Performance Research A Journal of the Performing Arts

ISSN: 1352-8165 (Print) 1469-9990 (Online) Journal homepage: http://www.tandfonline.com/loi/rprs20

On Stealing Viewpoints

Tony Perucci

To cite this article: Tony Perucci (2017) On Stealing Viewpoints, Performance Research, 22:5, 113-124, DOI: 10.1080/13528165.2017.1384188 To link to this article: https://doi.org/10.1080/13528165.2017.1384188

Published online: 19 Dec 2017.

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Download by: [45.37.184.67] Date: 19 December 2017, At: 04:34 On Stealing Viewpoints

TONY PERUCCI

Mary Overlie is an observer/participant, (NYU’s) Experimental Theatre Wing (ETW) a deconstructing postmodern theatre practitioner, studio incorporated them into their theatre an original anarchist. She is a woman who is not practice. However, the increasing currency of afraid of obscurity, or worried that being unknown the ‘Viewpoints’ name in recent years is largely might obscure her ideas … The Six Viewpoints is due to its popularization by the acclaimed her child. , Standing in Space: The Six Viewpoints theatre director Anne Bogart, through her Theory & Practice (2016c: 198) well-known work with SITI Company and their regular training ‘intensives’, as well as As she admits freely and often, Anne Bogart stole the 2005 publication of Anne Bogart and Tina the Viewpoints from Mary Overlie, a postmodern Landau’s The Viewpoints Book: A practical dancer and choreographer from Montana who came to in 1971. guide to viewpoints and composition. Bogart has Scott Cummings, Remaking American Theatre: long boasted of having ‘stolen’ the Viewpoints Charles Mee, Anne Bogart and the SITI Company from Overlie during her brief time teaching (2006: 110) at ETW, the studio that Overlie had helped You do not take work from someone else and use to found. While Bogart has claimed to have the name and claim to have developed the work ‘expanded’ Overlie’s ‘dance’ system and ‘applied’ calling it the same name and, in addition, adding it to theatre, her approach is so fundamentally 1 For the sake of clarity, insult, never really having studied the work. different from Overlie’s longstanding I will refer to Overlie’s Mary Overlie, Correcting a Profound and Tragic formulation that it is curious that Bogart would system as ‘The Viewpoints’ Mistake (2016a: 6) and Bogart’s (and adopt the term ‘Viewpoints’ for her system Landau’s) as the ‘VPs’. To Contemporary theatre is having a ‘Viewpoints’ at all. As Overlie puts it, Bogart’s approach my knowledge, neither moment.1 Commonly known as the ‘postmodern Bogart nor other members operates through an entirely different logic, of SITI Company use this response to Method Acting’, Viewpoints has constituting a ‘system [that] cannot possibly term. However, I use it here Downloaded by [45.37.184.67] at 04:34 19 December 2017 become ‘ubiquitous’ as it has found ‘adherents stand as “The Viewpoints”’ (2016a: 5). I contend to distinguish the two approaches. In this essay, throughout the industry’ (Loewith 2012). that it would be more accurate to say that Bogart ‘The Viewpoints’ refers to Originated and developed in the 1970s by the stole the Viewpoints in name only, a theft yjat Overlie’s SSTEMS system, ‘Viewpoints’ (without an choreographer, dancer and teacher Mary Overlie has allowed that name to come to describe an article) refers to the in the vibrant arts scene of ’s easily consumable commodity and not Overlie’s materials themselves in either approach, while the SoHo district, The Viewpoints articulates a shift radical intervention. ‘VPs’ refers to the from traditionally ‘hierarchical’ approaches to In this essay, I describe Overlie’s approach constructed by Bogart and Landau and theatre that privilege plot and character to one conceptualization of The Viewpoints as a disseminated in trainings that makes ‘horizontal’ the theatrical materials performance practice of what Deleuze and led by SITI Company and Steppenwolf Theater. of Space, Shape, Time, Emotion, Movement Guattari call a minor form. That is, The Overlie has used all and Story. Viewpoints operates as a practice of variations of ‘The Viewpoints’ The ‘Viewpoints’ name was long unfamiliar deterritorializing the fixed terms of what interchangeably over the to most American actors, even as Tectonic Overlie calls ‘solid state theatre’ to produce a years: The View Points, The Six Viewpoints, Theater Project’s Moises Kaufman and other ‘collective assemblage of enunciation’ in theatre Viewpoint Theory and so of Overlie’s students at New York University’s and dance (Deleuze and Guattari 1986: 18). on.

PERFORMANCE RESEARCH 22·5 : pp.113-124 ISSN 1352-8165 print/1469-9990 online 113 http://dx.doi.org/10.1080/13528165.2017.1384188 © 2017 Informa UK Limited, trading as Taylor & Francis Group

PR 22.5 On Names.indd 113 10/12/2017 15:30 In so doing, The Viewpoints works to free minor key of ‘particle-ization’, but in the major theatre’s and dance’s materials, performers and key of instrumentalization. It does so by audiences from what she calls the ‘domination capturing and deploying ‘Time’ and ‘Space’ as [of] hierarchical control’ (Overlie 2004). It is ‘order words’ for what Bogart describes as what Overlie terms the ‘infectious impact’ of a director’s ‘shorthand’ for telling actors what to The Viewpoints that provides the conditions of ‘fix’ in their performance (Deleuze and Guattari possibility for Bogart’s ‘funny little machine’, 1987: 106; Bogart 2005: 212). which Overlie describes as a wholly different As valuable a machine-system as the VPs 2 The ‘brief history’ on the ‘system that wasn’t mine’ (2016c: 197). As may be, the Viewpoints themselves cannot Steppenwolf West website states that Overlie a result of Bogart’s name-theft, ‘Viewpoints’ has have been stolen from Overlie, as The originated the Viewpoints become a taxonomy of the major, standardizing Viewpoints represents an attempt to name as a means of communicating with her a new form of actor training, which obscures the what is impossible to steal: the resistance to ‘dance troupe.… In the potential of a different kind of machine capture, to being stolen. In contrast to the VPs’ early 1970s Ann [sic] altogether – Overlie’s abstract machine, which Bogart adopted them’ instrumentality, The Viewpoints enact a form of (‘Viewpoints’ 2016). After produces and is produced by ‘the fragility and what James Scott terms ‘anarchist calisthenics’ Bogart and Landau chose persistence of the minor gesture … [that leads] for the production and development of The to ‘add 3 more’, Landau taught them to Billings the event elsewhere than toward government Viewpoints actor, that is, Overlie’s ‘Original who has now ‘tailored the fixity of the major’ (Manning 2016: 7). Anarchist’ (2012: 1). While this name-theft VPs in a way that opens up the emotional truth of the Bogart’s appropriation of the ‘Viewpoints’ occludes the visibility of The Viewpoints’ minor actor’ in such courses as name has established it as the ‘major’ form of gesture, disenfranchising Overlie in multiple ‘Viewpoints for the Camera’ (ibid.). ‘her System with a capital “S”’ (Loewith 2012). ways, this form of domination is characteristic 3 My own understanding of The term is now so common in actor training of the minor-major relationship, where the the Viewpoints is shaped that it is even abbreviated as the ‘VPs’ in ‘minor gets cast aside, overlooked, or forgotten by extensive training and relationships with both audition and scene study courses for Hollywood in the major chords’ (Manning 2017:1). Overlie and SITI Company. actors, such as those taught in Los Angeles at However, it is in the ways that The Viewpoints I was first introduced to them during a two-week Steppenwolf Classes West by Alexandra Billings, are not major, operate at the fringes and in the course held in June 2004 a star of the Amazon TV series Transparent. As interstices of the major, as well as even in the held at California State University, Fresno. The a major performance practice, Bogart intends subversion and unmaking of the major, that lies workshop was organized by for the VPs not to challenge norms, but to its infectious potentiality.3 professors Tanya Kayne-Perry and Karen produce a new normativity for theatre to Schaffman where I was contest the hegemony of Method Acting in THE VIEWPOINTS: THE STORY OF part of a small group of American actor training, which she describes as university students, faculty A NAME IN TWO KEYS and independent artists the ‘misguided … Americanization of Downloaded by [45.37.184.67] at 04:34 19 December 2017 who studied for one week Stanislavski’ that has inhibited theatrical Minor key (a small dance) with Mary Overlie (and her long-time collaborator innovation by ‘overemphasizing personlized Mary Overlie’s entry into The Viewpoints is Nina Martin), followed by emotional circumstances’ (Bogart 2001: 36; a reckoning with Space, in no small part because one week with Anne Bogart 2 and two members of SITI Bogart and Landau 2005: 16). Theatre artists of the ways in which the places where she lived Company (Will ‘Bondo’ and acting teachers alike now generally during its development gave rise to the theory Bond and Barney O’Hanlon). Since that understand the ‘Viewpoints’ in the major terms itself. Having grown up in Montana, Overlie summer, I have of the VPs’ ‘clear-cut procedure and attitude’, ‘ran away from home’ in 1964, jumping a freight participated in numerous SITI Company trainings, with Bogart and Landau’s The Viewpoints Book train with $50 in her pocket to eventually including (in 2006) their providing a ‘step-by-step recipe’ for producing arrive in Berkeley, California. As a small-town annual residential four-week intensive at this new normativity (2005: back cover). girl and a lover of classical music and ballet, Skidmore College in Bogart’s ‘efficient’ system has largely effaced Overlie felt alienated from the counterculture Saratoga Springs, New York. I most recently what Overlie terms the ‘deconstruction’ and scene that defined the city in the 1960s. Even trained with Overlie during ‘particle-ization’ laboratories for the production though she began taking ballet classes at the a 2017 residency at the University of North of ‘Original Anarchists’ (Overlie 2016c). In this University of California, Berkeley, Overlie found Carolina at Chapel Hill. way, the VPs speaks not in The Viewpoints’ herself ‘terribly lonely as an artist and bored’

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PR 22.5 On Names.indd 114 10/12/2017 15:30 until a 1968 performance and workshop given which called ‘the dancing bear’ by Yvonne Rainer, and other (1980: 34). Inspired by the members of the group of former Judson dancers (and particularly by her ‘hero’ Rainer), Overlie known as Grand Union (Overlie 2016c: 6). The set about a ‘deep investigation of what exists in experience was so transformative for Overlie, dance’, an approach that she likens to an auto that when Dilley invited her to perform in mechanic taking apart (and reassembling) an a piece commissioned by the Whitney Museum engine, a carpenter dismantling (and rebuilding) of American Art in Manhattan, she relocated to a structure, or tearing up and reinstalling New York, driving across the country with Rainer. plumbing (as she and the composer Philip The SoHo district of New York City, where she Glass did for her SoHo loft) (ibid.). During lived and worked for many years, proved highly 1973–4, Overlie began calling these materials influential for the development of what would ‘The Six Viewpoints’, sometimes using the become The Viewpoints. SoHo in the 1970s two-word ‘View Points’, before settling on constituted a milieu for a community of artists ‘The Viewpoints’ in 1976. of the minor who disturbed the boundaries of The term ‘Viewpoints’ designated her theatre, dance, visual arts and music. Overlie’s interest in isolating each individual element work exemplified this dynamic, performing of dance and the performer’s perception of it, in and choreographing for gallery spaces and ‘interrogating’ each Viewpoint by pointing her museums, in addition to collaborating with view both at and through it, even as each and the seminal theatre company all of them would remain at play at any given on projects in theatres and even in a football moment. Overlie describes the construction of stadium for ’s The Saint and the The Viewpoints as one of ‘inventing the wheel Football Player (1973). backwards’, discovering a wheel by taking it Grouping her with such path-breaking artists apart rather than assembling it – a process as , , , she would later come to term ‘deconstruction’ Jack Smith and , cultural (Overlie 2016c: 29). While some of the terms theorist Sylvère Lotringer identifies Overlie as shifted during her early investigations, there one of the scene’s key artists describing them were always six Viewpoints: Space, Shape as being ‘affected by a deterritorialization of (sometimes called Line), Time, Emotion their senses that offered perceptions until then (sometimes called Emotional Ambience), inconceivable’ (2013: xiii–xiv). These artists Movement (sometimes called Kinaesthetics) and worked within the same ‘episteme’, Lotringer what she reluctantly termed Story (sometimes states, as ‘they were all part of a sudden change called Narrative or Logic). The Viewpoints are Downloaded by [45.37.184.67] at 04:34 19 December 2017 in paradigm, like switching one mindset for studied through ‘The Bridge’, a series of nine another and looking at it while it was happening’ performance ‘laboratories’, which she initially (2013: xiv). At the time, these artists were termed the ‘friends of the Viewpoints’ (Overlie largely unfamiliar with the postmodern 2016b). As can be seen in fig. 1, the Viewpoints theories of Foucault, Deleuze, Guattari and constitute more than a listing of an actor’s tools, Lyotard (and they with them). However, the but rather form SSTEMS, the acronym that SoHo artists produced what Lotringer describes denotes the assemblage of these six materials, as a ‘breakthrough’ as yet only theorized by a rhizomatic structure intended to radically alter those writers, as these artists ‘opened a new the actor’s relationship both to the materials area where theater could do without language, and to the audience. That is, the actor becomes concepts without referent’ (2013: xiii). embedded within the structure, responding Overlie’s particular ‘breakthrough’ was her to the Viewpoints, rather than using them as research into and the identification of dance’s materials to ‘control or own’ (2016c: 3). Working ‘materials’, extending the work of moving with the Viewpoint of Space, Overlie explains, beyond dance as a performance of virtuosity, ‘is not a “skill”’, but rather a ‘language’ to be

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PR 22.5 On Names.indd 115 10/12/2017 15:30 ■■Figure 1. The (Six) Viewpoints, Mary Overlie’s THE (SIX) VIEWPOINTS rhizomatic system of MARY OVERLIE’S RHIZOMATIC SYSTEM OF PERFORMANCE LANGUAGES performance languages. Source: www.sixviewpoints.com SSTEMS – as in stems, or a strange way to spell systems (Mary Overlie) by Mary Overlie Space Shape Time Emotion Movement Story perceptual abilities to see and feel feel and see experience duration experience experience and see and understand physical physical form and systems states of being identify with logic systems as relationship created to regulate kinetic sensation an arrangement of duration collected information

FRIENDS OF THE VIEWPOINTS: THE NINE LABORATORIES OF ‘THE BRIDGE’ Source: Standing in Space: The Six Viewpoints Theory and Practice by Mary Overlie

News of a Difference Noticing difference in increasing levels of subtlety Deconstruction Investigating theater by separating the components of its structure The Horizontal Nonhierarchical composition Postmodernism The philosophical foundation Reification A reflection on creativity, communication and language The Piano The interface between artist and audience The Matrix The ingredients are in the cauldron Doing the Unnecessary The SSTEMS dissolve The Original Anarchist A very old idea

learned from Space, a physical and mathematical influential, she has published precious little encounter, which is as concrete a matter as writing about the work. It was only after decades measuring the Space by walking through, or of writing some seven discarded drafts of even simply standing in it (11). ‘writing my way back into existence’ that she In 1978, Overlie was invited to teach at Tisch finally published her 2016 book, Standing in School of the Arts, New York University by Ron Space: The Six Viewpoints Theory & Practice Argelander, where she became the founding (2016a: 14). faculty member of the innovative Experimental However, as is symptomatic of minor practices, Theatre Wing (ETW) studio joined the following Overlie’s name and her conceptualization of her Downloaded by [45.37.184.67] at 04:34 19 December 2017 year by Mary Overlie Dance Company member, system is frequently absent from university and Wendell Beavers. The Viewpoints provided other actor training programmes’ descriptions a core curriculum of the programme, of their offerings in ‘Viewpoints’. While complimented by additional methods as new Bogart frequently claims Overlie’s response faculty members were hired, including Mary to her appropriation as one of ‘delight and 4 Beavers became the Overlie Dance Company members Paul chagrin’, Overlie describes her experience quite second Director of ETW, Langland and Nina Martin with additional differently. In a 2006 interview with Bogart, following founder Ron Argelander, and continued faculty members, Kevin Kuhlke and Stephen Overlie stated that Bogart’s theft of ‘Viewpoints’ to teach the core Wangh.4 In the late 1970s and early 1980s, was nothing less than traumatic. viewpoints curriculum at Overlie began more widely describing her ETW until 2003, leaving I feel like someone is taking my life away. I feel like NYU that year to create the discoveries in interviews in The New York MFA Theater: I’m dying.… I had no concept that the Viewpoints Contemporary Times and TDR: The drama review, further were like my flesh. I spent my whole life working Performance programme at developing them until she ‘completed’ the on them. To lose them was to look at having Naropa University, which includes training in The theorization of The Viewpoints in 2004. While devastated life.… I needed to reestablish my name Six Viewpoints. Overlie’s teaching has been tremendously in the work. (Bogart 2012: 418)

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PR 22.5 On Names.indd 116 10/12/2017 15:30 This reestablishment of her own name ‘“Space, Shape, Time, Emotion, Movement and in relationship to the Viewpoints name is Story” drifted away from me’, so much so that particularly fraught because The Viepwoints ‘I forgot what her six Viewpoints were’ (Bogart (and Overlie, herself) operate through the minor 2015, 2012). Overlie reports having received form of quietude. This ethos simultaneously telephone calls from concerned New York leaves The Viewpoints vulnerable to the theatre artists about the ‘confusion’ caused by volume of the major, but also is what enables Bogart’s use of ‘Viewpoints’ for her different its pervasive influence. As Overlie states, approach (2012: 481). Such confusion is not The Viewpoints ‘has come with a quiet and surprising, given that Bogart had never actually infectious ability to represent itself without her’, trained with Overlie, but had only gleaned The speaking only in a ‘quiet voice in a sea of raging Viewpoints from observation and discussions. commercial, artistic, corporate, capitalistic ego’ As seen in fig. 2, Bogart’s VPs dispenses with (2016c: 198, 2013: 136). Overlie’s horizontal, rhizomatic structure in favour of a two-tiered system organized by the Viewpoints of Time and Space, with Overlie’s MAJOR KEY ( REMAKING ‘AMERICAN four remaining Viewpoints either scuttled or THEATRE’) demoted to sub-categories. Due to their seeming The story of Anne Bogart is much better known, association with the psychological realism that given that she recounts the tale of her ‘discovery’ the VPs was meant to oppose, Bogart eliminated in her books, teaching and through SITI the Viewpoints of Emotion and Story. Having Company’s frequent training intensives. Her first increased the enumerated ‘Viewpoints’ from story of the ‘Viewpoints’ has become its master six to seven, the new system was constituted by narrative, wherein Bogart is cast as an artist- nine Viewpoints, underneath the ur-Viewpoints hero who expanded and applied Overlie’s ‘dance’ of Time and Space. Unlike the recursive process method to ‘theatre’. Bogart, a self-described designed by Overlie, the VPs is utilitarian, what ‘scavenger’, attended Bard College in New York’s Bogart describes as merely a ‘cardboard thing Hudson Valley, where she studied with the that you use to look at the thing you’re really Judson dancer and choreographer Aileen interested in’ (2012: 486). Passloff. Having moved to New York City in 1974, In 1992, Bogart and Japanese theatre director Bogart became known for her ‘postmodern’ and Tadashi Suzuki co-founded the Saratoga site-specific theatrical work throughout the city.5 International Theater Institute (SITI), which 5 Bogart’s directorial work She was later hired by ETW, where she also shortly thereafter evolved into the Bogart- has long been described as ‘postmodern’, with the directed a number of productions, including the directed SITI Company, known for its parallel Viewpoints as Downloaded by [45.37.184.67] at 04:34 19 December 2017 Overlie collaborations, Artourist (1984) and their training in Suzuki’s physically rigorous method a postmodern form of actor training. As described radical reimagining of the musical South Pacific and Bogart’s VPs – with the former referred to below, different (1986). as Suzuki (an abbreviation of ‘Suzuki Method of understandings of the term by Bogart and Overlie During the mid-1980s, Overlie had relocated Actor Training’) and the latter as ‘Viewpoints’ marks a major distinction to Paris, where she was establishing a satellite (with no equivalent nominal attribution for between their work. ETW programme. Bogart states that when Overlie). As SITI toured their first devised work, she found herself ‘unsure of what to teach’, The Medium in 1995, ‘Viewpoints’ became she worked as a ‘scavenger’, not only teaching identified with Bogart as ‘her “philosophy of ‘the Viewpoints’ but also doing so in a way movement”’, while she blithely stated, ‘I steal that she now admits ‘bastardized [Overlie’s] from everybody’ (Winn 1995). work, adding things and changing things’ – all The theft of the Viewpoints name was unbeknownst to Overlie (Bogart 2012: 471). cemented in 1995 with the publication of the Significantly, Bogart writes that the ‘principles’ book Anne Bogart: Viewpoints, an anthology she had learned from Overlie ‘underwent of texts by collaborators and drama critics changes’ as the specific formulation of celebrating Bogart’s work. While Bogart’s

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PR 22.5 On Names.indd 117 10/12/2017 15:30 ■■Figure 2. Anne Bogart’s VPs, ‘A set of names given to THE VPs nine principles of movement ANNE BOGART’S TWO-TIERED ORGANIZATION OF THE VIEWPOINTS through time and space.’ ‘A set of names given to nine principles of movement through time and space.’ (Bogart and Landau) Source: The Viewpoints Book, Anne Bogart and Tina Landau

Viewpoints of Time Tempo Duration Kinesthetic Response Repetition Rate of speed at which How long a movement or A spontaneous reaction Repeating of something a movement occurs sequence of movement to / timing of response onstage contnues to / impulsive movement Internal Repetition (of caused by an external movement within own stimulus body) External Repetition (of something outside own body) Viewpoints of Space Shape Gesture Architecture Spatial Relationship Topography Contour or outline Movement of Physical Distance between Landscape, floor the body/bodies a shape with environment of things onstage pattern, design make in space a beginning, middle working and how created in movement ■■ Lines and end. awareness of it through space ■■ Curves ■■ Behavioural affect movement ■■ Lines & Curves ■■ Expressive

lone contribution to the collection makes no ‘pioneer’ whose work Bogart and Landau mention of The Viewpoints, her collaborator had ‘extrapolated and expanded’ in order to Tina Landau’s essay states that she ‘remembered make them ‘applicable to creating viscerally Anne saying that the work she did was “stolen” dynamic theater’ (5). Moreover, they mistake from a myriad of sources, most prominently, the the assemblage of The Viewpoints for a mere Viewpoints from a dance teacher at New York naming of ‘natural principles’. University (NYU) named Mary Overlie’ (1995: 16). It is impossible to say where these ideas originated, As a dance practice only, Landau contends, the for they are timeless and belong to the natural ‘Viewpoints’ was merely source material, which principles of movement, time and space. Over the required Bogart to first ‘refine’ and ‘expand’ it years, we have simply articulated a set of names to in order to ‘apply’ it to theatre (ibid.). These put on things that already exist. (7) claims seem to be ignorant of the fact that that This prehistory dispossesses Overlie of The Overlie had developed the work in the context of Viewpoints by describing it as a mere grouping of Downloaded by [45.37.184.67] at 04:34 19 December 2017 theatre (not just dance) projects, taught it at the natural elements, rather than Overlie’s complexly Experimental Theatre Wing, and had designed it structured system. Thus, even in the act of as a ‘bridge technique for dance, theater and, to honouring Overlie as a ‘pioneer’, she is described some extent, the visual arts’ (Overlie 2016a: 8). as having a dance-based ‘approach to the Six Bogart’s own first book, A Director Prepares, Viewpoints’, which required Bogart to ‘recognize’ mentions The Viewpoints only in passing as their ‘immediate relevance to the theater’, in raw material that ‘led me in the development of order to ‘apply’ them to ‘theatre with actors’ (5). a new approach to training for actors’ (2001: 12). Thus, ‘theatre’ must first be erased from Overlie’s Bogart and Landau’s The Viewpoints Book: formulation in order to create the space for their A practical guide to viewpoints and composition ‘application’ and ‘expansion’ to theatre. has become a staple of contemporary acting The publication of The Viewpoints Book libraries. In a brief introduction to this how- helped to erase Overlie’s minor formulation, to book for prospective Viewpoints teachers, as Bogart’s ownership of the Viewpoints name they pay greater obeisance to Overlie, but was cemented by proliferating and increasingly still relegate her to the status of a dance standardized teaching of the VPs. Now armed

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PR 22.5 On Names.indd 118 10/12/2017 15:30 with a paint-by-numbers handbook for teaching Understanding The Viewpoints as a ‘complete the VPs, the ever-growing number of SITI work’ rather than merely as an enumeration Company-trained teachers have adopted them. of terms is perhaps most evident in relation to Moreover, the VPs have entered the curriculum Overlie’s concept of The Horizontal. For Overlie, of professional actor training programmes The Viewpoints approach is constituted by throughout the world, even finding their a horizontal structure, rather than an itemized way into high-school drama curricula. This list of raw materials for the actor to manipulate development is not surprising, given the ways and control. Rather the process of separating in which The Viewpoints Book presents the the material aspects of theatre is governed by VPs through an easily replicable pedagogy, the ‘working condition’ of de-hierarchicization making it amenable to the contemporary to be explored in ‘The Horizontal Laboratory’ neoliberal university’s increasing demands for (Overlie 2016c: 91). In this laboratory each standardization and expedience. Viewpoint is provisionally isolated so that As SITI Company members have reached it can be related to with ‘impartiality’ – as middle age, they have used the VPs as their no Viewpoint is thought to have greater brand in order to institutionalize the company. importance than any other, nor is the Viewpoint Writing in American Theatre magazine, Porter to have more importance than the performer. Anderson supportively describes this process as The radical breakthrough of The Viewpoints is the company’s need to ‘plant a flag, stake out not only in deconstructing the materials to the some turf, find a court to hold’ (2008). In short, level of their particles, but that like Donald Judd, he says, the future of American theatre depends Richard Serra and other of her contemporaries on their establishing a ‘SITIstate’ (Ibid.).6 working in minimalist sculpture, the materials 6 While SITI Company’s perform as much as the actor or dancer does. training in ‘Viewpoints’ largely consists of work For Overlie, this rhizomatic structure with the VPs, company THE CASE OF THE LOST DOG: THE constitutes a radical break from what she member Barney O’Hanlon VIEWPOINTS WITH AND WITHOUT (the sole member of the terms the ‘vertical’ orientation of ‘classical’ and company to have EMOTION ‘modern theatre’, wherein elements of the mise significantly studied with Overlie) has more recently The Viewpoints Conference organized by NYU in en scène operate in service of character and incorporated Overlie’s Six 1998 was characterized by plot. Rather, each Viewpoint is considered to Viewpoints into SITI Company training sessions. as a contentious event where ‘anxious panelists’ have its own ‘language’, which the actor may Overlie acknowledges that debated the question of ‘what [Viewpoints] is learn to ‘speak’. By identifying these materials the members of SITI Company have developed exactly’ (Shteir 1998). For some, this debate as fundamentally equivalent in value, they can ‘a beautiful working grasp’ centred on what panelist Elinor Fuchs then then be assembled into structures of ‘temporary for their years of ‘working

Downloaded by [45.37.184.67] at 04:34 19 December 2017 inside the theory and described as the question of ‘numerology’. hierarchies’, a condition that is essentially piecing it together on their As described in The New York Times, this was provisional (Overlie 2016c: 93). Overlie refers own’ (Overlie 2016b: 8). Having trained with the a debate of ‘faction[s]’ over whether there were to this process of deterritorialization and company myself, I have not twelve, nine or six Viewpoints. However, as reterritorialization as ‘reification’, the practice only found this to be the case, but also have found Overlie stated at the conference, the distinction of concretizing the unknown into the ‘circle’ them to be generous, to be made was not how many Viewpoints, but of the known, but that is always disrupted by rigorous and inspirational how they work in relationship to one another, the the de-reification of its own deconstruction teachers. actor and the audience: (Overlie 2013). As seen in fig. 3, horizontality characterizes I am sympathetic to the idea that for Ann [sic] not only the relationship between the individual Bogart and Tina Landau, the Six View Points began to change as they worked with them. It was Viewpoints, but also the entire performance a natural and inevitable path, since Anne, who situation, including the actor’s relationship collaborated with me on several productions, did to both the Viewpoints and the audience, as not fully understand the complete work from the well as the audience’s own relationship to start. (Overlie 1998: 38) the individual Viewpoints. This ‘embrace of

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PR 22.5 On Names.indd 119 10/12/2017 15:30 nonhierarchical structure’ de-centres the actor see them as adoring collaborators, rather than in a given performance event (Overlie 2016c: as an oppositional force to be manipulated or 79). No longer an ‘artist/creator’, the actor controlled. This perceptual shift allows for the performs the role of an ‘observer/participant’ actor to ‘believe in an audience that believes with the materials, propelled by a ‘loss of ego’ in them’, who can then be trusted to create that allows a release of the impulse to ‘control meaning with the most abstract of works (108). information too early’ (83). While ‘The Horizontal’ does not appear in Similarly, the Viewpoint of Emotion – The Viewpoints Book, it is a mainstay of SITI eliminated in Bogart’s approach – refers to Company’s Viewpoints training. In their a horizontal relationship of actor to audience. approach, horizontality’s significance lies in Rather than designating the drive to ‘capture its de-prioritizing of manufactured emotion, and express unique emotional context’, Emotion psychologically motivated character and denotes the charged energy and engagement linear narrative. By raising the value of the between the observer/participant performer material elements of theatre, it undermines the and the ‘spectator/participant’ audience dominance of these aspects in order to establish member (30). As a practice of ‘presence’, the a broader palette of compositional choices. No Viewpoint of Emotion is characterized by longer subservient to the masters of emotion, the actor’s heightened self-awareness of the character and plot, the VPs ‘places the actor ‘minute details’ of their body, attention and at the center of the creative process’ (Bogart avoidance/acceptance of the audience’s gaze. 2014: 110). Overlie calls this the ‘Dog-Sniff-Dog world’, As seen in fig. 3, the VPs’ claim to de- wherein the actor offers the ‘gift of being hierarchicization belies the fact that it actually seen’ so that both they and the audience can creates a new hierarchy in which the ‘expanded’ mutually partake in each other’s’ ‘scents’ (32). nine Viewpoints are now equally subordinate This relation is explored through ‘The Piano to the ur-Viewpoints of Time and Space. In Laboratory’, wherein the members of the this taxonomy of theatrical elements, Time audience are cast as ‘the finest pianos in the and Space serve as ‘order words’ that contain world’, whose subtlety, perceptual abilities and those elements by rationalizing them for the sensitivity to nuance enables the performer to re-centred actor. Such fixity does, indeed, make

■■Figure 3. (a.) The Hierarchical Taxonomy of THE HIERARCHICAL TAXONOMY OF THE VPs and the VPs and (b.) The Horizontal Diagram of The THE HORIZONTAL DIAGRAM OF THE VIEWPOINTS Viewpoints

Downloaded by [45.37.184.67] at 04:34 19 December 2017 (a.) The Taxonomy: The Major Practice of the VPs Actor

Time Space

Tempo Duration Kinesthetic Response Repetition Shape Gesture Architecture Spatial Topography Relationship

he decisive, repeatable) Audience

(b.) The Horizontal: The Minor Practice of The Viewpoints (n.b. The ordering of these materials in this visual representation is arbitrary. They could be reordered in any arbitrary or intentional order). Space Shape Time Emotion Movement Story Actor Temporary Hierarchies/Reifications Audience

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PR 22.5 On Names.indd 120 10/12/2017 15:30 the VPs ‘practical’, as it instrumentalizes the The point for me is how the molecular structure of material elements of theatre as tools for the the body is functioning.… I look upon movement actor to manipulate. While the actor may feel not as pattern in space and not a sculptural pose initially de-centred in the VPs by the removal and not progress across a surface. The level I think of dance on is atoms moving in accord with each of the familiar elements of character and plot, other out – either they rise or expand.… I give to the actor is ultimately restored as the master those people who are watching the experience that manipulator of Time and Space, an artist-creator things can change minutely and completely and yet and ego-centre of the theatrical event. While nothing has happened. (Lotringer 1979: n.p.)7 7 The ‘Schizo-Culture’ issue The Viewpoints challenges the centrality of the was an offshoot of the Lotringer describes Overlie’s seminal Schizo-Culture actor’s ego, the VPs seeks to do the opposite – conference organized by conceptualization of perception as a what Bogart describes as a vehicle to ‘create the Lotringer under Guattari’s philosophical ‘breakthrough’ since it provides term of the ‘schizo’. The kind of ego that can create’ (2014: 15). conference (and the a molecular challenge to the ‘molar structure’ of journal issue that followed) the major form. As Lotringer explains, Overlie’s represented a radical convergence of politicized THE STORY OF THE END OF ( THE work produces a ‘new body’ that is French philosophers (for BEGINNING OF) POSTMODERNISM example, Foucault, [m]ade up of a multiplicity of atoms, molecules, Deleuze, Guattari and The Horizontal is not only a structure, but also [and] particles that don’t need to be reincorporated Lyotard) and American into any distinct movement or ‘molar’ structure. artists (for example, a processual act of structuring. This distinction This is quite a breakthrough, and it has far-reaching William S. Burroughs, John notably characterizes Overlie’s description of Cage and Philip Glass). effects. The deeper, it seems, you get into the body, While Overlie’s interview the Viewpoint of Story, which Bogart eliminates into its minute components, the more ‘abstract’ was advertised to appear in in her VPs. For Overlie, the centrality of Story it becomes. There is a point at which the highest a second volume of the Schizo-Culture series, the and its unique formulation is rooted in the degree of abstraction in dance brings about the issue was never published. name ‘Postmodernism’, which she describes most direct flow of energy. (Lotringer 1979 n.p.) Lotringer later published the interview in Germany as the ‘heart of the Six Viewpoints’ (2016c: Overlie’s postmodernism is predicated not (in translation) alongside 87). While Bogart formerly described the on an opposition to Story, but rather on the interviews with Wilson, Viewpoints as a ‘post-modern way to train Glass, William S. Burroughs understanding that the temporal unfolding and others in New Yorker actors’, she has more recently declared ‘the end of any performance event makes Story Gespräche [‘New York of postmodernism’ (Shteir 1998, Bogart 2014: 5). Conversations’] under the unavoidable. The molecularity of the minor title ‘Was meine Atomen On the other hand, Overlie has long described gesture produces what she calls ‘abstract machen’ [‘What my atoms such sentiments as based on a ‘mistaken idea of narratives’, which may occur so microscopically make’] (Lotringer 1983). Postmodernism’ (Overlie 2016c: 87). Not only that they ‘happen in an atmosphere of is postmodernism alive and well, it ‘is in its charged stillness’. infancy’ (ibid.). This infant postmodernism is the

Downloaded by [45.37.184.67] at 04:34 19 December 2017 The experience is witnessed, understood, followed, necessary companion to the Viewpoints, which remembered and yet there is no nameable event Overlie describes as her ‘child’ (2016c: 198). that transpired.… There is however some very Informed by the post- of post- engrossing small, odd gestures next to some very modern dance, Overlie’s conceptualization of large gestures which dissolve into huge sweeps the term centres on the ‘microscopic activity across the space and then occur again in an of differentiation’, which is enabled by and atmosphere of charged stillness. (Overlie 1980: 32) productive of a ‘process of finding points of relatedness in divergent details … rather than While there has been much dispute about grand fixed plans’ (Overlie 2016c: 87, 96). the relative ‘postmodernism’ of ‘postmodern In a 1979 interview with Sylvére Lotringer dance’, Overlie’s understanding of the term is for the ‘Schizo-Culture’ issue of his journal, quite specific. As Nick Kaye points out, the work semiotext(e), Overlie describes her project as of the Judson dancers – particularly through what Deleuze and Guattari would later term the the influence of ’s chance operations ‘molecular dance’ of the minor (Deleuze and – embodied a radical postmodernism in their Guattari 1986: 11): collapsing of the boundaries of ‘dance’ and

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PR 22.5 On Names.indd 121 10/12/2017 15:30 ‘not dance’ (1994: 98). Rather than supplanting principle for the Viewpoints-trained artist: previous dance forms with a new ‘style’, ‘In the spirit of postmodernism, we consider postmodern dance threw the distinctions of ourselves free to pick and choose whatever classical and modern dance ‘into confusion’. relationship we deem useful from the full Indeed, Yvonne Rainer’s emphasis on the history of the theater’ (Bogart and Landau materiality of ‘being seen’ and the aleatory 2005: 93). aspects of ’s development of As postmodern style has fallen out of fashion, proved foundational it is unsurprising that Bogart now claims, as for Overlie’s formulation of the relationality many have done since the 1980s, that we have of ‘Emotion’ and the dynamic kinaesthetics reached the ‘end of postmodernism’. In her of ‘Movement’. As with the work of Judson most recent book, What’s the Story, Bogart dancers, the postmodernism of Overlie’s contends that despite being, herself, a ‘product Viewpoints ‘looks towards its own condition’ of postmodernism, of deconstruction’, who had as dynamic minute components, such that it ‘resisted the comfort and tyranny of stories’, occasions what Kaye calls the ‘latent instability ‘postmodernism’ has lost its relevance in … of a “postmodern event” … which can be set our contemporary moment of ‘upheaval and directly against a “postmodern style”’ (Kaye change’ (2014: 4–5). In order for us to ‘make the 1994: 117). The Viewpoints draws on the radical world understandable’, she calls for a return to potential of this molecular, deterritorializating ‘story’, with no reference to the fact that she gesture to ‘challenge the very nature of had eliminated the Viewpoint of Story in her authority’, what Jill Johnson describes as construction of the VPs (Ibid.). moving ‘beyond democracy into anarchy. No Bogart describes story as a necessary response member outstanding. No body necessarily more to ‘the inferiority complex’ that has come to beautiful than any other body. No movement plague ‘American theatre’, leaving it ‘weakened’ necessarily more important or more beautiful and populated by artists who act like ‘beggars, than any other movement’ (cited in Burt like lesser citizens’ (2014: 4, 13). Theatre artists, 2006: 11). she announces, should reclaim their position of This understanding of postmodernism power, using story to ‘give order and meaning’. is radically different from the postmodern Through the ordering-power of the theatre style of pastiche that became fashionable artist’s use of story, American theatre is figured in 1980s American theatre and visual art. as a major practice that ‘frames’ experience, Writing in 1983, Hal Foster argues that as so that theatre artists may then redefine the appropriation became an artistic style, it world for audiences. Restored to their proper Downloaded by [45.37.184.67] at 04:34 19 December 2017 approached the condition of ‘mere kitsch’, even place of power to secure and determine the an ‘instrumental’ practice of ‘neoconservative meaning of experience for audience, theatre … reactionary postmodernism’ rather than the artists ‘can control’ stories and thus ‘we can ‘postmodernism of resistance’ that challenges choose’ to make American theatre great again the normalization of the culture of late (13). In the name of restoring American capitalism (1983: xi–xii; Jameson 1991). Bogart theatre, the ‘comfort and tyranny of stories’ describes her appropriative ‘scavenging’ of the is no longer to be resisted, and can even be Viewpoints within a discourse of such kitsch realized by the mobilization of the Viewpoints, postmodernism. The role of the artist, she says, which now serve as a means of control – over is to ‘gather raw material, absorb it, digest it’ meaning, over the audience, as well as over the with The Viewpoints but ‘raw material’ for the materials themselves. ‘real creative innovation’ of their appropriation Such an understanding of story works in stark (2015). Not only does this ethos guide Bogart’s contrast to Overlie’s Viewpoint of Story, where relationship to the Viewpoints, it is also what it is understood as an ‘arrangement of particles’, she casts, in The Viewpoints Book, as a guiding a ‘Logic’ to be discovered through a process of

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PR 22.5 On Names.indd 122 10/12/2017 15:30 8 From her earliest solo ‘exposing … an organization of sequences of to Anne’ (Overlie 2016a: 14; Overlie 2016c). dance pieces in the 1970s, information’ (2016c: 45, 55).8 In The Viewpoints, While the ‘Viewpoints’ name has been stolen, Overlie’s ‘abstract narratives’ staged Story had not been opposed, but rather The Viewpoints, itself, cannot have been since interventions into the ‘era reconceptualized as a Story/Logic. This it cannot be owned. The Viewpoints was not of Conceptual Minimalism’ in which she was working formulation exceeds ‘traditional narrative’ form only not ‘stolen’, but it has also ‘come with (Anderson 1983). In to uncover not only ‘Story in abstraction’ but a quiet and infectious ability to represent itself naming Logic as Story, Overlie intended to contest also Story in the ‘chance operation and new without [Overlie]’ (Overlie 2016c: 198). The the claim made by John logics’ that occur when multiple pieces of VPs’ ‘Viewpoints’ is, then, an aspect of the Cage and others of their work that ‘THIS DOESN’T ‘information’ are ‘placed next to each other’. SITI Company trainings that Julia Whitworth MEAN ANYTHING’ Moreover, the audience are not subjects to be describes as a ‘product for marketing’, which (Overlie 2016c: 45). As one controlled, but collaborators who construct an is produced from their ‘corporate culture’ of her ‘Arguments with Merce [Cunningham]’, she ‘abstract narrative’ to account for the electrical (2003: 27). incisively points out that ‘arcing’ between disparate materials (48–9). If the corporatism of ‘Viewpoints’ as even the ‘enormous effort to have no Story is itself As Story/Logic continually enacts itself a marketed-product disciplines theatre artists the Logic’ (2016c: 46). as a becoming-Story/Logic, it creates the into what James Scott may call ‘seeing like conditions for the narrative ‘end of The Six a SITI-State’, then it is the Original Anarchist Viewpoints’, which is reached in the final who must necessarily operate within the laboratory of The Bridge: ‘The Original margins of that State, propelled by the Anarchist’ (123). The ‘originality’ of the infectious deterritorializing of The Viewpoints’ Original Anarchist is, paradoxically, an effect minor practice (1998). In the constitution of of Viewpoints study, allowing the actor to no a horizontal relationship with the materials longer need ‘outside rules as guides in order and audience, The Viewpoints articulates not to function as a part of the whole’ (124). The a list of natural elements, but a rhizomatic Viewpoints produces becoming-Anarchists, structure that evades instrumentalization, ‘bad neoliberal subjects’ whose ‘awesome capture and containment. As a theatre practice, sense of self-affirmation’ allows them ‘to be The Viewpoints produces observer/participants, cooperative without being locked into an the recursive enactment of reification and arbitrary unity’ (Perucci 2015: 106; Overlie de-reification, the atomic and microscopic 2016c: 125). The auratic ‘patina of the Original movements of particles, and a giving over Anarchist’ – constituted in ‘vulnerability and to narratives of chance and abstraction. invulnerability’ – produces ‘secrets onstage’ to Rather than enabling mastery and control, be shared on the Horizontal with the audience The Viewpoints is an invitation to perform (126, 125). The becoming-Original Anarchist ungovernably, to confound any and all acts of Downloaded by [45.37.184.67] at 04:34 19 December 2017 actor is thus empowered to ask The Viewpoints’ dispossession. The anarchist calisthenics of The own originating question, both to themselves Viewpoints evades capture by the SITIState as it and the audience, ‘What is theatre made of?’ produces ensembles of Original Anarchists who (127). are not dependent upon a restoration of the greatness of ‘American theatre’ as a site for the reproduction of control. The Viewpoints cannot WAS MEINE ATOME MACHEN: TOWARDS be stolen because, while the ‘Viewpoints’ may AN ANARCHIST VIEWPOINTS have been expropriated, the resistance to In the age of the SITIState, what is to become control is one of their constitutive elements. of the Original Anarchist? Overlie offers herself Ever threatened by the art of the corporate steal, as a partial answer: the Original Anarchist need the Original Anarchist steals away through the not be ‘afraid of obscurity, or worried that being radical act of (re)asking, ‘What is theatre made unknown might obscure her ideas’, despite of?’ And in that act, Overlie says, we ‘go off into the fact that the ‘financial and professional another planet in a spaceship. We get into the advantage … of the Viewpoints has all gone Viewpoints world’ (Bogart 2012: 483).

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PR 22.5 On Names.indd 123 10/12/2017 15:30 REFERENCES Lotringer, Sylvère (1983) ‚Mary Overlie: Was meine Atome Anderson, Jack (1983) ‘Discovery in dance is inexhaustible’, machen‘, in Sylvère Lotringer (ed.) New Yorker Gespräche, The New York Times, www.nytimes.com/1983/02/20/ trans. Guntram Weber, Berlin: Merve Verlag, pp. 125–34. arts/discovery-in-dance-is-inexhaustible.html, accessed Lotringer, Sylvère (2013) ‘Notes on the Schizo-Culture 15 November 2016. Issue’, in Sylvère Lotringer (ed.) Schizo-Culture: The book, Anderson, Porter (2008) ‘The search for a SITI state’, Cambridge, MA: MIT Press, pp. v–xxiv. American Theatre 25(3): 24. Manning, Erin (2016) The Minor Gesture, Durham, NC: Banes, Sally (2011) Terpsichore in Sneakers: Post-modern Duke University Press. dance, revised second edition, Middletown, CT: Wesleyan Overlie, Mary (1980) ‘Mary Overlie: A letter’, Dance Scope University Press. 14(4): 30–4. Bogart, Anne (2001) A Director Prepares: Seven essays on Overlie, Mary (1998) ‘The Six View Points Theory’, The art and theatre, New York, NY: Routledge. Journal for Stage Directors & Choreographers 12(1): 38–9. Bogart, Anne (2005) ‘Working with SITI Company’, in Anne Overlie, Mary (2004) The Six Viewpoints (website), www. Bogart and Tina Landau, The Viewpoints Book: A practical sixviewpoints.com, accessed 15 June 2012. guide to viewpoints and composition, New York, NY: Theatre Overlie, Mary (2013) ‘Manifesto for reification’, in Laura Communications Group, pp. 211‑213. Cull and Will Daddario (eds) Manifesto Now!: Instructions Bogart, Anne (2012) ‘Mary Overlie’, in Conversations with for performance, philosophy, politics, Bristol: Intellect, pp. Anne: Twenty-four interviews, New York, NY: Theatre 127–41. Communications Group, pp. 469‑488 Overlie, Mary (2016a) Correcting a Profound and Tragic Bogart, Anne (2014) What’s the Story: Essays about art, Mistake, unpublished manuscript. theater and storytelling, New York, NY: Routledge. Overlie, Mary (2016b) Personal communication with the Bogart, Anne (2015) ‘Copy, Transform, Combine’, Anne author. Bogart’s blog, www.siti.org, Accessed 12 November, 2015. Overlie, Mary (2016c) Standing in Space: The Six Viewpoints Bogart, Anne and Landau, Tina (2005) The Viewpoints theory & practice, Billings, MT: Fallon Press. Book: A practical guide to viewpoints and composition, New Perucci, Tony (2015) ‘Dog Sniff Dog: Materialist poetics York, NY: Theatre Communications Group. and the politics of the viewpoints’, Performance Research Burt, Ramsay (2006) Judson Dance Theater: Performative 20(1): 105–12. traces, New York, NY: Routledge. Scott, James C. (1998) Seeing Like a State: How certain Cummings, Scott T. (2006) Remaking American Theater: schemes to improve the human condition have failed, New Charles Mee, Anne Bogart and the SITI Company, New York, Haven, CT: Press. NY: Cambridge University Press. Scott, James C. (2012) Two Cheers for Anarchism: Six easy Deleuze, Gilles and Guattari, Felix (1986) Kafka: Toward pieces on autonomy, dignity, and meaningful work and play, a minor literature, trans. Dana Polon, Minneapolis, MN: Princeton, NJ: Princeton University Press. University of Minnesota Press. Shteir, Rachel (1998) ‘Dispensing with dogma in the Deleuze, Gilles and Guattari, Félix (1987) A Thousand training of actors’, The New York Times, www.nytimes. Plateaus: Capitalism and schizophrenia, trans. Brian com/1998/08/02/theater/theater-dispensing-with-dogma- Massumi, Minneapolis, MN: University of Minnesota Press. in-the-education-of-actors.html, accessed 1 December Downloaded by [45.37.184.67] at 04:34 19 December 2017 Foster, Hal (1983) ‘Postmodernism: A preface’, in Hal 2016. Foster (ed.) The Anti-Aesthetic: Essays on postmodern ‘Viewpoints’ (2016) Steppenwolf Classes West, www. culture, Port Townsend, WA: Bay Press, pp. ix–xvi. steppenwolfwest.com/viewpoints-2/, accessed Jameson, Frederic (1991) Postmodernism or, the Cultural 15 November 2016. Logic of Late Capitalism, Durham, NC: Duke University Whitworth, Julia (2003) ‘Translating theologies of the Press. body: SITI’s physical theatre training and corporeal Kaye, Nick (1994) Postmodernism and Performance, New ideology’, Performance Research 8(2): 21–7. York, NY: St Martin’s Press. Winn, Steven (1995) ‘“The medium” is director’s message/ Landau, Tina (1995) ‘Source-work, the Viewpoints, radical, influential Anne Bogart’, San Francisco Chronicle, composition: What are they?’ in Michael Dixon and Joel A. www.sfgate.com/entertainment/article/The-Medium- Smith (eds) Anne Bogart: Viewpoints, Lyme, NH: Smith and Is-Director-s-Message-Radical-3035425.php, accessed Kraus, pp. 13–30. 15 January 2017. Loewith, Jason, ed. (2012) The Director’s Voice, Volume 2, Kindle Edition, New York, NY: Theatre Communications Group. Lotringer, Sylvère (1979) Mary Overlie: What my atoms make, unpublished manuscript.

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