Language
Country/Area
No result found
Space, shape, emotion...How do the six perspectives reconstruct every element of the stage?
In the field of contemporary performing arts, Six Viewpoints, as a framework for creating and analyzing performances, has undoubtedly injected new vitality into performing arts. It uses space, shape, time, emotion, movement mechanism and the materiality of the actor's body to provide multiple interpretation methods for performance. This movement-based teaching and artistic practice has had a profound impact on the development of postmodern theater and choreography. Mary Overlie, the founder of the Six Perspectives, a theater master and educator, explores the core of this theory in depth in her book "Standing in Space: The Theory and Practice of the Six Perspectives" concept and its practicality.
"The practice of the six major perspectives is not only dominated by the materials constituting the stage, but also further liberates these materials so that they are no longer restricted by fixed constraints."
The core concept of viewpoint
The essence of the six perspectives lies in its non-hierarchical understanding of the elements of stage performance, which means that in the creative process, every element - whether it is space, shape, time or emotion - can be equally valued and explore. This idea contrasts with the traditional notion of modernism's structural emphasis on story and emotion.
Six materials (SSTEMS)
The "six major materials" proposed by Overly include Space, Shape, Time, Emotion, Movement, and Story. The combination of these materials provides a space that allows actors to engage in creative dialogue. As she says, when actors interact with these elements, they are not just creators, but observers and participants.
“Considering the independence of each material and letting these elements lead the creative dialogue is an important part of redefining art and artists.”
Interaction during the creative process
By practicing the six perspectives, actors can deeply feel the emotions and stories that every element on the stage can convey, and build diverse expressions based on this. In this process, the actor's body and its interaction with the surrounding environment are regarded as an important part of the creation. This not only promotes the establishment of a non-hierarchical creative cooperation mechanism between individuals and other actors, but also deeply explores the relationship between characters, thereby capturing the authenticity of emotions more concretely.
Performance that changes over time
In the dimension of time, the six perspectives extend the understanding of concepts such as rhythm, duration, and repetition, which not only affects the actor's performance style, but also enhances the audience's viewing experience. For example, the reconstruction of memories and the expression of emotions can reveal new meanings in every action and moment. This kind of expression technique not only enriches the expression of the script, but also allows the audience to constantly think and reflect during the viewing process.
Related practical methods
In addition to the theoretical discussion of these materials, Oveli's six perspectives also include practical methods with "The Bridge" as the core. It is a series of experiments and exercises that help creators re-understand the fundamental building blocks of their performances in the process of discovery. This method not only emphasizes the independence of materials, but also advocates the idea of contrast, decomposition and recombination.
Contemporary influence
Oviley's six perspectives continue to evolve in the contemporary performing arts field, whether it is the expanded theory of Anne Bogart and Tina Landau or various emerging performance groups The practice has proved the widespread application value of the six perspectives. The foundation of this theory lies not only in the richness of its constituent elements, but also in its ability to stimulate the creator's potential to find a new balance between action and emotion.
Through the perspective of six major perspectives, the stage is no longer a static space, but has become a fluid body of creativity and emotion. How will future stage creations further develop within this framework and inspire hidden artistic possibilities?
