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elements have existed historically within a rigid hierarchy which gives prevalence to story and emotion in theatre, and shape and movement in dance. The Six
Viewpoints releases the Materials from this fixed construct into a fluid non-hierarchical environment for re-examination. The act of deconstructing performance into its six materials invites the performer, director, artist to engage with the individual materials "allowing these elements to take the lead in a creative dialogue".
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rules of kinetics in movement, the ways of logic, how stories are formed, the states of being and emotional exchanges that constitute the process of communication between living creatures ... Working directly with these materials the artist begins to learn of performance through the essential languages as an independent intelligence (Overlie).
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Overlie was awarded the 1999 Bessie
Achievement Award, for her lifetime contribution to dance, "For a pallet-and-knife architecture of the choreographic canvas, a Sustained Achievement in luminous formalism concerning the body's place in time and space, a stillness drawn by the eye around the moving
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The Bridge is a sequence of nine laboratories that function as philosophical and pedagogical frameworks in which to engage with the materials. The Bridge presents the origins of the
Viewpoints' approach to art and introduces into practice the philosophical concepts that are used to disintegrate and
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Overlie continued to perform in New York in an improvisation ensemble alongside
Wendell Beavers and Paul Langland. They performed their work at Danspace, St. Mark's Church, New York Judson Church, Columbia University, Simone Forti Studio, Francis Alenikoff Studio, and Eden's Expressway among others
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For
Overlie, Montana's raw and minimal landscape combined with her relationship to Robert and Gennie DeWeese inspired her inquiry into the materials of performance. The question "what are dance and theater made of?", would over the years develop into the Six Viewpoints, Overlie's technical language
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For
Overlie, this shift in attention re-defines art and the role of the artist from a "creator/originator" mindset to what she called the "observer/participant", which centers on "witnessing, and interacting, ... working under the supposition that structure could be discerned rather than imposed".
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Overlie began her dance training in ballet and improvisation with teacher Harvey Jung (former member of New York Opera Ballet
Company) in Robert DeWeese's studio on Main Street in Bozeman. Throughout her teens, Overlie studied theater, dance, and visual art and immersed herself in the Montana arts
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The seed of the entire work of The Six
Viewpoints is found in the simple act of standing in space. From this perspective the artist is invited to read and be educated by the lexicon of daily experience. The information of space, the experience of time, the familiarity of shapes, the qualities and
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When working with the materials, the artist is instructed to turn off the impulse to control or own the material, and is challenged to work very specifically with each material as an independent entity. Overlie recommends the artist to gather as much "useless" data as they can and to take time to
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The Six
Viewpoints is a philosophical and practical approach to articulate a post-modern perspective on performance. The practice involves deconstructing the physical stage and physical performance into its six Materials of composition: Space, Shape, Time, Emotion, Movement and Story. These six
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technique is both a philosophical articulation of postmodern performance and a teaching system addressing directing, choreographing, dancing, acting, improvisation, and performance analysis. The Six
Viewpoints has been taught in the core curriculum of the Experimental Theater Wing within Tisch
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Overlie continued as a member of the Natural History of the American Dancer with Carmen Beauchat, Cynthia Hedstrom, Judy Padow, Rachel Lew and Suzanne Harris from 1970 to 1975. The company performed at The Whitney Museum, 112 Greene St. Gallery, Ornette Coleman's Artist's House,
263:, 112 Greene Street, Manhattan. The pieces were performed in the storefront windows of the gallery to audiences on the sidewalk of New York's SoHo neighborhood. Ron Argelander invited her to join him as the first teacher of the Experimental Theater Wing of
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She was the director of the Experimental Theater Wing Paris program from 1985 to 1987 and by invitation oversaw the creation of the Pro Series Internationale Tanz Wochen Wien in Vienna, Austria (1989) where she met and organized workshops taught by
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During her years in San Francisco, Overlie danced with the Anne Swearingen Dance Company, the Teresa Dickensen Dance Company, the San Francisco Mime Troupe, and the Jan Lapiner Dance Company. She later performed in works choreographed by
175:, becoming a Transcendental Meditation teacher in 1968. The teachings of Transcendental Meditation would later influence the philosophical foundations of the Six Viewpoints, specifically as a process of refinement for conscious awareness
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Space contains blocking, placement of furniture, placement of the walls, doors and windows, angle of gaze, distance of projection, and spatial alignment of the actors to the proscenium, to the audience and to each
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Story contains logic, order and progression of information, memory, projection, conclusion, allusions, truth, lies, associations, influences, power, weakness, reification, un-reification, constructions and
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and other leading philosophers and artists "that had already devoted their thought to the perpetual collapsing of borders." This interview posited Overlie as notable exponent of post-modernism.
30:(January 15, 1946 – June 5, 2020) was an American choreographer, dancer, theater artist, professor, author, and the originator of the Six Viewpoints technique for theater and dance. The Six
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In January 1998, a national conference on the Viewpoints was held in New York, sponsored by New York University, Pace University and Stage Directors and Choreographer Foundation.
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Her choreography, both solo and for Mary Overlie Dance Company (1978-1986), has toured extensively through Europe and has been performed in New York at the Holly Solomon Gallery,
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She was a resident choreographer at ETW Paris, where she developed Skies over America (1986) and at the European Dance Development Center in Arnhem, Holland, where she developed
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Overlie received two Bessie Achievement Awards, the first for creating the Studies Project, shared with Wendell Beavers, and the latter for her life-time contribution to dance.
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Overlie founded the Six Viewpoints Studio at Tisch School for the Arts in 2006 and continued teaching at The Experimental Theater Wing until 2015 when she retired and moved to
434:(1986). Via these collaborations, she introduced Bogart to the Six Viewpoints, which Bogart later adapted to design the training and directorial work of the SITI Company.
316:(founded 1978), included original members Paul Langland, Wendell Beavers, and Nina Martin. The company performed Overlie's choreographies, some notable works include:
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Festival, invites world-renowned choreographers to teach workshops and choreograph experimental works in progress on students of the Internationale Tanz Wochen Wien.
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1993- 2001 Wendell Beavers, Paul Langland; Danspace, St. Mark's Church, New York Judson Church, Columbia University, Simon Forti Studio, Francis Alenikoff Studio
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in New York City as a part of her improvisational dance company, Natural History of the American Dancer. Overlie arrived in SoHo in January 1970 while assisting
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painters, Gennie and Robert DeWeese were notable and influential members of the development of the Montana contemporary arts community, which included potters
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1977 Daniel Lepkoff, Christine Svane, members of the Contact community; Paula Cooper Gallery, New York - Improvisation, Contact Concert, "Where", "With Whom"
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Overlie observed this redefinition of the artist's endeavor to correspond with the artistic shift from modernism to post-modernism.
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223:. From 1975 to 1979, Overlie danced with the Judy Padow Dance Company before she started her own company and work as a soloist.
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355:, a non-profit organization that offers dance classes, workshops, residencies and performance opportunities for artists in
215:, Bennington College, Oberlin College and other venues. In 1972, Overlie began experimenting with the early explorations of
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Mary Overlie was born in Eastern Montana. She moved to Bozeman at the age of six, where she came under the influence of
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1988 Wendell Beavers, Paul Langland; Performance Festival School for New Dance Development, Amsterdam - Improvisation
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Emotion contains presence, anger, laughter, pensiveness, empathy, alienation, romance, pity, fear, anticipation, etc.
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Shape contains geometry, costumes, gestures, and the shape of the actors' bodies and of all the objects onstage.
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935:. In Training of the American actor, edited by Arthur Bartow, 187-221. New York: Theatre Communications Group.
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1988 Paul Langland; Performance Festival School for New Dance Development, Amsterdam - "Coffee" Paul Langland
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After twenty years of working on the manuscript for the Six Viewpoints, Overlie completed and self-published
485:(1998), and worked as a freelance teacher in France, Germany, Italy, Denmark, Austria, and the Netherlands.
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1977 Holly Solomon Gallery, New York - "Window Pieces", "Glassed Imaginations II", "Glassed Imaginations"
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to discuss the artistic form of performance parallel to the specific language used to describe painting.
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Bessie Award for Lifetime Achievement Plaque by David White. 1999. Mary Overlie's Archive. Bozeman, MT.
1218:. Sciences humaines et sociales. Nanterre: Presses universitaires de Paris Nanterre. pp. 415–423.
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1977 Bunch Festival, Intermedia Theater, New York - "Possibility of Personal Failure", "Flower Garden"
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Time contains duration, rhythm, punctuation, pattern, impulse, repetition, legato, pizzicato, lyrical.
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As a practice at large, The Six Viewpoints "is dedicated to reading the stage as a force of Nature"
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Movement contains falling, walking, running, blood pumping, breath, suspension, contraction, impact.
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From 1984 through 1998, Overlie was working in Europe as an educator, choreographer and performer.
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1109:"Zen and the Art of Motorcycle Maintenance Characters from LitCharts | The creators of SparkNotes"
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1975 Lee Breuer, Mabou Mines; Connecticut College, New London - "Saint and the Football Players" *
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1984 Danspace, St. Mark's Church, New York - "Small Dance", "Richard Serra Dance", "Tap Dance"
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1971 Steve Paxton, Nancy Stark Smith; Castelli Gallery, New York - First Contact Concert
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1984 Bessie Achievement Award, for creation of the Studies Project of Movement Research
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In 1978, Overlie co-founded "The School for Movement Research & Construction", now
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1976 St. Mark's Church, New York - "Adam", "To Be Announced", "Wash", "Small Dance"
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Deconstruction, Investigating Theater by Separating the Components of its Structure
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community until in 1962 she moved to Berkeley, California by way of freight train.
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2009 New Museum, New York Movement Research Spring Festival 2009: "Fellini World"
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1993 Cathy Weiss; European Dance Development Center, Arnhem - Video Dance Project
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1993 Wendell Beavers, Paul Langland; Eden's Expressway, New York - Improvisation
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1998 NYU/Tisch Theater, New York - "We Have Nothing To Say and We Are Saying It"
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1986 Anne Bogart; New York University, New York - "South Pacific": Bessie Award
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1995 Eden's Express Way, New York - "No Angels No Apes", "Glassed Imaginations"
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technique with Anne Swearingen and Betty Jones. Additionally, Overlie studied
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The six materials of composition, referred to with the acronym SSTEMS, are:
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Overlie was the co-founder of several long lasting art institutions such as
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1979 Lee Breuer, David Warrilow; Public Theater, New York - "The Lost Ones"
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1973 The Natural History; Rutgers University, New Brunswick - Improvisation
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News of a Difference, Noticing Difference in Increasing Levels of Subtlety
561:
The theory and practice of the Six Viewpoints are organized in two parts:
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1978 Joanne Akalaitis; Public Theater, New York - "Dressed Like An Egg" *
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1972 The Natural History; Bennington College, Bennington - Improvisation
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1983 The Kitchen Center, New York - "Hero II", "History", "Wallpaper II"
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Theater Company. She contributed choreography and staging for director
359:. Its focus is on improvisation, post-modern dance, and experimentation.
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1972 The Natural History; Kirkland Art Centre, New York - Improvisation
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1973 The Natural History; Emma Willard School, New York - Improvisation
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1988 The Kitchen Center, New York - "Blind Bird Box Dance", "The Muses"
399:. Her work with Mabou Mines also included collaborations with director
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1972 The Natural History; The Whitney Museum, New York - Improvisation
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1974 Rachel Lew, Cynthia Hedstrom; Artists House, New York - "Falling"
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1996 EDDC, Arnhem and a tour of Germany - "Dances For Prepared Bodies"
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School of the Arts at New York University since its inception (1978).
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1574:(1st ed.). New York: Theater Communications Group. p. 189.
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1974 The Natural History; St. Mark's Church, New York - Improvisation
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1979 Contact Community; St. Mark's Church, New York - Contact Concert
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Reification, A Reflection on Creativity, Communication, and Language
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1983 JoAnne Akalaitis; Public Theater, New York - "Dead End Kids" *
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in her research and workshop tour in preparation for Rainer's film
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1998 Bessie Achievement Award, for lifetime contribution to dance
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1973 The Natural History; Artists House, New York - Improvisation
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1998 Danspace at St. Mark's Church, New York - "Location Of Love"
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The Journal for Stage Directors & Choreographers 12 (1):38.
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1977 Robert Freidus Gallery, New York - "Cartoon Coordinations"
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1980 New York University, New York - "Wallpaper", "Paper Waltz"
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1986 Espace Kiron, Paris - Solo Repertory, "Skies over America"
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Overlie, Mary. Standing in Space Press Release. November 2016.
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1972 Grand Union Performance; 122, Green St. Gallery, New York
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1973 The Natural History; Dance Circle, Boston - Improvisation
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2012 Basin Arts Refuge. Basin Montana - "The Bunny Tail Range"
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In 1969, Dilley invited Overlie to make a performance for the
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Demers, Jason (2014-11-20). Alexandre-Garner, Corinne (ed.).
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1985 Lawrence Sacrow; Lama, New York - "Madness of the Day" *
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DANCE REVIEW; Danspace Project, 25, Looks Back Nostalgically
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Standing in Space: The Six Viewpoints Theory & Practice.
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1977 Joanne Akalaitis; Public Theater, New York - "Cascando"
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1999-2000 Lee Breuer, Mass Moca; Massachusetts - "Red Beads"
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Seminal to Overlie's career is an enduring association with
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1984 Anne Bogart; on location in New York City - "Artouist"
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1972 Jani Novak; The Fire House, San Francisco - "Mabeline"
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Standing in Space. The Six Viewpoints Theory and Practice
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Standing in Space. The Six Viewpoints Theory and Practice
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Standing in Space. The Six Viewpoints Theory and Practice
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Standing in Space. The Six Viewpoints Theory and Practice
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Standing in Space, The Six Viewpoints Theory and Practice
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Standing in Space. The Six Viewpoints Theory and Practice
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1987 Experimental Theater Wing, Paris - "The Restaurant"
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Other notable stage collaborations included those with
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1981 Dance Theater Workshop, New York - "Adam and Eve"
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1989 International Tanz Wochen Wien - "Small Dance II"
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1979 Museum of Modern Art, New York - "The Figure II"
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1980 Vehicle Gallery, Montreal - "Swan Literary Duet"
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Standing in Space: Six Viewpoints Theory and Practice
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A Dance Program With Visual Artists Given at Whitney
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1972 Berkeley Art Museum, Berkeley - "Free Delivery"
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The Piano, The Interface between Artist and Audience
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1978 The Kitchen Center, New York - Painters Dream"
1570:Bartow, Arthur, ed. (2006). "The Six Viewpoints".
757:1978 Museum of Modern Art, New York - "The Figure"
942:. In American Theatre, edited by Ellen Orensetin.
667:The Original Anarchist, A New and a Very Old Idea
895:1995 Arnhem City Council Grant, "On Site Arnhem"
489:from 1987 to 2001. Some of their works include:
1189:"archives.nypl.org -- Danspace Project records"
712:1990 The Kitchen, New York - "Flight of Desire"
700:1997 Concert Hall, Arnhem - "Remake of History"
697:1998 Burgh Theater, Vienna - "Location of Love"
661:The Matrix, The Ingredients are in the Cauldron
473:(1996). She toured performing her solo-pieces
901:1986 NEA/Dance, choreographic fellowship grant
898:1989 Danish Cultural Ministry, "Project Grant"
140:of Zen and the Art of Motorcycle Maintenance.
57:Center for Music, Video and Dance, St. Mark's
247:In 1977, Overlie choreographed and performed
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1764:Dance Seminar Series Continues at St. Mark's
1749:Review/Dance; 'Daze,' Prisoners Of City Life
836:1972 Lincoln Scott; PLACE, New York - "Raft"
652:Post-modernism, The Philosophical Foundation
120:(d. 2007), and Robert DeWeese (d.1990). As
1796:Mary Overlie | Artist | The Kitchen Archive
1596:"Manifesto for Improvisational Performance"
724:1987 Outdoor Paris - improvisation ensemble
649:The Horizontal, Nonhierarchical Composition
1692:. Bozeman, MT: Fallon Press. pp. VII.
1421:"The Football Players' Makes Sport of Art"
754:1979 The Kitchen Center, New York - "Hero"
664:Doing the Unnecessary, The SSTEMS Dissolve
458:among others. The Pro Series, now called
1549:. Billings, MT: Fallon Press. p. 3.
639:The nine laboratories of The Bridge are:
344:, and The Figure (1979) performed at the
1709:The Football Players’ Makes Sport of Art
1677:. Bozeman, MT: Fallon Press. p. 66.
1662:. Bozeman, MT: Fallon Press. p. 67.
1647:. Bozeman, MT: Fallon Press. p. 84.
1177:. Bozeman, MT: Fallon Press. p. 70.
320:(1978), Hero (1979) partially scored by
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736:1983 American Center, Paris - Repertory
46:, and the Experimental Theater Wing at
1322:"DANCE: MARY OVERLIE'S 'HISTORY' SOLO"
721:1987 Outdoor Montana - "Prairie Dance"
230:, a dance-presenting organization, at
44:the Studies Project, Movement Research
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163:technique with Margaret Jenkins, and
151:In the Bay Area of California and at
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1759:Historical moments/day in the life:
1744:Dance: Mary Overlie And Sarah Skaggs
1739:Dance: Mary Overlie's 'History' Solo
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395:, and Red Beads (2000) presented at
1502:"Dance and Performance Art Awards"
1256:"Mary Overlie's 'Painter's Dream'"
505:form, as elegantly represented in
244:and choreographer Barbara Dilley.
16:American choreographer (1946–2020)
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283:Notes on the Schizo-Culture Issue
1846:Tisch School of the Arts faculty
1774:Dance and Performance Art Awards
1719:Mary Overlie's ‘Painter's Dream’
1386:Dunning, Jennifer (1979-07-16).
1320:Dunning, Jennifer (1983-02-28).
1254:Dunning, Jennifer (1978-06-10).
880:*These productions were awarded
132:, sculptors James Reineking and
69:and numerous lofts in New York.
1353:Kisselgoff, Anna (1981-11-05).
507:Small Dance / Locations of Love
415:(1983) at The Public Theater.
232:St. Mark's Church in-the-Bowery
187:, founders of the Grand Union.
1572:Training of the American Actor
636:then reintegrate performance.
403:on the theatrical productions
377:Saint and the Football Players
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1500:Anderson, Jack (1999-09-27).
1287:Anderson, Jack (1979-10-14).
1215:Frontières, marges et confins
949:Billings, MT: Self-published.
940:Shaping the Independent Actor
709:1992 EDDC, Arnhem - "Country"
975:Genevieve and Robert Deweese
921:. Dance Scope 14 (4):30-34.
926:The Six View Points Theory.
387:(1979), written for him by
226:In 1974, Overlie cofounded
159:technique with David Wood,
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1821:Connecticut College alumni
1419:Gussow, Mel (1976-02-09).
1239:Lotringer, Silver (2013).
471:Dances for Prepared Bodies
314:Mary Overlie Dance Company
1477:"Training | SITI Company"
1453:"Mabou Mines Productions"
1355:"THE DANCE: MARY OVERLIE"
549:Introduction and overview
332:(1983), all performed at
169:Transcendental Meditation
1289:"Dance: by Mary Overlie"
1241:Schizo Culture: The Book
536:in 2016. She resided in
277:interviewed Overlie for
265:Tisch School of the Arts
67:The Museum of Modern Art
1826:American choreographers
1811:American female dancers
1734:The Dance: Mary Overlie
847:Collaboration / theater
257:Glassed Imaginations II
1724:Dance: By Mary Overlie
1688:Overlie, Mary (2016).
1673:Overlie, Mary (2016).
1658:Overlie, Mary (2016).
1643:Overlie, Mary (2016).
1545:Overlie, Mary (2016).
1173:Overlie, Mary (2016).
919:Mary Overlie: A Letter
585:
573:The Materials (SSTEMS)
342:Dance Theater Workshop
75:She collaborated with
63:Dance Theater Workshop
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1388:"Dance: Summergarden"
1000:Contact Improvisation
780:Collaboration / dance
580:
426:, on the productions
261:Holly Solomon Gallery
221:Contact Improvisation
173:Maharishi Mahesh Yogi
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438:Late 1980s and 1990s
346:Museum of Modern Art
340:(1983) presented at
253:Glassed Imaginations
213:Paula Cooper Gallery
1831:People from Montana
1729:Dance: Summergarden
499:Rooms and Buildings
409:Dressed Like an Egg
269:New York University
153:Connecticut College
134:Deborah Butterfield
48:New York University
1786:The Six Viewpoints
1624:The Six Viewpoints
1600:The Six Viewpoints
1506:The New York Times
1457:www.maboumines.org
1425:The New York Times
1392:The New York Times
1359:The New York Times
1326:The New York Times
1293:The New York Times
1260:The New York Times
1154:The Six Viewpoints
1054:The Six Viewpoints
933:The Six Viewpoints
544:The Six Viewpoints
491:No Angels, No Apes
454:, Ismael Ivo, and
393:The Public Theater
155:, Overlie studied
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1581:978-1-55936-268-9
1556:978-1-5136-1361-1
1193:archives.nypl.org
1010:Sylvère Lotringer
970:Movement Research
887:Awards and honors
422:, founder of the
391:and presented at
353:Movement Research
285:(1979) alongside
275:Sylvère Lotringer
23:Mary Overlie 2016
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1816:American dancers
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483:Location of Love
456:Merce Cunningham
401:JoAnne Akalaitis
228:Danspace Project
161:Merce Cunningham
81:JoAnne Akalaitis
40:Danspace Project
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475:Small Dance
469:(1992) and
430:(1984) and
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369:Mabou Mines
334:The Kitchen
328:(1983) and
240:Larry Fagin
93:Anne Bogart
55:The Kitchen
1805:Categories
1629:2017-05-09
1605:2017-05-10
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1016:References
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631:The Bridge
578:explore.
567:The Bridge
460:ImPulsTanz
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165:José Limón
126:Rudy Autio
112:1950-1960s
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1481:siti.org
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361:About Us
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