Jerzy Grotowski was a Polish theatre director and theorist born in 1933 who developed theories of "poor theatre" that focused on stripping down theatrical productions to emphasize the skills and talents of the actors over elaborate sets and costumes. The document discusses Grotowski's influences, including Stanislavski, and his work developing productions in Poland that explored physical acting techniques. It outlines his transition in the late 1960s to developing "paratheatre" projects and traveling globally to study rituals and performance practices. Key writings by Grotowski discussing his theories and workshops are also summarized.
This document provides a biography of Polish theatre director Jerzy Grotowski. It outlines his early life and influences, including studying under Konstantin Stanislavsky in Moscow. It describes how Grotowski developed his theory of "Poor Theatre" which stripped away spectacle and focused on the actor's technique. The document discusses Grotowski's productions and experiments in Poland in the 1960s. It also covers his later work exploring ritual and traditions around the world. It notes that Grotowski eventually moved to the US and continued his research until his death in 1999.
Eugenio Barba is an Italian theatre director and theorist born in 1936. After studying in Norway, he worked with Jerzy Grotowski in Poland for three years, learning his experimental theatre techniques. Barba founded the Odin Teatret group in 1964 and has directed over 65 productions. He developed Theatre Anthropology, the scientific study of performance techniques across cultures. Barba's work focuses on performers' pre-expressive physicality and the transmission of performing traditions.
The artist is not present: conceptualizing autobiography (the case of Stanisl...Inma Garín
This power point was prepared for the IFTR 2016 at Stockholm last 13-17 June 2016 but was not used.
There is an increasing interest, in the form, function, and potential of personal narratives by artists. My life in Art, by Stanislavski, Diaries and Writings by Bertold Brecht, Threads of Time by Peter Brook, On Directing and Dramaturgy: Burning the house by Eugenio Barba, The Theatre of Death by Tadeusz Kantor, to mention just some the most relevant in the field of personal narratives or accounts of life and work by theatre directors. These texts perform similar tasks in society, such as identifying what a theatre director is, how do directors cope with their biographies or how they build working communities, or learn to act in a unwelcoming context, develop their interests and build their working environments or devise and carry out their projects.
This paper will examine these writings as texts which organize systems of activities, activities and people, as a hybrid genre between theoretical discourse and accounts of personal experiences, a genre which has become a powerful cultural tool in the theatre and pedagogy of today; writing being that most lucid mode of thinking and disseminating thoughts. An indispensable form of conversation with the masters of the past and masters not present.
The analytical method used is based on a series of concepts and tools from Genre Theory and Pragmatics. My goal is to 1) articulate a preliminary framework for the analysis of personal narratives as a way of producing knowledge in the discipline of Theatre Studies 2) examine the utility of these kind of memories o accounts as the basis of passing a director’s knowledge on to others in a structured way, when the artist is not present so that pedagogy, research and artistic practice can make progress 3) encourage theatre directors to write personal accounts of their lives and work so that others can benefit from their experiences.
This is the history behind the amazing works of Stanislavski and how he has made an impact in the world of theatre and film today. Slide number 11 is a video, do click on it for more information
Constantin Stanislavski was a Russian theatre practitioner born in 1863 who developed influential acting techniques known as the Stanislavski method or system. He founded the Moscow Art Theatre in 1898 which pioneered psychological realism. His system taught actors to immerse themselves in their character's psychology and live truthfully on stage. Stanislavski's teachings spread internationally and influenced generations of actors and theatre practitioners.
The document discusses different genres and elements of theater. It defines theater as a live performance art that combines elements of visual and literary arts. The core elements of theater are identified as plot, theme, characters, language, music, and spectacle. Different genres of theater are also outlined, including comedy, tragedy, musicals, operas, and improvisational theater. Examples are provided for each genre. The document also explores experiencing theater in New York City and references works by various playwrights and theorists on defining and understanding theater.
Yoko Ono is an experimental artist and musician born in Tokyo in 1933. Her early career involved avant-garde performance art pieces in the 1960s that often demanded participation from audiences, such as her famous 1964 work "Cut Piece" where audience members cut away her clothing. She met her second husband John Lennon in 1966 and they collaborated creatively until his death in 1980. Ono's conceptual art focuses on audience interaction and challenging expectations through provocative ideas and acts.
Constantin Stanislavski was a Russian theatre practitioner born in 1863 who developed influential acting techniques known as the Stanislavski system. He founded the Moscow Art Theatre in 1898, pioneering psychological realism and departing from the stylized acting of the time by encouraging actors to immerse themselves in their characters. His system and teachings spread internationally through his students and books, profoundly shaping actor training and modern theatre. He emphasized imagination, physical action, given circumstances, and understanding a character's inner motivations to create believable performances. Though some found his methods stressful, Stanislavski had a revolutionary impact on realistic acting around the world.
This document provides a biography of Polish theatre director Jerzy Grotowski. It outlines his early life and influences, including studying under Konstantin Stanislavsky in Moscow. It describes how Grotowski developed his theory of "Poor Theatre" which stripped away spectacle and focused on the actor's technique. The document discusses Grotowski's productions and experiments in Poland in the 1960s. It also covers his later work exploring ritual and traditions around the world. It notes that Grotowski eventually moved to the US and continued his research until his death in 1999.
Eugenio Barba is an Italian theatre director and theorist born in 1936. After studying in Norway, he worked with Jerzy Grotowski in Poland for three years, learning his experimental theatre techniques. Barba founded the Odin Teatret group in 1964 and has directed over 65 productions. He developed Theatre Anthropology, the scientific study of performance techniques across cultures. Barba's work focuses on performers' pre-expressive physicality and the transmission of performing traditions.
The artist is not present: conceptualizing autobiography (the case of Stanisl...Inma Garín
This power point was prepared for the IFTR 2016 at Stockholm last 13-17 June 2016 but was not used.
There is an increasing interest, in the form, function, and potential of personal narratives by artists. My life in Art, by Stanislavski, Diaries and Writings by Bertold Brecht, Threads of Time by Peter Brook, On Directing and Dramaturgy: Burning the house by Eugenio Barba, The Theatre of Death by Tadeusz Kantor, to mention just some the most relevant in the field of personal narratives or accounts of life and work by theatre directors. These texts perform similar tasks in society, such as identifying what a theatre director is, how do directors cope with their biographies or how they build working communities, or learn to act in a unwelcoming context, develop their interests and build their working environments or devise and carry out their projects.
This paper will examine these writings as texts which organize systems of activities, activities and people, as a hybrid genre between theoretical discourse and accounts of personal experiences, a genre which has become a powerful cultural tool in the theatre and pedagogy of today; writing being that most lucid mode of thinking and disseminating thoughts. An indispensable form of conversation with the masters of the past and masters not present.
The analytical method used is based on a series of concepts and tools from Genre Theory and Pragmatics. My goal is to 1) articulate a preliminary framework for the analysis of personal narratives as a way of producing knowledge in the discipline of Theatre Studies 2) examine the utility of these kind of memories o accounts as the basis of passing a director’s knowledge on to others in a structured way, when the artist is not present so that pedagogy, research and artistic practice can make progress 3) encourage theatre directors to write personal accounts of their lives and work so that others can benefit from their experiences.
This is the history behind the amazing works of Stanislavski and how he has made an impact in the world of theatre and film today. Slide number 11 is a video, do click on it for more information
Constantin Stanislavski was a Russian theatre practitioner born in 1863 who developed influential acting techniques known as the Stanislavski method or system. He founded the Moscow Art Theatre in 1898 which pioneered psychological realism. His system taught actors to immerse themselves in their character's psychology and live truthfully on stage. Stanislavski's teachings spread internationally and influenced generations of actors and theatre practitioners.
The document discusses different genres and elements of theater. It defines theater as a live performance art that combines elements of visual and literary arts. The core elements of theater are identified as plot, theme, characters, language, music, and spectacle. Different genres of theater are also outlined, including comedy, tragedy, musicals, operas, and improvisational theater. Examples are provided for each genre. The document also explores experiencing theater in New York City and references works by various playwrights and theorists on defining and understanding theater.
Yoko Ono is an experimental artist and musician born in Tokyo in 1933. Her early career involved avant-garde performance art pieces in the 1960s that often demanded participation from audiences, such as her famous 1964 work "Cut Piece" where audience members cut away her clothing. She met her second husband John Lennon in 1966 and they collaborated creatively until his death in 1980. Ono's conceptual art focuses on audience interaction and challenging expectations through provocative ideas and acts.
Constantin Stanislavski was a Russian theatre practitioner born in 1863 who developed influential acting techniques known as the Stanislavski system. He founded the Moscow Art Theatre in 1898, pioneering psychological realism and departing from the stylized acting of the time by encouraging actors to immerse themselves in their characters. His system and teachings spread internationally through his students and books, profoundly shaping actor training and modern theatre. He emphasized imagination, physical action, given circumstances, and understanding a character's inner motivations to create believable performances. Though some found his methods stressful, Stanislavski had a revolutionary impact on realistic acting around the world.
The document provides an overview of various literary and artistic movements from the late 19th and early 20th centuries. It discusses absurdism, existentialism, nihilism, modernism, stream of consciousness, avant-garde movements like expressionism, dadaism and surrealism, postmodernism, and theater of the absurd. Key figures and their works are mentioned for each movement. The document aims to ponder over these trends and movements through presentations by three department members.
Performance art is a genre of art that uses the artist's own body as a medium. It emerged in the early 20th century from movements like Dada, Constructivism, and Futurism. Notable early performance artists included Yves Klein and Allan Kaprow, who created Happenings in the 1960s that involved audience participation. Pioneers in the 1970s like Vito Acconci, Chris Burden, and Marina Abramovic tested the boundaries between artist and viewer. Abramovic's 1974 piece Rhythm 0 had dangerous elements. Performance art gained more mainstream acceptance in the 1980s and 1990s, with works by Linda Montano and Tehching Hsieh and Karen Finley.
Stanislavski was already well known internationally as an actor and director and he searched for a training system that would awaken performers emotions
The document traces the evolution of the director role from ancient times to present day. It begins with early forms of storytelling like cave paintings that required some level of coordination. Over time, plays grew more complex, demanding directors to unify vision and stage large productions. The Duke of Saxe-Meiningen in 1874 is cited as a turning point, staging historically accurate productions with intensive rehearsals. Realism further professionalized the role in controlling perception and interpreting the author's intent. Modern directors collaborate across disciplines to create impactful work and innovative theatrical forms.
Bertolt Brecht was a German playwright who developed Epic Theatre, which used techniques like alienation effects to encourage audiences to think critically rather than become absorbed in the story. He wanted audiences to question social issues and power structures, not just passively watch drama. Some techniques included having the house lights on during performances or using placards to provide information rather than fully immersing audiences in realistic characters and plots.
The document discusses the relationship between theatre and politics and how it has evolved. It refers to Brecht's epic theatre as challenging Aristotle's approach by integrating economics and politics into plays to stimulate intellectual response in audiences rather than emotional response. The document also discusses how Brecht sought to dismantle the traditional naturalistic theatre and its illusion of reality by creating a new drama based on critiquing the ideological assumptions of bourgeois theatre.
This document provides an overview and outline of acting for the stage. It discusses three main challenges of acting: making characters believable, physical acting involving voice and body, and the synthesis and integration of these skills. To make characters believable, it describes Konstantin Stanislavski's system of realistic acting and how modern approaches have built upon this. It also discusses the importance of physical training, including voice, body, and techniques from other disciplines. The document outlines exercises and tasks to develop performers' skills and notes additional demands placed on actors in different theatrical styles. It concludes that audience members should understand acting techniques to properly judge performances.
The document discusses different types of acting, the actor's process, and acting techniques. It describes two main types of acting - presentational acting which "presents" a character to the audience, and representational acting which "represents" or portrays a character. It outlines Constantin Stanislavski's system of acting which focuses on psychological realism. The document also discusses an actor's training, auditioning, rehearsal, and performance processes.
This document discusses several performance artists and companies that have influenced the author's work. It provides biographical information on Anne Bogart and her company SITI, focusing on her development of the Nine Viewpoints technique and emphasis on interdisciplinary collaboration. It also summarizes key aspects of the work of Theatre Ad Infinitum, Earthfall, Joseph Mercier, and Jasmin Vardimon Company, highlighting their use of physical theater, storytelling, and exploration of themes like gender and identity.
This document provides an overview of the Theatre of the Absurd. It defines the term as theater that represents the absurdity of human existence in a meaningless universe through bizarre or fantastic means. Some key characteristics discussed include questioning existence, distrusting language, using illogical plots and speeches, emphasizing abstract values of life, and lacking clear time, place, or character. The movement was influenced by existentialism and began in experimental Parisian theater before spreading internationally.
The cherry: beauty, softness, its heart-shaped plastic has inspired artists since Antiquity. Cherries and strawberries were considered the fruits of paradise and thus represented the souls of men.
❼❷⓿❺❻❷❽❷❼❽ Dpboss Kalyan Satta Matka Guessing Matka Result Main Bazar chart Final Matka Satta Matta Matka 143 Kalyan Chart Satta fix Jodi Kalyan Final ank Matka Boss Satta 143 Matka 420 Golden Matka Final Satta Kalyan Penal Chart Dpboss 143 Guessing Kalyan Night Chart
The document provides an overview of various literary and artistic movements from the late 19th and early 20th centuries. It discusses absurdism, existentialism, nihilism, modernism, stream of consciousness, avant-garde movements like expressionism, dadaism and surrealism, postmodernism, and theater of the absurd. Key figures and their works are mentioned for each movement. The document aims to ponder over these trends and movements through presentations by three department members.
Performance art is a genre of art that uses the artist's own body as a medium. It emerged in the early 20th century from movements like Dada, Constructivism, and Futurism. Notable early performance artists included Yves Klein and Allan Kaprow, who created Happenings in the 1960s that involved audience participation. Pioneers in the 1970s like Vito Acconci, Chris Burden, and Marina Abramovic tested the boundaries between artist and viewer. Abramovic's 1974 piece Rhythm 0 had dangerous elements. Performance art gained more mainstream acceptance in the 1980s and 1990s, with works by Linda Montano and Tehching Hsieh and Karen Finley.
Stanislavski was already well known internationally as an actor and director and he searched for a training system that would awaken performers emotions
The document traces the evolution of the director role from ancient times to present day. It begins with early forms of storytelling like cave paintings that required some level of coordination. Over time, plays grew more complex, demanding directors to unify vision and stage large productions. The Duke of Saxe-Meiningen in 1874 is cited as a turning point, staging historically accurate productions with intensive rehearsals. Realism further professionalized the role in controlling perception and interpreting the author's intent. Modern directors collaborate across disciplines to create impactful work and innovative theatrical forms.
Bertolt Brecht was a German playwright who developed Epic Theatre, which used techniques like alienation effects to encourage audiences to think critically rather than become absorbed in the story. He wanted audiences to question social issues and power structures, not just passively watch drama. Some techniques included having the house lights on during performances or using placards to provide information rather than fully immersing audiences in realistic characters and plots.
The document discusses the relationship between theatre and politics and how it has evolved. It refers to Brecht's epic theatre as challenging Aristotle's approach by integrating economics and politics into plays to stimulate intellectual response in audiences rather than emotional response. The document also discusses how Brecht sought to dismantle the traditional naturalistic theatre and its illusion of reality by creating a new drama based on critiquing the ideological assumptions of bourgeois theatre.
This document provides an overview and outline of acting for the stage. It discusses three main challenges of acting: making characters believable, physical acting involving voice and body, and the synthesis and integration of these skills. To make characters believable, it describes Konstantin Stanislavski's system of realistic acting and how modern approaches have built upon this. It also discusses the importance of physical training, including voice, body, and techniques from other disciplines. The document outlines exercises and tasks to develop performers' skills and notes additional demands placed on actors in different theatrical styles. It concludes that audience members should understand acting techniques to properly judge performances.
The document discusses different types of acting, the actor's process, and acting techniques. It describes two main types of acting - presentational acting which "presents" a character to the audience, and representational acting which "represents" or portrays a character. It outlines Constantin Stanislavski's system of acting which focuses on psychological realism. The document also discusses an actor's training, auditioning, rehearsal, and performance processes.
This document discusses several performance artists and companies that have influenced the author's work. It provides biographical information on Anne Bogart and her company SITI, focusing on her development of the Nine Viewpoints technique and emphasis on interdisciplinary collaboration. It also summarizes key aspects of the work of Theatre Ad Infinitum, Earthfall, Joseph Mercier, and Jasmin Vardimon Company, highlighting their use of physical theater, storytelling, and exploration of themes like gender and identity.
This document provides an overview of the Theatre of the Absurd. It defines the term as theater that represents the absurdity of human existence in a meaningless universe through bizarre or fantastic means. Some key characteristics discussed include questioning existence, distrusting language, using illogical plots and speeches, emphasizing abstract values of life, and lacking clear time, place, or character. The movement was influenced by existentialism and began in experimental Parisian theater before spreading internationally.
Similar to Lecture 10 at CRAFT by Anirban Banik (1).pdf (11)
The cherry: beauty, softness, its heart-shaped plastic has inspired artists since Antiquity. Cherries and strawberries were considered the fruits of paradise and thus represented the souls of men.
❼❷⓿❺❻❷❽❷❼❽ Dpboss Kalyan Satta Matka Guessing Matka Result Main Bazar chart Final Matka Satta Matta Matka 143 Kalyan Chart Satta fix Jodi Kalyan Final ank Matka Boss Satta 143 Matka 420 Golden Matka Final Satta Kalyan Penal Chart Dpboss 143 Guessing Kalyan Night Chart
KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | MAIN MATKA
1. The Poor Theatre of Grotowski
Lecture 10 at CRAFT by Anirban Banik
2. Jerzy Grotowski
● Born in August 1933 in Rzeszow, Poland.
● His Family separated in world war two.
● His father went to fight in the war and was stationed in England.
● Jerzy with his mother and brother, escaped from the Nazis and went to live with his aunt and uncle on a
farm in Krakow where he learned spiritual awakenings from his uncle, a Bishop, which led to his ideas
towards the theatre.
● He then went on to study for a degree in drama at a theatrical school in Krakow and then on to
Lunacharsky Institute of Arts, in Moscow from 1955 for a year where he learnt more about the works of
various practitioners around the world.
● He was most influenced by the works of Konstantin Stanislavsky.
3. Jerzy Grotowski
● The works of Stanislavsky are well known; he was a spiritualist and passionate about the theatre ,
believing it was a serious place that required dedication and discipline. He also studied at the same
theatre school in Moscow as Grotowski and later formed his own arts theatre. He was socialist and
portrayed that in his works. He believed every actor should show real emotion, realism, and believed the
idea of going to the theatre the same as if watching real lifelike our modern day soaps.
● He also studied the works of Yevgeny Vakhtangov who was student of Stanislavski and continued
working in that form but was also influenced by Vsevolod Meyerhold whose work was hated by
Stanislavski because of its contemporary structure using circus style effects and toyed with the ideas
of theatrical academism and symbolism.
4. Jerzy Grotowski
● He then went on to teach drama as a director in Poland at the same theatre school he attended until
1960, teaching his students the art of realism and works of his favourite practitioners.
● Whilst teaching he put on many different shows, his debut in 1958 ‘Gods of Rain’
● He then took over a theatre company called the ‘Theatre of 13 rows’ where he taught his theories to a
group of young budding actors and performers.
● By 1964 Grotowski had put together many successful plays but one particular production ‘The Tragical
History of Doctor Faustus’ where he instructed the actors to use every part of their bodies to show all
emotions, using actors instead of props, taking a new approach on modern realism .
● In 1967 he produced ‘The Constant Prince’ Which is said to be the most successful and powerful
production of his works in the 20th century.
5. Jerzy Grotowski
● In 1968 Grotowski was introduced to the works of Eugenio Barba who was said to be the
father of contemporary theatre and introduced Grotowski to the modern world behind the iron
curtain where as Stanislavsky only believed in theatre being a natural art form rather than a
stage production.
● This then led Grotowski onto the works of ‘The Poor Theatre’.
● Jerzy Grotowski and his movements during 1968 – 1980
● In the 50’s and 60’s Grotowski abandoned theatre to study the Eastern culture. He travelled
also to countries such as Australia, Canada, and Japan and there he began to plan his
paratheatre tour. (Paratheatre in its literal sense is alongside theatre)
6. Jerzy Grotowski
● In 1968 Grotowski wrote a book titled ‘Towards A Poor Theatre’ this was able to show the
main theory of Grotowski’s work. It was that theatre should compete with tv and film and that
it should just be brought back to its original routes as being an actor in front of spectator.
This Grotowski saw as the most important factor and the rest of the experience in the theatre
was implied but not necessary. This was demonstrated through Grotowski’s rehearsals as a
black set was used and rehearsal clothes were all black too. In performance the plays were
allowed set and costume but it was made clear that the actor was not an image as that was
the act of the cinema.
7. Jerzy Grotowski
● During rehearsals of this time Grotowski made it clear that his actors needed complete
control over their bodies and their breathing and voice, strenuous and rigorous exercises
were used to achieve this. To achieve a Grotowskian aesthetic the actor needed to engage
both himself and the audience in a spiritual and almost psychic revelation, he wished them all
to find something from within.
● In 1970 Grotowski took his third trip to the East and visited countries such as Central Asia
and China.
8. Jerzy Grotowski
● As the 1970’s closed Grotowski was busy with his entourage studying the ritualistic dances
around the globe visiting countries such as Mexico, Haiti, Nigeria and India trying to find
common denominators while exploring theatrical form.
● From 1973 – 1977 Grotowski was organising and holding public projects around the world
including group séances of Psychotherapeutic and ethical dimensions and getting the
participants to discover themselves interpersonally. He tried to find a new way of
communicating to others through their own thoughts using gesture, movement, chant and
song. His projects were later attended by Peter Brooks and Jean-Louis Barrault.
9. Jerzy Grotowski
● Grotowski later invited viewers of previous productions to participate in and be part of a
project in live culture. The reasons for doing this was to get the maximum effect of unity
between actor and viewer. This was to be his last theatrical production: Apocalypsis cum
Figuris
● Jerzy Grotowski emigrated to America in 1982 and became a lecturer at California’s
University.
10. Jerzy Grotowski
● Jerzy Grotowski: 1980-1999
● Lectured in Rome in 1982 at the University of Rome La Sapienza
● Sought political asylum in the US in 1982
● Started “Objective Drama” work in 1983
● Moved to Manhattan in 1983
● Objective Drama 1983-1986
● Analysing the “psycho physiological impact” of songs and chants from traditional cultures.
● Simple techniques having a cross cultural effect on the human mind and body
11. Jerzy Grotowski
● Moved back to Italy in 1986 to the Centro per la Sperimentazione e la Ricerca Teatrale
● Less pressure for instant results than Manhattan
● Researched “Art as a Vehicle”
● “Art as a Vehicle” meant using performance to achieve a higher level of perception – theatre no longer
about the audience so much as the participants, which drew criticism.
● Interactive performances; getting audience to join in with actors, actors as tutors and participants
rather than performing for the audience to passively receive.
● Trained Thomas Richards to become protégé, named institute The Work Centre of Jerzy Grotowski and
Thomas Richards as acknowledgement and celebration of their partnership.
● Died in 1999, leaving all intellectual property to Richards and Mario Biagini
12. Jerzy Grotowski
● Jerzy Grotowski’s key writings:
○ ‘Towards A Poor Theatre’ (first published in Polish, 1965. Translated by T. K. Wiewiorowski, 1967)
presents the key concepts in Grotowski’s Laboratory Theatre. In this book it shows that Grotowski defines
two fundamental concepts:
○ Poor Theatre and Performance as an act of Transgression. Grotowski also shows that his mastery of
○ psychology, history and anthropology map out his thoughts about contemporary theatre and the idea of
myth within it.
○ A definition of Poor Theatre: Poor Theatre is that the aesthetics of the performance are taken away.
○ Poor Theatre – stripped of spectacle and superfluous decoration – grounded in the belief that the
personal and scenic technique of the actor is the core of theatre art.
13. ‘Skara Speech’ (1966)
● This was presented to young persons in the Skara Drama School (Sweden 1966) by Grotowski and his
collaborators this is where they introduced the idea of vocal and physical exercises known best in the
Laboratory Theatre. Within this method of acting Grotowski lists several concepts that are key to acting:
○ Associations:
■ precise memories, thoughts and sensory, which are linked to the physical reaction of the
memory. So your body remembers a smell so lets say have to react in a disgusted way.
Then you connect with the smell and you perform a reaction which has been achieved by a
contact in the memory.
14. ‘Skara Speech’ (1966)
● Impulses
○ Score: Grotowski believes that a score is used and needed in any performance. This comes
in the form of a ‘clearly defined text and action’. The reasons for a score being so greatly
needed is that Grotowski believes that on stage an actor should not, on impulse, look for
spontaneity.
○ Contact: ‘Contact is to really see’. Contact results in harmony between you and your
partner.
● Sign
○ Cliché: Grotowski warns actors to never take the ‘easy road of association’.
15. ‘Skara Speech’ (1966)
● Sign
○ Authenticity: Grotowski declares that you cannot play death because you have not
experienced it. You should never try to act out something which you have not felt. So first
you should make connections with feelings that are linked to the, for example, act of death
and apply these to the action.
● Ethics
16. ‘Holiday’ (Sweito) ‘The day that is Holy’ (1970, 1971, 1972)
● In this article Grotowski announced his retreat from the arena of theatre production and set forth the
parameters of his paratheatre research.
● The language and form of ‘Holiday’ suggests euphoric optimism of cultural change.
● In my opinion it implies that ‘Holiday’ as a text is very enlightening and in a sense laid back and relaxed
as it embraces the changes from within culture and its response from Grotowski shows what effect it
had upon him.
17. ‘Theatre of Sources’ (1997)
● This is an article that gathers together some of his practical observations and reminisces
about this period of work. It gives an insight into what Grotowski’s observations were during
this period of time about his works.
● He then goes on to inform us of what stages he went through whilst remembering these
works.
● He starts out with his own roots and process. He then passes on the process to the young
people of ‘his kind’ then finally to his observations of practices of a whole community of
‘traditional religious’ practitioners. Then he ends with a personal story of awakening.
● This tells us what aspects he chose to recall upon to achieve his works.
18. ‘Tu Es Le Tils De Quelqu’an (You are someone's son)’ (1989)
● This writing by Grotowski explores the ideas of:
○ Harmonic improvisation: When the actor constantly re-adapts to a structure.
○ Enthodramas: These are always passing through phases of crisis then organicity. It is
the spontaneity of life followed by technical absorption.
‘Performer’ (1988)
● This text begins with two important definitions:
○ Performer: man of action
○ Ritual: is performance, plays, shows. When life becomes rhythm.
19. Themes, Practices and Key Ideas
● Holocaust – Akropolis
● Actors as central part of theatre
● Theatre as different and separate to film & TV –
not trying to imitate or achieve same effects
● “Encounter” between audience and actors
● Poor Theatre – Theatre can exist without makeup,
lighting, effects, costumes, props, or scenery. The
core is actors & audience; direct communion.
● Minimal use of props vital in Grotowski's theatre.
● Contrast is Rich Theatre ; this attempts to imitate
film techniques and effects.
● Holocaust – Akropolis
● Actors as central part of theatre
● Theatre as different and separate to film & TV –
not trying to imitate or achieve same effects
● “Encounter” between audience and actors
● Poor Theatre – Theatre can exist without makeup,
lighting, effects, costumes, props, or scenery. The
core is actors & audience; direct communion.
● Minimal use of props vital in Grotowski's theatre.
● Contrast is Rich Theatre ; this attempts to imitate
film techniques and effects.
20. Influences
● There are many different influences in Grotowski life that led him to his great works. Living with his uncle the
bishop made him a very catholic person and gave him the ideas of the theatre being a sacred place like a
church to a bishop it was a director or a performer’s sacred place.
● He also as greatly influenced by the early 20th century and all the politics and war that went on in his young life,
which affected most people especially in Poland and had a big impact on his life. Living in simplicity, hence the
idea of the poor theatre and the idea of getting rid of all props and costumes and sticking to the basics.
● Practitioners who has influence on his works were Stanislavski for the ideas of realism and expressing real
emotions from the actors to the audience, i.e. they would believe it to be real.
● Grotowski was also influenced by the ideas of tearing down the iron curtain and interacting to the audience
which is what Stanislavski hated.
21. The Impact
● He challenged what words such as ‘theatre’ and ‘acting’ actually meant and introduced the notion theatre could be reduced
to no less than one actor and one audience member, this was a radical idea at that time and has since influenced many
subsequent theatre artists.
● Ironically a wide ranging indirect impact is not what Grotowski wanted. For him such an outward movement of effects was
too haphazard, too risky, too fraught with misuse and misinterpretations and so designated his inferior [Richard Schechner
1999]
● Grotowski’s importance seemed to increase after his death, the ambiguity of some of his studies only serves to feed
curiosity and a research grant from the UK Arts and Humanities Research Council has been made to the sum of £,203,000
to conduct the British Grotowski Project a re-evaluation, from October 2006 – October 2009, this will be ran by Professor
Paul Allain at the University of Kent in conjunction with overseas partners including the Work centre of Jerzy Grotowski and
Thomas Richards in Pontedera, Italy (where Grotowski’s work continues) and also The Grotowski Institute of Wroclaw in
Poland.
22. The Impact
● A large project such as this will be a powerful aid in continuing the impact of Jerzy Grotowski; they are running
workshops and events in conjunction with this all over the world right now.
● At the last count in 1995 Grotowski’s bibliography is said to stand at 20,000 pieces which was also thought to
be a rather conservative estimate.
23. Problems Raised by Grotowski
● A problem with Grotowski’s work is that it was somewhat ambiguous and confusing with Grotowski sometimes seemingly
talking in riddles: “His work is well known and obscure simultaneously” [Schechner 1997], and so because of this his work
was often misconceived which caused hostility, it provoked extremes in response, some considered it be anarchic and
anti-art, if you read any of his interviews or essays they feel incredibly esoteric…
● A response in an article published about Jerzy Grotowski: “The austere approach can be a beautiful thing, but as an artistic
matter it’s rather hermetic. At its worst it can be annoying and inspire a kind of zealotry” [Stephen Nunns 1999]
● Grotowski goes onto say “We are concerned with the spectator who has genuine spiritual needs and who really wishes
through confrontation with the performance to analyse himself…when confronted with the actor there must be some
common ground already existing in both of them something they can either dismiss in one gesture or jointly worship’
[Grotowski 1975]
24. Problems Raised by Grotowski
● One of the reasons for the research that is being carried out by the British Grotowski project is that for a practitioner whose
contribution to world theatre is so widely acknowledged there is a lack of precise knowledge and access to primary
sources, key texts, good translations and main treatises as well as clearly articulated and accessible documents and of
reflections of his practises. There’s is also no systematic analysis of his influence on British theatre making and university
drama studies since 1965. [P. Allain]
● Indeed it feels as though a background knowledge on all of Grotowski’s methods and theories is needed before you can
begin to understand the terminology that he used.
● It was noted that not just anyone could attend Grotowski’s theatre, this is an excerpt from an interview with him by Eugenio
Barba:
○ Grotowski: We do not cater for the man who goes to the theatre to satisfy a social need for contact with Culture
○ Barba: Does this infer a theatre for the elite?
○ Grotowski: Yes…We are not concerned with just any audience but a special one [Barba 1964]
25. Problems Raised by Grotowski
● Another problem with the work of Grotowski is that it created such an impact because it was revolutionary at
the time. In the age that we live in now this impact can be lost on us as we judge it by today’s standards, where
the boundaries are continually pushed further – experiments constantly occur with the result that the
experiment becomes less radical as the effects go into the mainstream theatre meaning it is always becoming
more adventurous and expanding to accommodate new innovations, so Grotowski’s work needs to be
appreciated in the context it was created in: ‘ His work always operated on this kind of theatrical and political
knife's edge’ [Allen Kuharski 1999]. At the time that Grotowski was carrying out his work Poland was under
communism and his search for the authentic self made sense [Miroslaw Kocur] but…
26. Problems Raised by Grotowski
● I feel that an audience member who would attend a Grotowski production without a full understanding of his
beliefs and techniques could have found themselves isolated and even bored, I think that this would also be
true of any actor in the present day wishing to study his technique, he created methods which he felt needed to
be followed to the letter, it was a ‘total act’, a complete way of life to be adhered to, a rigorous discipline with
intense physical work, eliminating elements of the actors natural behaviour to obscure pure impulse [Jerzy
Grotowski 1975] and it has been agreed doing just ‘some’ Grotowski work would be impossible and wouldn’t do
him justice, it is either all or nothing. [Natasha Oxley]
● I think a major problem in Grotowski’s work is this all or nothing approach, the removal of sets, costumes and
lighting in his work all though he felt it was valid to his cause it causes others to disconnect from him, audience
and designers.
27. The Impact
● Grotowski had certain ideas that I find interesting which provoke me to look at design in different ways…
● …I liked the idea of the actors building and transforming the set themselves as the play progresses in full view of the
audience, such as in his play Akropolis.
● I also liked his ideas and experiments with the actors using their own bodies to represent objects.
● I think his methods in looking into ways of exploiting the fact that theatre is live and what can it do that film and television
cannot makes great sense, as I think sometimes with all of the technology that is readily available it is sometimes a factor
that is not taken full advantage of.
● My opinion differs from Grotowski in that I feel theatre should be a total experience including, set, costumes and lighting in
whatever sense of balance is suitable for any given play, I feel that it gives room to endless possibilities of experimentations
and combinations and is a vital tool for visual communication to heighten the spectators level of understanding.
28. The Impact
● My opinion also differs from Grotowski’s in that I feel theatre should be readily available to anyone who wishes
to attend, regardless of their reason for attending or the level of understanding that they posses, whether it be
for a spiritual awakening, entertainment or education etc, theatre means different things for different people
and although I don’t condone what he was trying to do I think you need to be able to acknowledge that there is
a great variety of theatre genres and that is shouldn’t be exclusive to anyone group of people.
● From researching Jerzy Grotowski, I have experienced new ways of looking at and interpreting theatre. Through
interaction with the audience performers can draw them into the production with a far greater depth than with
the chasm between performer & audience that often exists. While I personally dislike his dismissal of most
aspects of theatre design as peripheral, I can see that through concentrating on the actors emotions he
brought about a new era of acting methodology.
29. The Impact
● I have learnt a lot from researching Jerzy Grotowski’s work. In my opinion as a theatre designer I do not really agree with his
views. I believe the experience of going to the theatre includes set and costume etc and although I liked the idea of using
physical forms to interpret props for some plays I believe you have a better experience viewing a performance which varies
in colour and variety.
● Throughout this list of Grotowski’s key writings I can see that he looks at theatre in a very matter of fact and simple fashion.
He sees that the action and plot are key most important aspects so they must not be smothered in aesthetics such as
costume, scenography, lights and set. I can connect with this application of belief but I can also see that the aspects that
Grotowski finds superficial can make another's theatre experience. Seeing these aspects such as set, props, costume and
lighting heightens the pleasure you get from watching a performance. The simplicity of actor and space is a great rehearsal
technique more than anything as it gives the actor/performer the ability to convey the mood/action that he/she wants to
show without depending on the props. I agree with the statement that if the superficials were to be taken away then the
actor should still be able to convey the same message.
31. In terms of my attitude to the dramatic text, I think that the
director should treat it solely as a theme upon which he
builds new work or art that is the theatrical spectacle.
32. good luck!
&
thank you
For any query write to me at
banik.anirban94@gmail.com
+91 9862675124
+91 7005125605
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