Emerging as an important training methodology for actors, directors, and even for designers since ‘90s, Anne Bogart’s Viewpoints and Composition may shed new light on how to produce a new integrative model of ensemble directing for the 21st century. The Viewpoints is a training method adapted from postmodern dance, in which space and time is broken into smaller basic principles that performers could then study, practice, and control. Composition is more akin to a directing technique, an alternative method of performance-text writing with actors on their feet. Both methods root in the spirit of the alternative theatre in the sixties which attempted to revolt against aesthetic hierarchy and rigid authoritative dichotomy. While Bogart shares major concepts and training areas with traditional directing method, her approach from postmodern point of view highlights actor-centered creation and more plastic and open-ended ways of producing theatre work. Some contributions of Bogart’s techniques as a directing method are as follows. First, The Viewpoints and Composition invite actors back from the creative margin to the co-creation, thereby opening a channel for creative collaboration with the director. Secondly, regiebuch now incorporates open search and experiments with actors into blocking design. Thirdly, the scope of the traditional directing exercises can greatly expand and get supplemented by new methodology. Finally, more actor-sensitive vocabularies on directing can be adopted from the Viewpoints and Composition, resulting in the mutual communication of actor and director further enhanced and elevated. The Amish Project was written and acted by Jessica Dickey in 2009. It is a monodrama based on the actual tragedy of shocking shootout at an Amish school in Nickel Mine, which killed five Amish girls and the killer. Originally, the actress alternated seven characters in the play, but the director decided to expand it to seven-actor ensemble using Viewpoints to make clear the theme of forgiveness and reconciliation. While the director’s intention was faithful render of the script, the staging was experimental and depending on Viewpoints in every step of preparation. The rehearsal process was divided into three phases: Viewpoints training, Source Work and Composition, and “setting the material” for each scene. During training session, developing team-spirit and physical awareness of others were emphasized. Intense exercises on “floor pattern” later helped to create movement pattern for each character. Source work and composition explored such central sources as TV, rectangle shape, gestures, sounds and music, chairs, doors, and flowers. Then, each moment in the play was “set” or created by compositions utilizing those sources found. Rather than passively accepting directions from director’s promptbook, actors functioned as co-creators creating each scene together, and co-writing a physical script through creative input from one another. Although Viewpoints tend to be embraced by those experimental directors who are interested in radical interpretation of given texts and making one’s own theatrical narratives, they present a healthy antidote to out-dated directing method solely based on naturalistic theatre. This case study of The Amish Project demonstrates the potential of Viewpoints directing, which is apt for non-linear and multi-focused works in postmodern era, which makes the most of creative input of actors based upon common vocabularies and enhanced sense of ownership in the creative process.