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the observer/participant

The result of the theory

The practices of Six Viewpoints turn the concept of creativity inside out. The traditional definition and training of the artist as a creator/originator is replaced with a training and definition of the artist as an observer/participant.

As the artist looks at the materials with ever increasing detail their languages begin at suggest and at times to direct and at other times to receive direction. The artist is not in exclusive control of the materials as is expected in traditional theater. The work and training of an observer/participant is to enter into a dialogue allowing the materials to become the teacher resulting in a radical change in the system of theater education.

Since The Six Viewpoints releases the materials from the domination hierarchical control exhibited over them by the creator/originator a dialogue can be set up with them in their own habitats and in their own languages. Experiencing space in its own context and learning to dialogue with its languages helps in reaching past habitual use of the material. The possibility of learning directly from materials that speak languages other than our own has powerful implications. It means we have more languages with which to communicate. It means that we can communicate more information on more topics with greater subtlety. It means that the training to be an observer/participant brings with it more openness to communicate. It also places the artist in a more joyful and reverent activity, one that is free from the demands to be in control and to be right at all the times.

I think that all of the artists I mention in the history of the Viewpoints are master observer/participants.
Take a look at their work if you agree with me.