Authors: Dr. Christopher Layton
This paper is about the merging of art, character, and self in the college theatrical rehearsal. The physical movement theories of Anne Bogart’s Viewpoints have shown that improvisation, movement study, and ensemble exercises can play a vital role in creating a liberatory studio rehearsal environment, in which professional actors collaborate, create, and express ideas, and where they come to understand both who they are as individuals, what they can become as a character, and what they can do as a team. This paper explores the experience of professors and their students who participate in Viewpoints workshops over the course of production rehearsals. Viewpoints has been well documented to be effective in the professional field, and the idea of a liberatory rehearsal is not new, but the combination of these two - using Viewpoints to create a liberatory rehearsal – has not been fully researched. An autoethnographic case study, using clinical interviews with students will, using Herbert Blumer’s phenomenological approach known as symbolic interactionism, explore how Viewpoints might create the ideal collaborative studio environment for liberating student actors and evolving staging in the theatrical arts.
Keywords: Viewpoints College Theatre Liberatory Pedagogy Autoethnography Harold Blumer Anne Bogart