. How do yo# dire$t a$tors? What )ind of &an!#a!e $onstit#tes #sef#& dire$tion? How do !reat a$tors D&i)e these at 0teppenwo&fE thin) and p&ay and wor)? What ma)es their a$tin! so !reat? What do I %a&#e in a$t9 in!? And if the answer is depth5 %#&nera4i&ity5 rawness5 s#rprise5 spontaneity5 so#&5 dan!er and5 a4o%e a&&5 truth, how $an I f#e& these with Viewpoints? Ges5 Viewpoints $an 4e #sed to ma)e in$redi4&y sophisti$ated and intri$ate pie$es of $horeo!raphy. E&o3#ent form5 &et7s say. #t persona&&y5 Viewpoints $ontin#es to interest me more as a way toward emotion than away from it Dwhi$h isn7t to say form $an7t $reate emotion= of $o#rse it $an5 and that is one of the f#nda9 menta&s of this 4oo)E. I7m interested in the increased power a 0teppenwo&f a$tor has onsta!e when sChe is wor)in! from 4oth the psy$ho&o!y of moti%ation and intention and the physi$a&ity of Jinestheti$ Response and Tempo5 for instan$e. I 4e&ie%e not in the s#periority of one pro$ess o%er the other 4#t in both, to!ether5 fi!htin!5 a&ternatin!5 informin!. Inner psy$ho&o!y and o#ter form. Resear$h the pie$e and dream it. @earn as m#$h as yo# $an and &et it !o. Prepare and then for!et. <se e%erythin! a%ai&a4&e to yo# to 4e in the present moment. Go# see5 I7%e dis$o%ered the 0teppenwo&f approa$h and the Viewpoints approa$h are not so %ery different after a&&. *y mis9 $on$eption was 4ased on s#rfa$e appearan$es5 sty&es of wor). In 4oth $ases5 the imperati%es are identi$a&: K @isten K Wor) off yo#r partner K @et !o5 and tr#st K e in the moment K K <se yo#r 4ody K 0#rprise ea$h other K Do, rather than feel K Wor) with dan!er K Wor) with #npredi$ta4i&ity K Wor) in the e8tremes K Commit yo#r entire 4ein! K Wor) from yo#r passion K Care for yo#r a#dien$e and te&& a story K P&ayasone K e an ensem4&e. There7s another thin! I7%e &earned from 0teppenwo&f. It7s not: 6Ges and..." or 6The same on&y different56 4#t it too possesses a 3#ir)y and se&f9e8p&anatory name. We $a&& it: 6I $ry 4#&&shit.6 I &earned this from the &i)es of Tom and Amy5 @a#rie *et$a&f5 -ary 0inise5 Terry Jinney and Ieff Perry. It7s a fa%or the ensem4&e does for ea$h other5 and they7%e de%e&oped this te$hni3#e o%er twenty9fi%e years to!ether in 4asements5 $h#r$hes5 and now in their three performan$e spa$es on Forth Ha&sted 0treet in
216
217 AFTERWORD

e in yo#r 4ody

Chi$a!o. If yo#7re wat$hin! rehearsa& and somethin! happens onsta!e that is fa&se5 $ontri%ed5 not

4e&ie%a4&e Dit $o#&d 4e a mo%e5 an a$tin! $hoi$e5 a &ineE5 yo# are en$o#ra!ed Dnot re3#iredE 4y 0teppenwo&f @aw to raise yo#r hand as yo# wo#&d in $&ass and $a&& o#t: 6I $ry 4#&&shitH6 This5 to me5 is where 0teppenwo&f and View9 points most !&orio#s&y meetBin their $ommitment to ensem4&e. We are what we are 4e$a#se of ea$h other. I am open to yo#5 for I tr#st yo# wi&& he&p me 4e$ome a&& I $an5 in my &ife5 in my art5 and onsta!e.

BIB#IOG!APH&

T
and thro#!h many yearsBwhi$h ha%e inspired #s. 0ome of he fo&&owin! &ist represents so#r$esBfrom many dis$ip&ines these wor)s are mentioned spe$ifi$a&&y in o#r 4oo)5 and a&& the others $o#&d ha%e 4een. This &ist is profo#nd&y s#4:e$ti%e and %ar9 iedBa $on!&omeration of the 4oo)s5 art5 and deep thin)in! that ha%e most inf&#en$ed o#r wor) in Viewpoints and Composition.
RUDOLF ARNHEIM

Visual Thinking <ni%ersity of Ca&ifornia Press5 er)e&ey5 /+'+

GASTON BACHELARD

The Poetics of Space: The Classic Look at How We Experience Intimate Places ea$on Press5 oston5 /++4
SALLY BANES

Democracy's Body: Judson Dance Theater, 1962-1964 ;#)e <ni%ersity Press5 ;#rham5 FC5 /++3
219

BIBLIOGRAP HY
BIB#IOG!APH&

Terpsichore in Sneakers: Post-Modern Dance Wesleyan University Press, Middletown, CT; 1987 EUGENIO BARBA; translated by Richard Fowler The Paper Canoe: A Guide to Theatre Anthropology Routledge, New York, 1995 EUGENIO BARBA and NICOLA SA V ARESE; translated by Richard Fowler; edited and compiled by Richard Gough A Dictionary of Theatre Anthropology: The Secret Art of the Performer Centre for Performance Research, Routledge, New York, 1991 ANN MARIE SEWARD BARRY Visual Intelligence: Perception, Image, and Manipulation in Visual Communication State University of New York Press, Albany, 1997 JEAN BAUDRILLARD; translated by Sheila Faria Glaser Simulacra and Simulation (The Body, in Theory: Histories'of Cultural Materialism) University of Michigan Press, Ann Arbor, 1995

PETER BROOK The Empty Space (A Book about the Theatre: Deadly, HolyRough, Immediate) Touchstone, New York, 1996 ITALO CALVINO Six Memos for the Next Millennium Harvard University Press, Cambridge, MA, 1988 JOSEPH CAMPBELL The Hero with a Thousand Faces Princeton University Press, Princeton, 1973 ELIAS CANETTI; translated by Victor Gollancz Ltd. Crowds and Power Farrar, Straus and Giroux, New York, 1984 JOSEPH CHAIKEN The Presence of the Actor Theatre Communications Group, New York, 1991 MICHAEL CHEKHOV; edited by Mel Gordon On the Technique of Acting: The First Complete Edition of Chekhov's Classic To the Actor HarperCollins, New York, 1991 HAROLD CLURMAN; Introduction by STELLA ADLER The Fervent Years: The Group Theatre & the '30s Da Capo Press, Inc., New York, 1983 ANDREW COOPER Playing in the Zone: Exploring the Spiritual Dimensions of Sports Shambhala Publications, Boston, 1998 MIHALY CSIKSZENTMIHALYI Creativity: Flow and the Psychology of Discovery and Invention Harper Perennial, New York, 1997 Finding Flow: The Psychology of Engagement with Everyday Life Basic Books, New York, 1998 Flow: The Psychology of Optimal Experience Harper Perennial, New York, 1991 EDWARD DE BONO

Lateral Thinking: Creativity Step by Step Harper Perennial, New York, 1990 AGNES DE MILLE Martha: The Life and Work of Martha Graham Random House, New York, 1991 DECLAN DONNELLEN The Actor and the Target Theatre Communications Group, New York, 2002 GRETEL EHRLICH The Solace of Open Spaces Penguin Books, New York, 1986 T. S. ELIOT Four Quartets A Harvest Book, Harcourt, Inc., Orlando, 1968 PHILIP FISHER The Vehement Passions Princeton University Press, Princeton, 2003 SIMONE FORTI Handbook in Motion The Press of the Nova Scotia College of Art and Design, Halifax, 1974
''( ''F

BIBLIOGRAPHY BIBLIOGRAPHY

MALCOLM GCADWELL Blink: The Power of Thinking without Thinking Little, Brown and Company, New York, 2005 ERVING GOFFMAN Behavior in Public Places: Notes on the Social Organization of Gatherings Greenwood Press, Westport, CT, 1980 Frame Analysis: An Essay on the Organization of Experience Northeastern University Press, Lebanon, NH, 1986 The Presentation of Self in Everyday Life

An Anchor Book, Bantam Doubleday Dell Publishing Group, Inc., New York, 1959 JERZY GROTOWSKI; edited by EUGENIO BARBA; introduction by PETER BROOK Towards a Poor Theatre Routledge, New York, 2002 CHARLES HAMPDEN-TURNER Maps of the Mind Scribner, Simon & Schuster, New York, 1981 RICHARD HORNBY The End of Acting: A Radical View Applause Books, New York, 1995 SUSAN A. JACKSON and MIHALY CSIKSZENTMIHALYI Flow in Sports Human Kinetics Publishers, Champaign, IL, 1999 JULIAN JAYNES The Origin of Consciousness in the Breakdown of the Bicameral Mind Mariner Books, Houghton Mifflin Company, New York, 2000 ROBERT EDMOND JONES and DELBERT UNRUH Towards a New Theatre: The Lectures of Robert Edmond Jones Limelight Editions, Pompton Plains, NJ, 1992 TADEUSZ KANTOR; translated and edited by Michal Kobialka A Journey Through Other Spaces: Essays and Manifestos, 1944-1990 University of California Press, Berkeley, 1993 S0REN KIERKEGAARD; translated and edited by Howard V. Hong and Edna H. Hong Fear and Trembling/Repetition: Kierkegaard's Writings, Volume 6 Princeton University Press, Princeton, 1983 222 GUNTHER R. KRESS and THEO VAN LEEUWEN Reading Images: The Grammar of Visual Design Routledge, New York, 1996 MADELEINE L'ENGLE A Wrinkle in Time Bantam Doubleday Dell Books for Young Readers, New York, 1962 JERRY MANDER Four Arguments for the Elimination of Television Harper Perennial, New York, 2002 A. H. MASLOW

Religions, Values, and Peak-Experiences Penguin, New York, 1994 The plays of CHARLES L. MEE, JR. are available at "the (re)making project" website at: http://charlesmee.org/html/plays.html SANFORD MEISNER and DENNIS LONGWELL Sanford Meisner on Acting Vintage, Random House, New York, 1987 DAN MILLMAN Body Mind Mastery: Creating Success in Sport and Life New World Library, Novato, CA, 1999 STEPEN NACHMANOVITCH Free Play: Improvisation in Life and Art Jeremy P. Tarcher, Penguin Putnam Inc., New York, 1990 YVONNE RAINER A Woman Who ...: Essays, Interviews, Scripts PAJ Books: Art + Performance, The Johns Hopkins University Press, Baltimore, 1999 YVONNE RAINER and SID SACHS Yvonne Rainer: Radical Juxtapositions 1961-2002 University of the Arts, Philadelphia (distributed by Distributed Art Publishers, Inc., New York), 2003 JOHN J. RATEY, M.D. A User's Guide to the Brain: Perception, Attention, and the Four Theaters of the Brain Vintage, Random House, New York, 2002

+,
223 BIBLIOGRAPHY

THOMAS RICHARDS and JERZY GROTOWSKI At Work with Grotowski on Physical Actions Routledge, New York, 1996 RICHARD SENNETT The Fall of Public Man W. W. Norton & Company New York, 1992 TADASHI SUZUKI; translated by Thomas Rimer The Way of Acting: The Theatre Writings of Tadashi Suzuki Theatre Communications Group, New York, 1986

AFFE 2-ART is Artisti$ ;ire$tor of 0ITI Company5 whi$h she fo#nded with Iapanese dire$tor Tadashi 0#>#)i in /++2. 0he is a re$ipient of two 2 IE awards5 a essie Award and a -#!!enheim Ae&&owship. 0he is a professor at Co&#m4ia <ni%ersity5 where she r#ns the -rad#ate ;ire$tin! Pro!ram. Re$ent wor)s with 0ITI in$&#de Intimations for Saxophone 4y 0ophie Treadwe&&= 0ha)e9 speare7s A

Midsummer Nights Dream; Death and the Ploughman 4y *i$hae& West= La Dispute 4y *ari%a#8= Short Stories; Score 4y Io$e&yn C&ar)e= bobrauschenbergamerica 4y Char&es @. *ee5 Ir.= Room 4y Io$e&yn C&ar)e= War of the Worlds 4y Faomi Ii>#)a= Cabin Pressure; The Radio Play; Alice's Adventures; Culture of Desire; Bob 4y Io$e&yn C&ar)e= Going, Going, Gone; Small Lives/Big Dreams; The Medium; Foe& Coward7s Hay Fever and Private Lives; A#!#st 0trind4er!7s Miss Julie; and Char&es @. *ee5 Ir.7s Orestes. 0he is the a#thor of 'A Director Prepares p#4&ished 4y Ro#t&ed!e Press5 Few Gor)5 211/.
ANDREY TARKOVSKY; translated by Kitty Hunter-Blair Sculpting in Time: Reflections on the Cinema University of Texas Press, Austin, 1989 HENDEL TEICHER, editor Trisha Brown: Dance and Art in Dialogue, 19612001 The MIT Press, Cambridge, MA, 2002 FRANCOIS TRUFFAUT Hitchcock/Truffaut A Touchstone Book, Simon & Schuster, New York, 1985 JEANETTE WINTERSON Art Objects: Essays on Ecstasy and Effrontery Vintage, Random House, New York, 1997 ZEAMI; translated by J. Thomas Rimer; edited by Masakazu Yamazaki On the Art of the No Drama: The Major Treatises of Zeami Princeton University Press, Princeton, 1984

TIFA @AF;A< is a free&an$e writer5 dire$tor and tea$her5 as we&& as mem4er of the 0teppenwo&f Theatre Company in Chi$a!o. 0he is a !rad#ate of Ga&e Co&&e!e and A.R.T.7s Instit#te for Ad%an$ed Theatre Trainin! at Har%ard5 ha%in! ret#rned to tea$h at 4oth5 as we&& as at Few Gor) <ni%ersity5 Co&#m4ia <ni%ersity5 0arato!a Internationa& Theater Instit#te D0ITIE5 <ni%ersity of Chi$a!o5 Forthwestern and <C0;. 0he is a former TC-CFEA ;ire$tor Ae&&ow5 an FEA Artisti$ Asso$iate and has re$ei%ed ma:or !rants from the Ro$)efe&&er5 Prin$ess -ra$e5 W. A&ton Iones5 and Pew fo#ndations. 2ri!ina& wor) that Tina 4oth wrote and dire$ted in$&#des Theatrical Essays D0teppenwo&fE5 Beauty D@a Io&&a P&ayho#seE5 Space D0teppenwo&f= The P#4&i$ Theater5 Few Gor)= Center Theatre -ro#pC*ar) Taper Aor#m5 @os An!e&esE5 Floyd
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Collins DP&aywri!hts Hori>ons5 Few Gor)= 2&d -&o4e5 0an ;ie!o= -oodman5 Chi$a!oE5 Dream True DVineyard Theatre5 Few Gor)E5 Stonewall DEn -arde Arts5 Few Gor)E and 1969 DA$tors Theatre of @o#is%i&&eE. At 0teppenwo&f5 Tina has dire$ted Cherry Orchard, The Time of Your Life Da&so at 0eatt&e Repertory Theatre= A.C.T.5 0an Aran$is$oE5 Maria Arndt, The Ballad of Little Jo, Berlin Circle and And Time to Bum. In Few Gor)5 her wor) in$&#des the roadway re%i%a& of Bells Are Ringing, Miracle Brothers DVineyard TheatreE5 Myths and Hymns DThe P#4&i$ TheaterE5 Orestes and Trojan Women DEn -arde ArtsE5 as we&& as Of Thee I Sing DPapermi&& P&ayho#se5 *i&&4#rn5 FIE and A Midsummer Night's Dream D*$Carter Theatre Center5 Prin$eton= Papermi&&5P&ayho#seE. 5 9