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I have many, many, many heroes. The person who I look to as a model of a director in the world is Ariane Mnouchkine who runs the company called Théâtre du Soleil in Paris, mainly because whenever I lose faith, I think of her, because she had the courage to do extraordinary things. I admire and heroize, certainly, Peter Stein and Klaus Michael Gruber in Germany too.
A lot of what started her desire to direct was a film of a play directed by Peter Stein and the actors were part of a company in Berlin.
"I didn’t speak German at the time, and I saw the film. It was of Summer Folk by Gorky. When it was over, I sat in my chair, feeling much like I had felt at 15 when I didn’t know what I had just seen. It was the most galvanizing thing I’d seen in years. What was it about? It was a film of a play, but I’d never seen such passionate acting plus a political point of view, plus beauty, plus intellectual rigor -balancing a work of art. "
"There would be German articles and they would contain the most wonderful ideas about how to direct, and I started stealing them. Then I would start stealing these ideas and applying them to the theatre I was doing on the streets in New York or in found spaces in the sort of poor theatre I was doing. I would steal from the very rich theatre of the Schaubuhne and apply these ideas."
This is what is known as Experimental Theatre.
Other influences - Bertolt Brecht and the idea of the alienation effect and also Stanislavsky with his ideas of the system (Bogart is often angry about the misinterpretation of the system.
I’m interested in creating moments on the stage where everybody in the audience feels something different. And that’s harder to do, to create a moment in which the associations of the audience are opened up, rather than shut down. I think the theatre is an art form at heart. I treat it as an art form. I approach it as an art form. Therefore, I have to ask questions such as, how do I work as an artist in the theatre? One of the major notions, to me, is that art is about opening up, rather than closing down and defining.
- Anne Bogart has a particular way of directing theatre but her most famous theory is the six viewpoints. The idea is it is related to Stanislavski's system. It involves ideas about space, shape, time, emotion, movement and story (the different elements of performance).
- The primary Viewpoints as those relating to Time - which are Tempo, Duration, Kinesthetic Response, and Repetition - and those relating to Space - which are Shape, Gesture, Architecture, Spatial Relationship and Topography. In addition, Bogart added the Vocal Viewpoints to her theory which include Pitch, Dynamic, and Timbre.
- The Viewpoints represent not only a physical technique but also a philosophical, spiritual, and aesthetic approach to many aspects of their work. However, Bogart realises that these aren't the only viewpoints but the ones she finds most useful for the actors with whom she works with.
I also became obsessed, as I am to this day, with American culture and American history. So I would say a good 75 percent of my work is about American phenomena, American culture and American individuals, such as the American vaudeville play I did, or American Silents, about silent film acting. Plays about people, about Americans, like just recently Robert Rauschenberg [bobrausschenbergamerica].
So most of my work now is an investigation of being an American. Some people call me avant garde, which I find a misnomer, because I don’t spend my time thinking about the future. I spent all of my time thinking about the past and my work is an engagement with the past.
Anne Bogart is an American theatre director who has staged almost a hundred plays during her work as a teacher in the most important universities, academies and conservatories all over Europe and the USA. She has published books and essays on theatre. She is co-founder of the Siti Company and since 1992 has been its artistic director. The company believes in a commitment to the power of theatre as a source of spiritual strength in the contemporary global environment
When Anne was 15 she saw Macbeth and recalled that she couldn't understand the play. She couldn't comprehend the language and the play confused her. The lesson that she learnt from this is what she said was the most important lesson she has ever learnt. Bogart states that one should not lessen a production to try and match the understanding of the audience. Theatre should challenge the audience.
I also believe that this is what essentially theatre is all about. James Baldwin said, "The purpose of art is to lay bare the questions which have been given by the answers." If the theatre is an art form, then its function is to stop us rather than to move us, to stop us in our tracks.
Bogart is the winner of two Obie Awards for Best Director for; No Plays No Poetry but Philosophical Reflections Practical Instruction Provocative Opinions and Pointers from a Noted Critic and Playwright (1988), The Baltimore Waltz (1990), and the Bessie Award for choreographer/creator for South Pacific (1984).
She has written several works in the theatre including "Anne Bogart: Viewpoints", "A Director Prepares" and "And Then, You Act."
Some of her directing work;
- Once in a Lifetime by Kaufman and Hart, (1990)
- The Women by Claire Boothe Luce, (1993)
- Miss Julie by August Strindberg, (1997)
- Antigone by Jocelyn Clarke, (2009)
Work with what you have right now. Work with the people around you right now. Work with the architecture you see around you right now. Do not wait for what you assume is the appropriate, stress-free environment in which to generate expression. Do not wait for maturity or insight or wisdom. Do not wait till you are sure that you know what you are doing. Do not wait until you have enough technique.
What you do now, what you make of your present circumstances will determine the quality and scope of your future endeavours.
And, at the same time, be patient.
Drama critic Mel Gussow refers to Bogart as "a director of the present moment and, one might add, the prescient moment. Relentlessly she searches for imaginative ways to renew the theatrical experience, to make it more relevant to herself and those who are receiving it."
"As a young director, I began every new project by inviting the actors and everyone involved with a project to brainstorm ideas together. Inspired by Edward De Bono's writing on the subject, we called these sessions "lateral thinking". Freely associating off one another's ideas, we engendered a collective image of the world of the play and imagined together what could happen in that arena. We always dreamed up elaborate plans and wonderful imagery that, in fact, we had no way of paying for."
In 1992 together with Tadashi Suzuki she founded SITI Company with a mission to create new work, to train young theatre artists and to encourage international collaboration.
Bogart earned her Bachelor of Arts degree from Bard College in 1974
Since 1993 she has served as a Professor at Columbia University where she heads the Graduate Directing Program.
23 years later...
Anne Hogart was born September 25, 1951in America
Between 1980 and 1992, Bogart taught at the Max Reinhart Academy, The Bern Conservatory,
The University of Alaska, Bennington College,
The American Center (Paris, France), Williams College, New York University, University of California at San Diego, and Playwrights Horizons Theater School.
Master of Arts degree from New York University's Tisch School of the Arts in 1977
She served as Artistic Director of the Trinity Repertory Company during 1989-1980
"Everything we do alters who we are. A great play offers the finest resistance to the theatre artist because it asks big questions and addresses critical human issues. Why choose a small play with minor themes? Why choose material you feel you can handle? Why not choose a play that is just beyond your reach? The reach is what changes you and gives your work energy and vitality."
"In those early years in New York I did create dozens of shows with actors who were willing to work for the love of it. I learned how to make theatre happen under difficult circumstances. We staged plays on rooftops, in storefront windows, in basements, in clubs, wherever we could find a place to perform. I learned how to use architecture as the set design and how to work with many different kinds of actors, each with a distinct need. I met people who were as determined as I to make theatre happen and who took on huge responsibilities to help to accomplish my projects."