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The Viewpoints Book: A Practical Guide to Viewpoints and Composition

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Bartow, Arthur. 2006. The Training of the American Actor. New York: Theatre Communications Group. ISBN 978-1-55936-268-9 Access-restricted-item true Addeddate 2021-10-11 19:05:30 Associated-names Landau, Tina Boxid IA40256902 Camera Sony Alpha-A6300 (Control) Collection_set printdisabled External-identifier The theory and practice of the Six Viewpoints are organized in two parts: The Materials and The Bridge. Repetition: a) Internal Repetition: repeating a movement done with one's own body, and b) External Repetition: repeating a movement occurring outside one's body. [12] The Viewpoints are a set of names given to certain principles of movement through time and space—they constitute a language for talking about what happens on stage. Coupling this with Composition, which is the practice of selecting and arranging the separate components of theatrical language into a cohesive work of art, provides theatre artists with an important new tool for creating and understanding their art form.

Bogart, Anne; Landau, Tina (2004). The Viewpoints Book: A Practical Guide to Viewpoints and Composition. New York: Theatre Communications Group. pp.35–53. ISBN 978-1-5593-6241-2.Spatial Relationship: Distance between objects on stage; one body in relation to another, to a group, or to the architecture. Overlie, Mary (2016). Standing in Space: The Six Viewpoints Theory and Practice (1sted.). Billings, Montana: Fallon Press. p.84. ISBN 978-1-5136-1361-1.

Bartow, Arthur, ed. (2006). Training of the American Actor (1sted.). New York: Theatre Communications Group. p.189. ISBN 978-1-5593-6268-9. For Overlie, this shift in attention re-defines art and the role of the artist from a "creator/originator" mindset to what she called the "observer/participant," which centers on "witnessing, and interacting, ... working under the supposition that structure could be discerned rather than imposed". [7] Overlie observed this redefinition of the artist's endeavor to correspond with the artistic shift from modernism to post-modernism. The Six Viewpoints is a philosophical and practical approach to articulate a post-modern perspective on performance. The practice involves deconstructing the physical stage and physical performance into its six Materials of composition: Space, Shape, Time, Emotion, Movement and Story. These six elements have existed historically within a rigid hierarchy which gives prevalence to story and emotion in theatre, and shape and movement in dance. The Six Viewpoints releases the Materials from this fixed construct into a fluid non-hierarchical environment for re-examination. The act of deconstructing performance into its Six Materials invites the performer, director, and artist to engage with the individual materials "allowing these elements to take the lead in a creative dialogue". [6] Kinesthetic Response:How performers respond to movement from other people, objects, or design elements.Bogart, Anne. 2001. A Director Prepares: Seven Essays on Art and Theatre. London: Routledge. ISBN 0-415-23832-3. Sometimes, our reliance on technology detracts from our power of observation. Find time each week to unplug and notice the composition of the world around you. How are the people and objects around you arranged? Where is the empty space? What rhythms do you notice? What draws your eyes, ears, nose, and hands? What emotions do these observations create?

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