This year I’ve been fortunate to delve back into the Viewpoints system of movement with two separate post-secondary groups. Building from the ground up: I relish pairing down movement to its basics and building it up again with specific focus, concern and intention. Tasks and movement. Listening to and trusting your impulses. Relationships onstage between performers and space, between action and time, between audience and performer. I love investigating the different aspects individually, interrogating them, exhausting them only to then add another on top. This deconstruction to layering is complex and insatiable. Leading this work, I am pleased to realise how deeply ingrained it is in my own practice: oftentimes focusing on one of the nine viewpoints over others to help craft a character, or, unconsciously playing and adjusting the dials to explore a whole vocabulary.
Which is why I’d like to open up a community jam on Thursday mornings. I want this training to keep going. I know there are many actors, dancers and other performers who have crossed paths with Viewpoints throughout their training. I know there are others who have never experienced it before but have heard its name.
If you fall into any of these categories, I invite you to join me at hub14‘s new Artscape studio @ 910 Queen Street West on certain Thursday mornings, from 9 – 10am, to come jam and explore this movement for yourself. Space will be available from 8:45am for personal warm-ups.
In an effort to make cross-disciplinary training more commonplace and low-risk, all of these drop-in sessions will be offered at no cost. All you have to do is send a message to afieldofcrowns(at)gmail(dot)com (there’s a form here) so I can come and get you.
*note: unfortunately, hub14 is not an accessible venue, as it is located in a basement without access to a public elevator.*
Creative adventures have taken Diana Kolpak from performing liposuction on herself to being a prima ballerina to seeking fallen stars in frozen wastelands to fighting epic cream-pie battles. Clown makes all her dreams come true.
BLUE is an interactive solo musical about the highs and lows of love. Stylistically, it’s clown meets the Blues by way of 30’s Berlin cabaret with a little detour through Las Vegas. The first song is set. The rest of the songs (all original) are chosen by the audience, so the tone and narrative structure of each performance is different. Lounge singer Sally Siren serves as guide, interacting with the audience, introducing each song with minimal improvised dialogue, and singing either a cappella or while accompanying herself on a toy piano. It’s a wonderful ride for everyone.
Norm Reynolds is a member of the Playwrights Guild of Canada. A hit at the inaugural Summerworks Festival (CBC Radio, NOW Magazine), Put Up Your Hand went on to be one of four scripts chosen for the WordWorks Festival at Solar Stage. Reynolds has published short fiction in the United States and Canada, and book reviews in the Canadian national press. He currently teaches English and Drama in Toronto.
My dad died in 2000. The following year, I ended a long-standing friendship (not romantic). It struck me that both experiences of loss physically felt the same. I had the good fortune to workshop my play idea with Edward Albee at the Humber School for Writers. Albee said: “That’s a really wonderful monologue. If you put it at the end, you might have something.” I did. After some reimagining, The Good-bye Play had its premiere at Theatre Aurora’s Playwrights of Spring Festival, and TheatreStarts.
As the promo for the play says, some relationships never die. Leo and Patricia have split. Patricia has come back for closure. Leo isn’t having any of it. A comedy about grievances, petty and great, and the difficulty of finally saying good-bye.
Zachary Murphy is a multi-disciplinary artist who seeks out the connection between text, movement and music. While originating as an actor, he has placed a strong focus on physical practices and has begun training in Butoh, Gaga, Suzuki Method, Viewpoints, Ballet, Authentic Movement and Contact Improv, among others. He is currently developing a show titled The Dark Lady: a Bacchanalian Coven, which will show in 2017.
Where is the connection between the philosophical ideology of “continuity” and movement/poetry?