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Jerzy Grotowski

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Emily Capper

on 13 December 2012

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Transcript of Jerzy Grotowski

Jerzy Grotowski Meyerhold and Stanislavski “The faces are drawn into rigid
masks with eyes that seem to have forgotten sleep; the bodies, held mechanically at attention, seem to have passed the limits of
endurance.”- Experimental Theatre Brutal Training "His attacks were so persistent and
accurate that finally I couldn’t bear it.
I left the work after only one month.
” I “ask[ed] if I could work with him the following year...I was accepted on the
condition that I would stay one year.” Grotowski's Poor Theatre Warm up Exercise 1

Flight 'Jerzy Grotowski is arguable one of the
most influential figures in the development
of experimental theatre and actor
training techniques over the past thirty
Lisa Wolford Grotowski makes poverty an ideal; his
actors have given up everything except
their own bodies; they have the human instrument and limitless time—no wonder
they feel the richest theatre in the world.

- Brook the empty space Workshop Jerzy Grotowski Exercise 4

The Cat Exercise 2

Respiratory Practice Exercise 3

Opening of the Larynx 'If [the actor's] body restricts itself to
demonstrating what it is - something that
any average person can do - then it is not
an obedient instrument capable of
performing a spiritual act'

Grotowski, 1975 Grotowski is concerned to expose the spiritual process of the actor. By years of training, daily exercises, rigorous physical technique and vocal expressiveness, he brings the actor to such a point of heightened awareness that, as if in a trance, he is enabled to be wide open in performance. ‘It is’, says Grotowski, ‘a question of giving oneself. One must give totally in one’s deepest intimacy, with confidence, as one gives oneself in love.’ "Grotowski said that from Stanislavsky he learned how to work with actors, but it was from Meyerhold that he discovered the creative possibilities of the stage directors craft." Grotowski’s theatre is as close as anyone
has got to Artaud’s ideal” –

This is what Peter Brook wrote in the Empty

Artaud 1896-1948 Bohr Institute Artaud Black areas = Actors and place of action

White area = Spectators Cain based on the text by Bryon Shakuntala, based on the text by Kalidasa. Forefathers Eve, based on the text by Mickiewicz. Diagram Showing the movement and areas of action in Akropolis, based on the text by Wysplanski. “Theatre is not a scientific discipline… however, the theatre and in particular the technique of the actor, cannot- as Stanislavski maintained- be based solely on inspiration or on other such unpredicatable factors as talent explosion, the sudden and surprising growth of creative possibilities” “I met an old Afghan named Abdullah who performed for me a pantomime ‘of the whole world’, which had been a tradition in his family” Grotowski saw his own questions embodied in the gestures of the old man: could the actor incarnate the whole world, nature itself? And could nature itself, with all its unpredictability, uniqueness, and constancy, reveal itself to the actor?
From (Jerzy Grotowski) Strong Influences on Grotowski - Meyerhold


- Artuad Grotowski in the East 'If it [the stage] cannot be richer than the cinema, then let it be poor.’ – Towards a Poor Theatre The (Laboratory) Theatre of 13 Rows, Opole, Poland Kordian ‘In the name of audience participation in the 1960’s, audiences were insulted, sexually groped, manhandled, locked out of the place of performance and kept waiting for an hour or longer, divested of their shoes or other clothing, even thrust on stage during the last act of Hamlet (in Central Park, New York) and invited to shoot the King and thus affect the play’s direction; yet always the spectator knew he was being manipulated; he was not genuinely being invited to take part, only to dance to the tune of the actors. With each of his productions for the Polish Laboratory Theatre, Grotowski had systematically explored the relationship of the actor and the spectator by his use of the scenic space.’ Experimental Theatre
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