Author Topic: PROMPT BOOK: Viewpointing  (Read 2723 times)

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gina_teresa

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PROMPT BOOK: Viewpointing
« on: Apr 04, 2007, 08:13 pm »
I was wondering if anyone has dealt much with Viewpoints (if you don't know what viewpoints are, I recommend reading up a little on Anne Bogart and the SITI Company, really cool stuff).  I have my own blocking language, as does every SM, but there are a lot of very specific movements in the piece and I was wondering if anyone else has come up with a good way for notating this type of blocking.

Thanks,
Gina
« Last Edit: Jun 09, 2009, 12:17 am by PSMKay »

BalletPSM

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Re: Viewpointing
« Reply #1 on: Apr 05, 2007, 10:08 am »
I had my introduction to Viewpoints work last fall when I worked on a brand new adaptation of "Sense and Sensibility."  I was the choreographer/movement director, and the director decided to use Viewpoints to approach the show.  It was AWESOME.  I have never felt more physically connected to a piece than I did to that play.  The movement vocabulary that viewpoints uses is an excellent way to explore all aspects of the play, character and bring in all design elements as well.   Anne Bogart is a genius. Read her book "A Director Prepares" and then read the Viewpoints book. 

What do you mean notating "this" type of blocking?  What piece are you working on? 
Stage managing is getting to do everything your mom told you not to do - read in the dark, sit too close to the TV, and play with the light switches!

Balletdork

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Re: Viewpointing
« Reply #2 on: Apr 05, 2007, 11:29 am »
Used Viewpoints in college- very cool stuff! Of course I come from DANCE and the Director was from DANCE so it was very natural for us...

angelofmusic1781

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Re: Viewpointing
« Reply #3 on: Apr 05, 2007, 11:21 pm »
  I was lucky enough to hear Ann Bogart give a lecture when she was in town.  One of her graduates from her directing program tought my directing class as well as movement for the actor classes.  I have to say the work I did with him during the directing class was some of the most exciting of my college coursework.
  Viewpoint work is a powerful tool for actors and directors.  As a stage manager, I am sure that I would have heightened awareness of the physical movement of a piece.  In terms of blocking notes, I would approach it like I would for taking dance notes.  If your piece has actors moving to music, a break down of the counts will help; if not I would simply write out the sequence of movements in the order they happen.  It may help to create group once you have a sequence together that repeted.  This was you dont have to write out each move, but rather write something like: Actor A does Seq. 1 (or) A (or) I. 
  When you start to deal with tempo (both physical and vocal) you can use your stopwatch to time pauses.  In terms of vocal viewpoints of acceleration and deceleration you may want to take a few timing marks.  I mark these in square boxes above the text.   However, you must remember that viewpoint work requires a lot of experimentation and you as the stage manager must embrace that idea and be ready to make adjustments to your timing notes and movement sequences.
   I have never really given a lot of thought to stage management and viewpoint work, but now this has me thinking so maybe I will have more thoughts to come!

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