either (1) lines; (2)curves (3) a combination of lines and curves. Therefore, inViewpoints training we create shapes that, are round, shapes that areangular, shapes that are a mixture of these two. In addition, Shape can eitherbe (1) stationary; (2) moving through space. Lastly, Shape can bemade in one of three forms: (1) the body in space; (2) the body in relationshipto architecture making a shape; (3) the body in relationship to other bodiesmaking a shape. GESTURE - A movement involving a part or partsof the body; Gesture is Shape with a beginning, middle and end. Gestures can bemade with the hands, the arms, the legs, the head, the mouth, the eyes, thefeet, the stomach, or any other part or combination of parts that can beisolated. Gesture is broken down into: 1. BEHAVIORAL- GESTURE. Belongs to theconcrete, physical world of human behavior as we observe it in our everydayreality. It is the kind of gesture you see in the supermarket or on the subway:scratching, pointing, waving, sniffing, bowing, saluting. A Behavioral Gesturecan give informa- tion about character, time period, physical health,circum-stance, weather, clothes, etc. It is usually defined by a per-son'scharacter or the time and place in which they live. It can also have a thought orintention behind it. A Behavioral Gesture can be further broken down and workedon in terms of Private Gesture and Public Gesture, distinguishingbetween actions performed in solitude and those performed with awareness of orproximity to others. 2. EXPRESSIVE GESTURE. Expressesan inner state, an emotion, a desire, an idea or a value. It is abstract andsymbolic rather than representational. It is universal and timeless and is not somethingyou would normally see someone do in the supermarket or subway. For instance,an Expressive Gesture might be expressive of, or stand for, such emotions as"joy' "grief" or "anger." Or it might express theinner essence of Hamlet as a given actor feels him. Or, in a production ofChekhov, you might create and work with Expressive Gestures of or for "time,""memory" or "Moscow." IARCHITECTURE - The physical environment in whichyou are working and how awareness of it affects movement. How many times havewe seen productions where there is a lavish, intricate set covering the stageand yet the actors remain down center, hardly exploring or using thesurrounding architecture? In working on Architecture as a Viewpoint, we learnto dance with the space, to be in dialogue with a room, to let movement(especially Shape and Gesture) evolve out of our surroundings. Architecture isbroken down into: 1. SOLID MASS. Walls, floors, ceilings, furniture, windows,doors, etc. 2. TEXTURE. Whether the solid mass is wood or metal or fabric willchange the kind of movement we create in relationship to it. 3. LIGHT. Thesources of light in the room, the shadows we make in relationship to thesesources, etc. 4. COLOR. Creating movement off ofcolors in the space, e.g., how one red chair among many black ones would affectour choreography in relation to that chair. 5. SOUND. Sound created by and fromthe architecture, e.g., the sound of feet on the floor, the creak of a door,etc. Additionally, in working with Architecture, we