Musicians and all kinds of other artists have means and need to practice their work through daily exercises. But what does the actor have outside of rehearsals for a particular project? "Viewpoints" is the name of an improvisation technique/language for performers which was pioneered by the choreographer Mary Overlie and later extensively developed by the theatre director, Anne Bogart and her company, SITI. I would like to take a class that both uses and critically questions the literature and experiences of Viewpoints to explore it as a kind of "daily practice" -- at the level of a weekly class. I would like to explore/question it's basic assumptions and procedures, through testing it's simple exercises -- many of them movement based, but not limited to the actor's physical work -- gradually, diligently, patiently becoming more and more advanced, without, initially at least, any pressure of a goal to result in performance for an audience. Perhaps even developing a new improvisational language, or else extending the language of Viewpoints towards new horizons. I say Viewpoints for the THEORETICALLY Disposed, because, in the long run, I envision a group committed to connecting this work to other interests of Public Schoolers. I'm thinking here of Badiou's theatre of the matheme or his thoughts about a new theatrical neoclassicism, or a theatre without a director, and that got me thinking about some of the ideas I encountered on leadership permeating Occupy Wall Street, which got me thinking about the relationship between theatre and the state, historically, and it's Greek origins, and what might Viewpoints be able to contribute to all this, and what about all the other philosophical dispositions with real stakes right now? I say Viewpoints for the Theoretically DISPOSED, because, I envision a group of people coming together who feel the immense dissatisfaction that I feel with a lot of contemporary theatre and it's experimental alternatives, a group who feel they have each individually disposed of theatre or else feel disposed by it, but who want to continue with it somehow, or perhaps for the first time. No experience required.
So, yeah, I see meeting once a week. Maybe at a rehearsal studio? Chelsea studios for example is only like $8 per hour. Talking maybe a little bit about our experiences with such work, discussing who's comfortable leading exercises, etc. Maybe thinking in terms of "Faciliation" or co-facillitation a la OWS could be useful. I was personally really moved and amazed on several occasions by people's effort to submit themselves on such a scale to an agreed upon process. How might that sort of thing be transfered to work in performance and theatre?