by Erin B. Mee
Created by Mary Overlie for dance, and adapted and developed by Bogart and the SITI Company for theatre, Viewpoints trains performers to create immediate and unmediated connections among actors and between actors and audiences, to work physically in an ensemble, and to participate actively in the creation of a production. Landau calls viewpoints “points of awareness”, Bogart describes them as a “daily practice” which develops a “way of speaking together in the languages of time and space”. It creates community.
has directed at the Public Theater, New York Theatre Workshop, SoHo Rep, HERE, The Magic Theatre, and The Guthrie Theater in the United States, and with Sopanam in India. She is the Founding Artistic Director of This Is Not A Theatre Company, with whom she has conceived and directed numerous productions that have been performed in the US, Argentina, India, Australia, England, Scotland, France, Russia, China, and elsewhere. She is the author of Theatre of Roots: Redirecting the Modern Indian Stage, co-editor of Antigone on the Contemporary World Stage, editor of DramaContemporary: India, and co-editor of Modern Asian Theatre and Performance 1900-2000. She has written numerous articles for TDR, Theatre Journal, Performance Research, American Theatre Magazine, and other journals and books. She is Associate Arts Professor, Department of Drama, Tisch, NYU.
by Beatrice Gigliuto
Living in a society that makes intimacy our greatest taboo disconnects us from each other, gets us on the defensive, and makes us focus on differences, not similarities. Red Lily invites us to connect and build a symbolic, effective, and affective bond: a gesture mediated by one of the objects that wrote human history, capable of putting things and people together.
a.k.a. Red Lily, is an activist, intersectional feminist, and expert on new affective conventions and modern sexualities. Born in Catania, she lives today in Denmark, where she deals with intimacy, consent, and relationships, paying particular attention to queer relations in the contemporary era. She explores shibari on the stage as a means of narrating this new affective spirit, translating it into personal and emotional exploration and interaction with the other.