Since its publication in 2005, Anne Bogart and Tina Landau's The Viewpoints Book: A Practical Guide to Viewpoints and Composition has provided the received narrative not only for the ways that Viewpoints training is practiced, but also for its history. In their opening chapter, the authors crucially acknowledge that they did not invent this method of training: In 1979, Anne met choreographer Mary Overlie, the inventor of the “Six Viewpoints,” at New York University, where they were both on the faculty of the Experimental Theater Wing. Although a latecomer to the Judson scene, Mary, who had trained as a dancer and choreographer, attributes her own innovations to those Judson Church experiments. . . . Mary immersed herself in these innovations and came up with her own way to structure dance improvisation in time and space—the Six Viewpoints: Space, Shape, Time, Emotion, Movement, and Story. She began to apply these principles, not only to her own work as a choreographer, but also to her teaching. Although Bogart and Landau claim the necessary authority to bring this “practical guide” into the marketplace, they make no secret of the fact that their work derives from Mary Overlie's innovations. To obfuscate on this point would have been a grave misstep causing outcry from the hundreds of performers who studied with Overlie over the preceding three decades. Many of those students have contested Bogart and Landau's implication that Overlie's purpose on the Experimental Theater Wing faculty was specifically to teach dance. Even giving Bogart and Landau the benefit of the doubt on that point, this acknowledgment alone would raise questions about why these authors feel they have the right to publish the definitive work on Viewpoints training—and why they now list nine viewpoints, which exclude some of the original six. To these questions, Bogart and Landau say: To Anne (and later Tina), it was instantly clear that Mary's approach to generating movement for the stage was applicable to creating viscerally dynamic moments of theater with actors and other collaborators.

中文翻译：

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对 Mary Overlie 的六种观点的建设性解构


自 2005 年出版以来，安妮·鲍嘉 （Anne Bogart） 和蒂娜·兰道 （Tina Landau） 的《视点书：视点和作文实用指南》（The Viewpoints Book： A Practical Guide to Viewpoints and Composition） 不仅为视点训练的实践方式提供了公认的叙述，而且也为其历史提供了公认的叙述。在开篇一章中，作者至关重要地承认这种训练方法并不是他们发明的：1979 年，安妮在纽约大学遇到了编舞家玛丽·奥弗利 （Mary Overlie），她是“六观点”的发明者，他们都在该校实验剧院翼 （Experimental Theater Wing） 任教。虽然玛丽是贾德森舞台的后来者，但接受过舞蹈和编舞训练的玛丽将自己的创新归功于贾德森教堂的那些实验。Mary 沉浸在这些创新中，并想出了自己的方法来在时间和空间中构建即兴舞蹈——六个观点：空间、形状、时间、情感、运动和故事。她开始将这些原则应用到她自己作为编舞的工作中，也应用到她的教学中。尽管 Bogart 和 Landau 声称拥有将这本“实用指南”推向市场的必要权威，但他们毫不掩饰他们的工作源自 Mary Overlie 的创新这一事实。在这一点上混淆将是一个严重的失误，会引起过去三十年中跟随 Overlie 学习的数百名表演者的强烈抗议。这些学生中的许多人对 Bogart 和 Landau 的暗示提出异议，即 Overlie 在实验剧院翼教师的目的专门是为了教授舞蹈。 即使让 Bogart 和 Landau 在这一点上受到怀疑，仅凭这种承认就会引发一个问题，即为什么这些作者认为他们有权发表关于观点培训的权威著作——以及为什么他们现在列出了九个观点，而这些观点却排除了原来的六个观点中的一些。对于这些问题，Bogart 和 Landau 说：对 Anne（以及后来的 Tina）来说，很明显 Mary 为舞台产生运动的方法适用于与演员和其他合作者一起创造发自内心的戏剧动态时刻。