SITI company is the most influential Viewpoints training center in the world. It was founded in 1992 by 1)Anne Bogart and 2)Tadashi Suzuki to “revitalize” theater in United States. SITI Company’s training strategies have become widespread modules of theatre lecture. The recent productions are followings; Radio Macbeth, Hotel Cassiopeia, Death and the Ploughman.
“One of the most important aspects of SITI’s work is the teaching of our training techniques to actors and theater artists. Each year we find ourselves in studios throughout the United States and the world, working with old friends as well as a constantly growing number of new faces. In addition to teaching these workshops, SITI members are on the faculties of such institutions as The Juilliard School, New York University, and Columbia University.”
Quotation from Website; http://siti.org/
*1)Anne Bogart: the woman director and the co- founder of SITI company. After she had collaborated with 3)Mary Overlie in 1979, She developed a teaching technique called “Viewpoints” with Suzuki,and his Company, SCOT.
*2)Tadashi Suzuki: the Japanese creator of the Suzuki Company of Toga (SCOT) and a co-founder of SITI company. Suzuki also plays an important role with several other organizations. His activities, creating multilingual as well as multicultural productions, and bringing people from throughout the world together in the context of shared theatrical endeavor, reflect an approach to address the fundamental issues of our times.
*3)Mary Overlie: the Choreographer. She articulated 4)the Six ViewPoints of dance, which Anne Bogart has benchmarked. She broke down the two dominant issues performers deal with – time and space – into six categories.
SITI mainly focuses on nurturing the artists using 2 distinct methods – The Viewpoints and the Suzuki Method.
*The Viewpoints training
Run by Anne Bogart , this module aims for making actors and actresses qualified. The Viewpoints training lets actors to find a unique and new way to communicate with audience, that is to say, way to MOVE THE CROWDS. To be more specific, The Viewpoints is to acquire, literally, how to ‘wing it’. The View point is predicated on Overlie’s 4)Six View Points of dance. This strategy let actors to co-operate spontaneously with an intuitive. It enhances flexibility, articulation, and strength in movement and makes ensemble playing really possible.
My own Viewpoints picture:
While the ultimate purpose of The Viewpoints training is on the entire actor group’s development and co-operation, the Suzuki method aims for strengthening personal developments. Developed by Tadashi Suzuki and the Suzuki Company of Toga, the Suzuki Actor Training Method restores the wholeness of the human body to the theatrical context and uncovers the actor’s innate expressive potentials. A rigorous physical discipline drawn from such diverse influences as ballet, traditional Japanese and Greek theater and martial arts, the training seeks to heighten the actor’s emotional and physical power to each moment on the stage. Attention is on the lower body and a vocabulary of footwork, reinforcing the actor’s breath control and concentration
4)The Six Viewpoints
1) S: SPACE = Physical relationship.
People have a natural instinct to detect feel the existence of space. Because of this ability it is feasible to speak to an audience through the space, empathetically.
2)S: SHAPE = Physical form.
It is developing the capability of detecting and feeling a physical form by doing duet practices.
3)T: TIME=Experience Duration and systems created to regulate duration.
Thess trainings are designed to bring you past what is already known and allow you to work in unknown time again.
4)E: EMOTION=Experience States of being.
Emotion works as a communicator. The performer starts to be able to surrender to the audience and to appreciate being watched. Their being becomes larger and stronger. They can make friends with the audience, which is profound. It is quite surprising how many performers do not really like the audience and are afraid of them, that they must protect themselves from the people they perform for.
5)M: MOVEMENT =Experience and identify with kinetic sensation.
This practice derives movement from sensation. The practice is not designed to stimulate movement invention or creation. It is designed to strengthen the link between body, feeling and action.
6) S: STORY = Understand logic systems as an arrangement of colleced information
Story is a fascinating and difficult practice. Logic is a demanding mistress any mistake and the work is severely damaged. In our world there is a story for everything, when we manage to change the story we change the world around us. It is a powerful tool in our lives. We want to know, we need to know and what we know influences us enormously in what we can do
* Ellen Lauren: a member of SITI company and associate director Summer Training Program, Toga, Japan 2003-2008.. Now She’s an faculty member at the The Juilliard School of Drama since 1995. She is teaching the Suzuki Training.