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Grotowski's

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by

Peter Farks

on 15 December 2014

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Transcript of Grotowski's

Plastiques
- body movements & emotions
- containers
- no prescribed speed or frequency, but ask WHY
- work with tension
- Plastique River


Corporels
- physically challenging exercises
- unpleasant emotions - fear, depression, anxiety, etc.
- headstands, tiger loops, backbends,...
- acknowledge and put your emotions in
- liberate from cultural habits
- the most popular exercise is a cat
Poor theatre consept
-the simplest use of staging,lighting,costumes& special effects.
-Most important: the actors & their relationship with audience.
-Influenced by the theorist Artaud
-Hoped for his work to enable personal and social transformations.

Grotowski's influence
-Stanislavski
-Dullin
-Meyerhold
-Artaud
-Gurawskijm
-Bertolt Brecht
-Yoshi oida

Purpose of the exercises
-
Plastiques
: help to express actor's emotions; enrich your inner experience of acting; immerse into the character and mood; space exploration
-
Corporels
: turn your biggest enemy into a supporter; energizers; reconnection with lower body; embarrassment killer
-
Voice techniques
: use different registers to serve you as a character identification; release tension out of your vocal cords
Workshop
1. Rhythmical walking with music

2. The cat

3. Yes&No
Content
- History of Grotowski
- The concept of Poor theatre
- Plastiques
- Corporels
- Vocal techniques
- Grotowski's influence
- Purposes of the exercises
- Introduction to the work shop

Grotowski's contribution to theatre
Voice techniques
Movement
Emotion
Container
Image
Impulse
Personal History
-Born in Poland, 11/08/1933
-Director and innovator of experimental theatre, theatre laboratory & “poor theatre”
-Had to leave his city due to war

Career history
-Studied acting & directing in Moscow
-First founded a small Laboratory theatre in Poland, then moved to international tours.
- became uncomfortable with the adaptation of his ideas and practices,so he left America and moved to Italy, where he established the Grotowski Work center.
-Brought up on Stanislavski

- important to acknowledge capabilities of your own voice
- restrictions rooted in social images
- "Speech is music. The next of a part or a play is a melody, an opera, or a symphony." - Stanislavski
- "The most elementary fault, and that in most urgent need of correction, is the overstraining of the voice, because one forgets to speak with the body." - Grotowski
- connect to your body with minimal tension
- Grotowski helped actors expend their vocal potential by the "La bouche ici!" exercise




Quote: ”We do not want to teach the actor a predetermined set of skills or give him a “bag of tricks”. Ours is not a deductive method of collecting skills. Here everything is concentrated on the “ripening”
of the actor which is expressed by a tension towards the extreme, by a complete stripping down, by the laying bare of one’s own intimity- all this without the least trace of egotism or self-enjoyment. The actor makes a total gift of himself.”

Poor theater actors.
- Concentrate on the composition of the role, on the construction of form, on the expression of signs.
- Abandoned make-up, fake noses, pillow-stuffed bellies
-Character transforming using their body and craft.
- He shocked and challenged the actors in a way they did not expect.


Voice techniques effects.
-The ability to communicate clearly through sounds and movement.
- He emphasized clarity and used techniques such as singing, chanting and reciting poetry.
- They had to make use of all their memories, no matter how painful or private.
Full transcript