The day we visited the thrust to do our viewpoints workshop was one of my favorite endeavors of the semester as a class. As we began to move about the space and respond to one another through various physical/kinesthetic response techniques (directed by Dr. Steiger), I realized that the multiple forms of theatre that we’d been studying throughout the course of the semester were present within consciousness of physicality. Not being able to randomly play with the different forms made me feel like a child not being able to play with a new toy, and in this restriction, I found the motivation to search, create, and play within the activity. I found myself constantly fighting the urge to break into an improvisational attempt at the Butoh form, or declining my instinct to move purposefully and rigid as in the Kabuki form.
After several minutes of responding to my fellow actors moving through the space, I began to let go of the need for control and understanding of what my actions might be conveying to the audience (Dr. Steiger). It was in this release that I found the greatest tool for global theatre, as well as my own personal necessity to relinquish control of my physicality onstage, therefore allowing myself to act and respond freely. Through release and true existence in the moment and interaction of the exercise, the work began to show me how diverse exposure to forms and content greatly increases an actor’s ability to express and create. Knowledge of global theatre techniques brings about a greater understanding of the human condition and progression, therefore the best tool for an actor does not rest within the knowledge of other world theatre forms, but rather in that actor’s awareness and understanding of how the other forms of theatre throughout the globe define the unique traditions of that people’s and region’s history.
Another tool to be taken away from this workshop is the strong connection that should be placed on the interaction and connectivity of the actors to each other as they physically move within the space. We were directed to “let that person affect you” as they passed by us or crossed our paths… Expressing affectation through immediate physical response or change forced me to be conscious in the “here and now”, and there is nothing more useful to the actor in learning how to focus and channel his/her energy for performance.
I took away many skills from this workshop, both in acting and in composing a piece. Having knowledge of diverse forms around the globe unlocks the potential within an actor to express the profundity of human existence, both physically and mentally. A viewpoints workshop is a wonderful way to begin to conclude the semester’s work and embraces the idea of multiple perspectives. It gave us insight as to how the different forms we’ve studied can be applied and demonstrated the value in being exposed to intercultural theatre. It’s not what you do, it’s how you do it, and this workshop helped me explore the infinite realm of creative skills that rest within the actor.
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Conrad:
I thoroughly agree. Viewpoints allows you to access the right brain more quickly. You basically have a tool box of reactions to choose from but you don't intellectualize your response. Instead you react appropriately to what is given to you. It is very much like being in second circle. You have to be present taking in everything. You cannot let your preplanned concept of what the piece should become take over what is happening. At the same time you don't divorce yourself from any early ideas you have. Plans you make prior to the start of the exercise can be placed into your arsenal of appropriate responses.
The other benefit of working with viewpoints is that allows for ensemble building. I have always marveled when I see dancers or movement oriented actors create actions in unison or in response without even looking at each other. This is the essence of performing arts. Viewpoints allows us to connect and be available.
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