The Power of Point of View

Month: December 2012

Another Take on the Crafting of a Performance of Mark 6:47-52 – PHIL RUGE-JONES

I’ve been invited to chime in out of my own performance experience. I do think that the audience is supposed to empathize with the disciples in order to see themselves in the complex responses of the disciples and think about their own responses. They have been tossed about by storms; they have been haunted as… Read More ›

“The Hobbit” – a Review from a Unique Point of View

by GARY YAMASAKI   The blogosphere is swarming with reviews of “The Hobbit,” so what else can be said? Well, this is a blog on perspective criticism, and a look at The Hobbit from the point of view of “Point of View” would stand out from the rest. So, just like earlier posts have examined… Read More ›

Blocking Mark 6.47-52 for Live Solo Performance: A Response to Yamasaki and Tannehill – LEON SEAMAN

In my first two posts, I noted all-too-briefly how Gary Yamasaki’s work on point-of-view planes influenced my own work of Markan performance. I attended to some aspects, but not to others, of certain scenes, and my inattention has drawn critique from Yamasaki, joined by Robert Tannehill. To address their concerns let me first discuss my… Read More ›

Further Comment on Mark 6:49-52 – ROBERT TANNEHILL

I agree with Gary Yamasaki (Responding to How Seaman Would Craft a Performance of Mark 6:49-52) that it is a mistake to present the disciples in Mark 6:49-52 from an external (“objective”) perspective, because, as he pointed out, there is a cluster of inside views of the disciples in this passage. Furthermore, this passage shows clearly… Read More ›

Responding to How Seaman Would Craft a Performance of Mark 6:49-52 – GARY YAMASAKI

Over the past month, Leon Seaman has contributed two posts addressing ways in which attention to point-of-view dynamics impacts his performance of Mark. The earlier one–Perspective in Live Performance: To Embody or Not to Embody?–focuses on how he embodies certain characters–that is, mimics their speech and gestures–and does not embody others, and he includes descriptions… Read More ›

Rejoinder to ‘How Perspective Criticism Actually Works (demonstrated by an SBL paper on the point-of-view crafting of Mary at the Tomb in John 20)’ – ROBERT TANNEHILL

It is good to ask whether the different planes of point of view reinforce each other or limit each other, as Gary Yamasaki argues in the post entitled How Perspective Criticism Actually Works contrasting the spatial point of view of following with the psychological and informational. However, in doing this I think Yamasaki fails to… Read More ›

Helping an Audience to Get the Point (of View) in Performance – LEON SEAMAN

In my last post, Perspective in Live Performance: to Embody or Not to Embody, I briefly told how perspective criticism helped me block Mark’s baptism and transfiguration scenes for performance. A simple “s/he/they saw” may be a clue to whose viewpoint is to be embodied or not. Of course, point of view dynamics are rarely… Read More ›