Grotowski was seeking something beyond drama. Please tell us what else influenced your future career — apart from the practical habit of undergoing this training — that you got from your experience with the Teatr Laboratorium? I remember a remark Jerzy Grotowski made when he was observing the exercises: I understood then that it is not enough to invent something, but that this story has to be communicative.
Drawing from a myriad of cultural sources—Greek, Egyptian, African, West Indian and Christian—Grotowski incorporates chant, minimal dialogue and ritualistic motions such as rocking, swaying and reeling about to enable his "doers" his term for actors and actresses to achieve a freedom from self-consciousness, from acting, and from the performance itself.
What were they like? We can either support the head or we can search for the position that Poor theater a grotowski view be best for the head. As far as I can remember, I think the audience felt the same way. Komorowska revived this role there in November All ac- tors were so vocally strong that they were able to recite atmospheric sounds of the world such as me- chanics, animals, thunder and so on.
But would it be possible for a longer period? To cross our frontiers, exceed our limitations, fill our emptiness — fulfil ourselves. There were two versions of the performance, one with Nastasya and one without her.
The group does not attempt to perform a wide variety of works, but concentrates instead upon a limited number of dramatic pieces and constantly reinterprets and rediscovers them.
Thus it is more difficult to elicit the shock needed to pierce the so-called "life mask" and get to the psychic truths that lie behind that mask. Did you call each other by your first names? Sometimes Jerzy Grotowski gave us a theme; sometimes we found the theme by ourselves.
In this world where human beings are objects, the Workcenter is an outpost to try and transcend that. The associations and impulses were the starting point for this. I remember there was one moment when a horse put its head on the nape of the neck of another horse; these horses were hooked on to each other — it was a moment of rest… of love… We were looking for a way of showing the rebellion of the horses and we were thinking about how this rebellion was born.
The music was the sound we created ourselves — the sound of steps, props, breathing, the composition of human voices… Grotowski used to say that the power of the theatre is in subtraction, not addition. I think it was the right decision.
So we continued working on it. Upon leaving the hospital he lived with his family in Krakow and finished school there. It is even difficult to compare them. So we continue searching. We presented this work on horses to Jerzy Grotowski. I remember the period of work on Akropolis well. I lived in various places and conditions; I sometimes had to spend the night sleeping on a sofa.
We wanted to find a moment in which the framing of the movement in this sharp and dynamic scene was really needed and when this framing would reinforce what we wanted to say. During the period when I was there, there already existed a group of permanent members. Everything was new to me.
Many people from this group are no longer alive: The latter of these will be performed in French by Cecile Richards.
How much distance should there be between these horses? Waldek Krygier came up with the costumes and they were like wonderful paintings. Everyone could later go and sleep, but I was looking after my son. By making this silence happen,they could learn to concentrate intensely.
Architecture was important, not scenography. I was expecting my baby.View Notes - Poor Theatre Performance StyleTerm: Definition: Jerzy Grotowski Polish theatre director and innovator of experimental theatre, the "theatre laboratory" and "poor theatre" concepts.
Jan 15, · Sections Home Search Skip to content Skip to navigation View mobile version. The New York Times. Archives ''Towards a Poor Theater,'' Mr. Grotowski. Jerzy Grotowski is noted as the author on the book’s cover even though not all the texts were written by him and Eugenio Barba was the co-creator of the entire work A Polish edition of Towards a Poor Theatre did ultimately appear in The aims of poor theatre are reminiscent of the theories of Artaud.
But Artaud aimed to synthesize the work of the actor with ‘rich’ technology of noise, light and costume. The writings of Nietzsche, Durkheim and Jung are also frequently invoked as influences on Grotowski, but the practical work of Stanislavsky, Meyerhold and the mime.
About The Poor Theater Grotowski believed that what seperates theatre as an art are the actor and the spectator, considering theatre as an opportunity for a confrontation with the truth.
In his book "Towards a Poor Theatre" he writes.
Jerzy Grotowski and Poor Theatre Characteristics Paratheatre and Poor Theater Barker, Clive. "The Rise of Alternative Theatre Spaces." Encyclopedia Britannica.Download