The Six Viewpoints Summer Masterclass Course

  • The Six Viewpoints Summer Masterclass Course
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About this course


One week (six days teaching)

Term Start

Monday 1 July to Friday 5 July 2019.

Entry Requirements

Applications are welcome from those aged 18+. Candidates will actively enjoy all aspects of practical drama work, be motivated, and enthusiastically embrace intensive work and rehearsal.

This summer’s classes, usually focused on the Viewpoints practices, will be focused on forming a solid understanding of the foundation, the origin and structure of this work.  The benefit of this approach is meant first to establish and preserve the Viewpoints through connecting to their foundation. This approach is meant to prepare a dynamic ground for students to explore within the viewpoints structure. Extending from this base the workshop will then focus on topics of pedagogy, performance and making individual work.

This may be taken as a part of a two-week workshop divided into two sections. The first is primarily led by Mary Overlie the second is primarily led by Wendell Beavers. Students are invited to enrol in one or both workshops. This course in week one is a prerequisite for the advanced course in week two. 

*This may be taken as a part of a two-week workshop divided into two sections. The first is primarily led by Mary Overlie the second is primarily led by Wendell Beavers. Students are invited to enrol in one or both workshops depending on their history of working with the Viewpoints. New comers must take the first course and may take the second.


Course Director – Mary Overlie

Mary Overlie is the originator of the Six Viewpoints, a performance theory and practice, which is now commonly known as Viewpoints and is taught in many universities and colleges in the USA and abroad.  Ms. Overlie is the co-founder of two well-known dance institutions in New York City: Movement Research and Danspace at St Mark’s Church. From 1984 to 1994 she worked extensively abroad, as a teacher, choreographer and dancer.  She was a board member and for a time the assistant director of the Pro Series division of the Tanz Wochen Wein. Overlie was the director of the Viewpoints Studio, a one semester intensive course that was maintained at Tisch School of the Arts Undergraduate Drama at NYU.

She is a former Arts Professor in the Department for Undergraduate Drama at Tisch School of the Arts, New York University (NYU).  She was the first faculty hired to begin the Experimental Theatre Wing at NYU, 1978 and served as director from 1987 to 1990.

She has received two Bessie Awards first for conceiving the Studies Project for Movement Research and second for her solo “Location of Love” combined with her contributions to the NY dance community. She is a respected member of the avant-garde theatre community collaborating with both Lee Breuer and Joanne Akalities of Mabou Mines, Laurence Sachrow, Anne Bogart and Brian Jusha among others.

She is published in numerous publications: Training the American Actor, edited by Arthur Bartow, Manifesto Now edited by William Daddario and most recently her book, Standing in Space, the Six Viewpoints.

Course Director – Wendell Beavers in Collaboration with Mary Overlie

Wendell Beavers, a choreographer, director, performer, and educator; instrumental in the founding and development of seminal programs that have researched and disseminated The Six Viewpoints work, somatic movement techniques, and diverse approaches to creating performance. He founded Naropa University's MFA Theatre: Contemporary Performance Program in 2004, Directing that program until 2015 and was a founding faculty member and Director (1984-1990) of The Experimental Theatre Wing (ETW) at NYU teaching there from 1979-2003. The Naropa program joined The Six Viewpoints to meditation practices and contemplative education. At ETW he collaborated with Mary Overlie in applying the Viewpoints over many years. He was also a co-founder and early director of Movement Research Inc. in New York.  His work has been seen in New York at Dance Theater Workshop (now NY LIVE ARTS) and PS 122, Movement Research at Judson Church, Danspace Project, Dixon Place/Vineyard Theatre and as part of many loft space projects.  He also has taught his own Developmental Technique™ extensively in the American Dance Festival’s Six-Week School and in numerous university venues in the US and in Europe. He currently teaches, directs and performs under the auspices of his company SomaticPerformer LLC. He recently retired as Associate Professor of Performance at Naropa University and continues to teach in the Naropa MFA and ETW/NYU. He studied extensively with Bonnie Bainbridge Cohen, developer of Body Mind Centering® and Jean Hamilton, originator of The Hamilton Floor Bar. Recent Guest Artist Residencies include Ohio University (Sept ‘15), SITI Co. Saratoga Intensive (June ‘15. '16 ’17 ‘18), NYU/ETW (Spring ’16 and Fall ’17, Spring ’18, Fall ‘18), Nine Years Theater/Singapore (Nov. ’16), University of Colorado, Boulder (March 2018).

Course Assistant — Sophia Treanor

Sophia Treanor is a performer, director, educator, and Biodynamic Craniosacral practitioner.  She received a Bachelor of Fine Arts degree in theater from Tisch School of the Arts, New York University in 2011, studying at both the Stella Adler Studio of Acting and the Experimental Theater Wing.  She has has been working with Mary Overlie as a student, assistant, and dancer in New York, Montana, Switzerland, England, and Austria (2011-present).  She co-founded and ran Our Ladies, an arts organization producing the work of over fifty artists (2011-2013). She is a fellowship recipient at CAVE, home of Leimay, (2013-2018.) In New York City her work has been seen at the Living Theater, the Center for Performance Research, CAVE, the Glasshouse, Triskelion Arts, and Dixon Place. Sophia served as a primary reader for the Viewpoints book, "Standing in Space," as well as assisting in Viewpoints classes with Mary Overlie as a teacher of Jean Hamilton floor barre at Switzerland’s Scuola Teatro Dimitri, Rose Bruford College, and Vienna’s ImpulsTanz. Sophia had the honor of performing Overlie's choreography as a soloist at Fool's Fury in San Francisco for the 2016 book launch of Overlie's "Standing in Space.” She is currently teaching at the Stella Adler Studio of acting, co-curating and coordinating the Harold Clurman Center for New Works in Movement and Dance Theater, and practicing Biodynamic Craniosacral Therapy in New York City.

Fee and Application Information


This course is delivered over five days of intensive full-time training at our Sidcup campus. 

How to Apply

Please click on the 'Book Now' link below to pay via our online store. If you have any questions about the course, please email‚Äč

Course Fees   

Full Fee                                               
£700 (paid in full by 1 June 2019)

Accommodation (if required)             
£300 (7 night reservation)

Cost includes en-suite rooms, free Wi-Fi and lunch vouchers to use on campus. 

Rose Bruford College Alumni Discounts
Alumni of Rose Bruford College undergraduate and postgraduate courses are entitled to a 5% discount on the full fee. Please contact us for further information


Terms and Conditions


  • The College reserves the right to amend, withdraw or cancel any course. If the College cancels a course you have booked onto your fee will be fully refunded;
  • All courses are subject to minimum numbers of students and will be confirmed once this number is reached;
  • The College reserves the right to refuse admission on to any of our programmes;
  • It is strongly recommended that all students insure themselves to cover the loss of fees or travel costs in the event of cancelation, illness or travel problems, for which the College cannot accept any liability;
  • Fees are non-returnable once a student has started the course;
  • All fees must be paid in full by 1 June 2019;
  • Full fees will be refunded for cancellations within two weeks of booking;
  • After two weeks from the boking date, in the event of a cancellation a sum of £100 will be retained to cover administration costs;
  • After 1 June 2019 a cancellation will result in the forfeiture of the entire fee paid

Course content


Week One
Origins, Creativity and Pedagogy
Led by: Mary Overlie

Course Timetable

Monday July 1,
09:30 to 17:00 with 1 hour and 30-minute break for lunch.  

Tuesday July 2 - Friday July 5 2
09:30 to 12:00 Morning Physical Training with Wendell Beavers and Sophia Treanor
12:00 to 13:30 Lunch
13:30 to 17:00 Viewpoint Practices

These classes focus on the history, reason and process of deconstructing performance.  In this week 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. This week is focused on concept meets material, meets the artist, meets the audience.  Depending on how fast the journey is traveled we will head for creating performance material in the last two days of this first week.

Morning classes will be a combination of Hamilton floor barre taught by Sophia Treanor informed by cranioasacral biodynamics and Developmental Technique™ led by Wendell Beavers. Knee pads are recommended for Developmental Technique™.

What you will need to bring with you:
Participants are to bring three books to the workshop; these should be books with very few proper names, text books on sociology, human behavior etc.  One book can be a novel, one a play or poetry.

Participants are also encouraged to have read Mary’s book, Standing in Space: Six Viewpoints Theory and Practice, to prepare in their orientation to the theory. 


Morning Training

Morning training will be drawing from the techniques below as a resource for actors and are adapted to non dance/actor training.

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.  Hamilton Floor Barre has been the most important training in my career as a dancer that lasted thirty years.  I have 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 my retirement from NYU is my great delight to bring this training to women in Bozeman.  One of my favorite applications of Jean Hamilton’s’ work is to give it to non dancers to support their lives.  

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. 

Developmental Technique™ is a structured investigation of developmental movement exploring the basic patterns of locomotion, from pre-spinal, navel radiated states through crawling to vertical, embodied expression in space. The goals of the technique are to generate original movement vocabulary and to open the possibility of a wider and wider range of psycho-physical response within an interdisciplinary performance medium which embraces acting, dancing, abstract choreography, narrative and the play and scene form. This is a technique form created by Wendell Beavers based on the work of Bonnie Bainbridge Cohen and The School of Body Mind Centering®. 

Developmental movement is the study of the basic neurological patterns of locomotion and reflexive response. These patterns are inherent in the nervous system from both the phylogenetic (developmental) and ontogenetic (evolutionary) perspective. The fundamental patterns include both prevertebrate and vertebrate organization of the body and underlie complex movement and expression. These are the basic patterns of locomotion which underlie complex movement and whole body response.

Craniosacral Biodynamics is a a movement and perceptual training that heightens the participant’s awareness of the biodynamic fluctuations within and around the resting and engaged body. These practices deepen the ability for whole-body listening and reduce habitualized resistance to perception by establishing a relationship with resilience and imprinting a parasympathetic response to heightened awareness. Working from a parasympathetic state, relaxed, resilient, and available, allows the participant to be more transparent in their work with one another and with audience. These practices are used as a launching point for individual and group improvisation in relationship to the given environment.

Sophia Treanor has adapted these practices from the embodiment meditations of Biodynamic Craniosacral practitioners. Biodynamic Craniosacral Therapy is a light touch healing modality that engages with the inherent regenerative intelligence of the body by orienting to the felt-sense of health itself.  The practitioner is an observer/participant of the forces of health in the client rather than acting upon the body in tissue or energy manipulation. Health becomes apparent when practitioners develop a felt-sense beyond structural anatomy and into different perceptual fields of the body: the rhythmic fluctuation of fluids, including cerebrospinal fluid, blood, and lymph; the potency of life force; the metabolic symphony of the neuro-immune-endocrine system, and embryonic growth patters.

Related Information

Accommodation cost includes en-suite rooms, free Wi-Fi and lunch vouchers to use on campus.