DAY 6 — OPEN VIEWPOINTS, OPEN CLASS & Q&A

DAY 6 — OPEN VIEWPOINTS, OPEN CLASS AND Q&A

SOURCE STATUS

The accessible Day 6 protocol primarily records:

• afternoon Instant Compositions;
• Open Class planning;
• cohort Q&A;
• final interview material.

Do not invent an undocumented morning chronology.

SLOW-TIME COMPOSITION

One exercise began with performers distributed through the space.

Conditions included:

• initial foetal position;
• music as a starting signal;
• slow movement;
• two minutes within individual attention;
• gradual awareness of others;
• eventual opening toward the full space.

LANE WORK

Participants used three lanes.

They investigated:

• walking;
• stopping;
• silence;
• normal tempo;
• sensing others without directly watching;
• shifting between Viewpoints.

MUSIC / MOVEMENT SHIFT

Another lane exercise began with walking and stopping.

When music entered:

• Movement became the focus;
• beginnings and endings had to be perceived;
• a new action followed the end of the previous material.

IMAGE-BASED DUETS

Participants began from individual image research such as:

• honey;
• cloud;
• other previously investigated qualities.

When music began, the work opened toward duets and non-verbal dialogue.

VOICE CONDITION

One Instant Composition required continuous speech.

Conditions included:

• three performers;
• whole space;
• voice not used as ordinary neutral conversation;
• the speaker either still or moving.

OPEN CLASS STRUCTURE

The documented structure included:

1. Flow exercise;
2. change of direction;
3. doors and portals;
4. tempo;
5. stopping;
6. following;
7. Shape;
8. guided exploration through selected Viewpoints;
9. three five-minute Instant Compositions;
10. one-minute feedback intervals;
11. 3 + 2 + 1;
12. working with and against music;
13. Rush Hour;
14. beginning / middle / end;
15. one-minute monologue;
16. floor pattern and Time;
17. seven-minute Emotion exercise;
18. twenty-five-minute Open Viewpoints.

OPEN VIEWPOINTS

The twenty-five-minute section invited participants to:

• enter from the audience;
• return through the audience;
• choose an area not sufficiently investigated during the week;
• remain generous with one another;
• shift lenses;
• allow material to coexist.

FINAL Q&A — SIX VIEWPOINTS

The facilitators summarised the Six Viewpoints as originated by Mary Overlie.

They described them as:

THEORY

PRACTICE

PHILOSOPHY.

The six materials are:

SPACE

SHAPE

TIME

EMOTION

MOVEMENT

STORY.

DECONSTRUCT / RECONSTRUCT

The training isolates one material.

After focused investigation, materials can be reintegrated.

This was compared with:

• a ballet dancer working at the barre;
• a musician practising scales.

FEEDBACK VOCABULARY

Feedback following Open Viewpoints was not framed as:

“What did you like?”

Observers supplied concrete vocabulary and observations that performers could use for reflection.

ADAPTATION

The facilitators acknowledged that Viewpoints change between teachers and companies.

They encouraged participants to:

• teach what they know;
• retain what is useful;
• adapt responsibly;
• avoid claiming mastery they do not possess.

TEXT

Text can enter Viewpoints through:

• rhythm;
• repetition;
• Shape;
• Time;
• gesture;
• spatial placement;
• fragmentation;
• reassembly.

The work does not require a fixed playwright–director–performer hierarchy.

STORY

Story was described less as conventional narrative and more as:

LOGIC

PATTERN

SEQUENCE

RELATION.

PRESENCE

Presence was connected to Emotion.

The chair exercise trained:

• being watched;
• awareness;
• internal thought;
• audience contact;
• remaining active without conventional action.

SIX / NINE

The facilitators state that they initially encountered nine Viewpoints and later adopted the six-material framework.

They regard six as sufficient because each material can contain many subdivisions and interpretations.