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'So always avoid banality. That is, avoid illustrating the author's words and remarks. If you want to create a true masterpiece you must always avoid beautiful lies: the truths on the calender under each date you find a proverb or saying such as: "He who is good to others will be happy." But this is not true. It is a lie. The spectator, perhaps, is content. The spectator likes easy truths. But we are not there to please or pander to the spectator. We are here to tell the truth.'
In 1950s Poland, Grototwski pioneered the idea of a theatre laboratory as a place where theatre happens through a process of experimentation. This book reveals his experiments as a crux between what we see in contemporary theatre and the rich traditions of theatrical forms from all over the world. From the standpoint of the über-globalized 21st century reader, these experiments may seem less than novel—contemporary theatre and the yoga class happening down the street have a lot in common with wh...
This book had many beautiful pearls of wisdom for anyone interested in theatre. Grotowski is an inspiration for anyone who believes in theatre just as an artform in general. I believe every aspiring actor should read Grotowski's ten things: the final chapter of this book.However, if you are not into theatre you will.not.enjoy.this. there were some chapters I skimmed over because it was just lists of exercises that Grotowski did and no matter how interesting a list can be, I don't want to read a
Outstanding read! Over time, Grotowski has developed this almost mythological mystique as an experimental theatre artist; consequently, many view his theories and techniques with dubiousness and reserve. "Sure, it worked for the Teatr Labortorium, but how the hell can I apply this stuff to my production of 'Guys and Dolls?'"True, what Grot. and Co. developed through their remarkably empirical studies of the actor's craft are largely unrepeatable. Well, the productions, that is. But it seems that...
Grotowski's vision was of a bare bones theater - little in the way of costume, set, makeup or lighting - everything coming from the actor, with a great deal of participation from and interaction with the audience. If you have ever seen the film "My Dinner With Andre", there is a part where Andre describes taking part in one of Grotowski's theater experiences, which had a profound effect on him. While Grotowski's Poor Theatre may seem dated now it was revolutionary stuff at the time. A good read
Really gets down to thinking about theater and acting in holistic (why is that not spelled with a 'w'?) way. Its critiques of theater, and the piecemeal opulence of the modern, egocentric, and overdone theater hit the mark entirely. Anybody involved in theater should read this.
The publicotropist in me just got smashed in the face by a Grotowski-shaped brick. God DAMN.
I read this book en suite with Artaud's Theatre and Its Double and Brook's The Empty Space, all of which share certain theories of the purpose and goals of theatre. But of the three, this is by far my favorite. I think that what I liked most about Grotowski's book is the exactitude of his work compared to Brook and especially Artaud--one of the things I especially disliked about Artaud was that, in Grotowski's words, when Artaud "moves from description to theory however, he starts explaining mag...
Interesting book. Here, Grotowski and company would have actors pull out parts of themselves, to call about aspects of who they are to express emotion rather than relying on props or other more expensive cues. This kind of pure expression of what theater is an articulation of the cut of what theater is; the exhibition of pure expression. I'm not very familiar with the genealogy of theater but this seems to be a kind of method in which we tool ourselves for automative action -- a very modernist v...
"I am the tiger...not you...I am going to eat you..." from the "Tiger Exercise" (177). I'm reading around this text, thrilled at much of what I find. I'm lazing in the chapter in which Grotowski teaches pupils how to use the seven different voice resonators in their body. So far I can only feel the chest, nasal, and occipital resonators at work. And it makes Emily look at me like I'm crazy because I'm humming and grunting around the apartment.
Essential topic, but so much theatrical writing is pseudo-philosophy that it makes the reading a slog. Brock's Empty Space covers the topic in a much better way.
Excellent and interesting. The whole roles of the actor and playwrights are changed. An inspirational book.
this is one of the greatest books ever written.
rereading -- towards a poor poetics? -- the power of post...?
I've never had any personal experience with Grotowski's technique, but this book gave me as much of an understanding as one can have without actually doing it.
If you have any interest in theatre, especially physical theatre, this is your bible. This is one of those iconic books that changed theatre forever.
Jerzy Grotowski developed techniques for actors in the late '60's. He's a classic tortured artist philosopher. The real deal.
Dulu pernah punya terjemahannya: Menuju Teater Miskin. Tapi sekarang entah di mana. Mau cari lagi. Ada info?
I don't necessarily think Grotowski's method is for me, but I really like some of his ideas and was very edified by reading this.
i miss this.
Strip it down to its bare elements.
I keep going back and looking through the quotes I’ve written down by Grotowski that best summarize his work; but there are too many gems of wisdom. I’ve realized from reading this book how infinite ALL people are- but artists (specifically actors) are the ones who willingly and truthfully pursue their unknown. “Art is a ripening, an evolution, an uplifting which enables us to emerge from darkness into a blaze of light.” Us artists are bad asssssssss
¿Qué es teatro ? El teatro no es más que la relación entre un actor y un espectador.Grotowski, analiza la relación entre escena-público, muestra que el arte de la actuación consiste en desnudarse, liberarse de máscaras.Realmente no se necesita de ninguno artificio (maquillaje, vestuario) el actor utiliza sólo su cuerpo mostrando así su verdad interior.
من بهجای اینکه ببینم چی میگه اونجاها که داره خاطره تعریف میکنه یا یه نقل قول میگه رو بیشتر حال میکنم. ینی کاری ندارم تخصصی داره راجع به چی حرف میزنه. اون بخش تحلیلش از روی حرفای بقیه و زندگی رو دوس دارم. خیلی هم کمه این بخشا ولی خب لذتبخش.
A great text, very insightful. I need to read again before giving a full review!
Read for class.
یرژی گروتوفسکی لهستانی، یکی از کارگردانان پیشرو تیاتر مدرن جهان است که با مکتب تیاتری اش به نام "تیاتر بی چیز"، از دهه ی شصت قرن بیستم مشهور شد. از مشهورترین کارهای تیاتری گروتوفسکی و گروه کارگاهی اش در قرن گذشته، "آکروپولیس" بر مبنای متون بر گرفته از کتاب مقدس است که بر روی صحنه ای نه چندان دور از اردوگاه آشویتس اجرا شد. "شکونتالا" بر اساس متنی از کالیداسا، "اورفه" اثر ژان کوکتو، "سوگنامه ی دکتر فاوستوس" بر مبنای نمایش نامه ی کرستوفر مارلو و اجرایی استثنایی، که در آن تماشاگران در شام خداحافظی ف...
Re-read this prompted by a feeling of kinship with Abramovic. Still find his complete lack of imagination downright infuriating, his eisegesis of Artaud, though I feel fortunate for his dedication to his craft, or at least his having been afforded the privilege of being able to exercise it. Next stop: multi-media semi-intuitive inter-subjective narrativistic experiential structuralism.
Más que un libro para teatro, es una filosofía para aprender a liberar bloqueos y concebirnos como una totalidad unida a otras frecuencias. Muy interesante para quienes tienen algo que ver con las artes. Amplía la visión de las técnicas e interpretaciones en todo lo que hacemos para "encontrar lo contradictorio dentro de nosotros" y liberarnos de máscaras cotidianas, como lo menciona textual :)
This book changed the way I think about theatre. In language ranging from the poetic to the scientific, Grotowski describes the artist's role in society and the importance of the actor-audience connection.