Six Viewpoints: Tracing the Lineage and Researching the Future of Performance

  • Six Viewpoints: Tracing the Lineage and Researching the Future of Performance
  • Six Viewpoints: Tracing the Lineage and Researching the Future of Performance
  • Six Viewpoints: Tracing the Lineage and Researching the Future of Performance
  • Six Viewpoints: Tracing the Lineage and Researching the Future of Performance
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About this course

Duration

2 weeks

Term Start

July 2021

From 2016-2019, Rose Bruford has hosted summer masterclasses with Mary Overlie, the originator of the Six Viewpoints, and her teaching assistant Sophia Treanor.  This summer’s workshop will be offered in Mary’s honor and remembrance.

Throughout the last years of Mary’s life, she dedicated her research to the entrance and exit of the Viewpoints: how to approach the artistic process, and how the Viewpoints extend a philosophical home to the art and artists of the future.  

‘We worked our way back. We did not try to know what was known. We tried to un-know it. We lived in caves and watched as the beasts roamed around us. The caves were our minds and the beasts were the elements of form. We were reforming art into a democracy. We were studying phenomena. Formalism disappeared through the act of scrutiny and reappeared in a new position of equality. How we got to those caves with those beasts is a curious story that I am still working to understand but what is clear is that the commitment to bring others there is at the heart of this work.’
- Mary Overlie 1989

In this masterclass, we will trace Mary’s lineage of teachers and postmodern influences through embodied practices.  We will study the substance of performance and establish a dialogue with the Viewpoints as they—and we—exist within our current conditions. By moving through the experiential process of the Viewpoints practices, a growing capacity for differentiation and mindful awareness will prepare dynamic ground for participants to engage with chaos and recognize the emerging potential of the present moment.  Participants will be invited to venture into their own artistic questions and experiments, fortified with the lineage and philosophical foundation of the Viewpoints.

 

 


Why choose this course?

  • Gain a deep understanding of the Six Viewpoints theory and practice 
  • Broaden your relationship with the source materials of performance
  • Physical and philosophical training to support improvisation and health
  • Receive observation and feedback
  • Dialogue with other participants

 From 2016-2019, Rose Bruford has hosted summer masterclasses with Mary Overlie, the originator of the Six Viewpoints, and her teaching assistant Sophia Treanor.  This summer’s workshop will be offered in Mary’s honor and remembrance.

Throughout the last years of Mary’s life, she dedicated her research to the entrance and exit of the Viewpoints: how to approach the artistic process, and how the Viewpoints extend a philosophical home to the art and artists of the future.  

‘I entrust Sophia to further develop the presence of the Viewpoints in the world and act as the representative of my vision.’
-Mary Overlie

 


Fee and Application Information

24 hours over 2 weeks 
4 hours 3 times a week.

Week 1
Monday, July 12, 2021, 5 pm - 9 pm BST
Wednesday, July 13 2021, 5 pm - 9 pm BST
Friday, July 15 2021, 5 pm - 9 pm BST

Week 2
Monday, July 19, 2021, 5 pm - 9 pm BST
Wednesday, July 21 2021, 5 pm - 9 pm BST
Friday, July 23 2021, 5 pm - 9 pm BST

Course Costs
Cost and booking opens on Jan 14th 2021

 


 


Course content

The seed of the entire work of the Six Viewpoints is found in the simple act of standing in space.

This is the beginning of a paradigm shift that results in postmodern, non-hierarchical studies of performance. From this perspective the artist is invited to read and be educated by the lexicon of daily experience: the information of space, the experience of time, the familiarity of shapes, the qualities and rules of kinetics in movement, the threads of logic that form stories, the states of being and emotional exchanges that constitute the communication process between living creatures. These are the six materials named in the Six Viewpoints that constitute basic deconstructed theatre.

The experience of entering the Six Viewpoints is entirely different from traditional theatre training. Instead of beginning with the idea of making theatre this approach begins with taking theatre apart. The whole is broken down into its basic materials and their languages. When the material of space is located with clarity the artist can begin a dialogue with its languages discovering how to observe and participate with space as an independent intelligence.

We will begin by establishing sensitivity to difference through physical body training that focuses the mind directly on the body as opposed to a movement form composed of repeated body vocabulary. Each day will include an experiential awakening of the body as an entrance to perceptual awareness, deconstruction and the embodied practice of a horizontal philosophy.

Our first classes will focus on the history, reason and process of deconstructing performance.  The entire theory is presented as a clear and dynamic thread.  In following this thread, the student will become familiar with the origins of the theory, discover the synergy between the materials of Space, Shape, Time, Emotion, Movement, Story (The SSTEMS) and the laboratories of the Bridge.

Extending from this base, we will then delve into compositional experiments and making individual work. The final classes will be focused on how concept meets material, meets the artist, meets the audience. I will dedicate myself to helping you locate or strengthen your voice, message and style as an artist. 

Physical Training
Sessions will begin with a combination of Jean Hamilton floor barre and craniosacral biodynamics to educate the instrument in depth without culturing patterns of movement. This type of approach is essential in that it develops availability to sense rather than to produce.

Jean Hamilton Floor Barre is a training technique rooted in traditional dance training yet wonderfully effective in delivering unique training for non-dancers as well.  

This training system contains unusual and deeply effective methods producing:

  • rapid changes that are also educational
  • unique strengthening, lengthening and mobility in your body
  • alignment that literally works from head to toe

This training is precise, fun, intelligent and rapidly leads to personal growth both in understanding and loving your body.  This class has no noisy, competitive, pushing to exhaust yourself, no competition with yourself, or other in the class, no sweaty mindless repetition. This work is useful to people in a wide range of activity: office workers, people who spend their working hours on their feet, dancers, swimmers, skiers. 

The Lineage: Jean Hamilton was one of Mary Overlie’s most important teachers, enabling Mary’s dance career to continue throughout her life. Mary taught this system for over twenty years at New York University, Tisch School of the Arts, Undergraduate Drama, in numerous dance festivals throughout Europe.  A part of her retirement from NYU was her great delight to bring this training to women in Bozeman.  One of Mary’s favorite applications of Jean Hamilton’s’ work was to give it to non-dancers to support their lives.  

Who is this course for?

 All are welcome. No experience necessary. Experienced Viewpoints practitioners are invited to revisit the foundation and continue their research within this setting.

ACTING TEACHERS CHOREOGRAPHERS DIRECTORS ACTORS, DANCERS. DEVISING THEATER ARTISTS, THEATER MAKERS DRAMATURGS.WRITERS, ARTISTS THEATER MAKERS.

Testimonials:

"You stood on the precipice and took us there, with a prayer for sanity, warmth, life. At least so it seemed to me. The actors were engaged, alive, with open hearts and extended bodies."

-Tom Oppeneim, Artistic Director of Stella Adler Center for the Arts

 

I have loved having you as a teacher/mentor of the body. I always felt like in movement I could just be myself and I would not feel judged. There have been many moments in your class when we did the Viewpoints, partner exercises, inventory, or just danced where I felt so open and free. 

Thank you so much, Sophia! I am so incredibly grateful for everything you have given me to push forward and find joy in unexpected ways. I was so closed off and shy the first semester. You are the teacher I trust the most. Thank you for making me feel safe and vulnerable and fierce all at the same time. 

I always knew movement was important to my life as both an actor and human, but I think it was not until these last two years that I truly understood how important it was and how I can implement my physical soul into everything I do. That physical soul is something I want to continue to nurture, and so I can guarantee I will be contacting you on my future journey. 

I love coming to your class out of all others because you give me the space and patience to allow for our creativity to lead us to an experience that always results in intelligence and growth and you never make me feel like I have to be intelligent or grown to create. 

I entrust Sophia to further develop the presence of the Viewpoints in the world and act as the representative of my vision.
-Mary Overlie

 

Tutor profiles
Sophia Treanor is a director, performer, and educator.  She had the honor of working intimately with Mary Overlie as a student, teaching assistant, and dancer throughout the United States, Europe, and China from 2011 until Overlie’s death in June of 2020. Sophia was Overlie’s improvisation and research partner in performance and practice over the last ten years and had the honor of performing Overlie’s choreography as a soloist. 

Sophia served as a primary reader for the Viewpoints book, "Standing in Space," and led the physical training of Mary Overlie’s Viewpoints classes from 2014-2010, teaching Jean Hamilton Floor Barre at Vienna’s ImpulsTanz, Switzerland’s Scuola Teatro Dimitri, Rose Bruford College, Teatro Vertico in Spain, Toneelacadamie Maastricht and Shanghai Theatre Academy. Sophia assistant directed and performed in Brain to Brain: A Celebration of the Life and Work of Mary Overlie presented by Movement Research and Dancespace at Saint Mark’s Church. Sophia also performed alongside Overlie at Fool's Fury in San Francisco for the 2016 book launch of Overlie's "Standing in Space,” and The Bunny Tail Range at the Basin, Montana Artists Refuge in 2012. 

Sophia’s original work has been seen in private and public spaces, theaters, and galleries across New York City, including the Living Theater, the Center for Performance Research, CAVE, the Glasshouse, Triskelion Arts, and Dixon Place. Sophia co-founded Our Ladies, an arts organization producing the work of over fifty artists (2011-2013) and received fellowships at CAVE, home of Leimay  from 2013-2018.  Sophia teaches at the Stella Adler Studio of Acting and co-curates the Harold Clurman Center for New Works in Movement and Dance Theater. She is currently co-directing a documentary in production about Mary Overlie and is a part of the Six Viewpoints legacy planning team.  In her work, Sophia yearns to listen to and illuminate the infinite exchange between environment, perception, and consciousness.  


 


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