Stanislavsky, Viewpoints and their influence on the theory of Crosspoints training

Abstract

ABSTRACT This article proposes overlapping intentions between Stanislavsky’s “system” and Mary Overlie’s Six Viewpoints. The comparison highlights the difference between the episteme, or the organization of “materials,” and the methods, exercises and techniques meant to outline them. The author discloses how this distinction inspired the assembly of the Crosspoints Acting System through practice-based research. As an acting system, Crosspoints integrates with other acting methods by way of introducing new metaphors and models for creating a role that are based on Archetypes. The practices of the Crosspoints include movement-based forms of improvisation called Image Studies and give actors imaginary, emotionally charged, embodied resources to call upon when a personal memory life-based circumstance may be too challenging or inappropriate. As a result, the combined lenses of Stanislavsky’s “system’, outlining the Mind, Will, and Feeling of the actor, and Overlie’s Viewpoints, suggesting a “horizontal” perspective in acting, give us an approach that is inductive and provides actors with virtual resources to contrast and support their real-life emotional resources. Crosspoints give actors open-ended ways to create on their own terms. As a tool for teaching, directing and rehearsing, they propose a way to model the conflict and emotional content of a scene outside the constraints of the narrative text which may shuttle historical and cultural biases.