Some Principles Derrived from Jerzy Grotowski
Some Principles of Jerzy Grotowski Based on Stanislavski's Method Technique
(The provocation, amplification, and enhancement of 'The Method' in the actor.)
Born in 1933 and died in 1999, Grotowski is considered to be one of the greatest reformers of 20th century theatre. Though he also included many intense and demanding physical exercises in his laboratory, these are many of his principles.
Grotowski's greatest concern was the interaction of energies (both ways) between the actor and the audience.
Grotowski built his own program conducting in depth research into the relationship between the stage and audience and, consequently between the actor and the audience.
- He sought to discover and refine means to tap into the sources of expression. He was fascinated by ancient and primitive expression, the esoteric, and the philosophy of Carl Jung. The Laboratory Theatre existed to achieve precise acting in a state of sharpened awareness and consciousness.
- He believed that the theatre is not an end unto itself, but instead a vehicle.
- 'Action is not a performance.'
- 'Awareness means the consciousness which is not linked to language…. But to Presence.'
- Creativity is boundless sincerity, yet disciplined.
- Theatre - provides an opportunity for an integration, the discarding of masks, the revealing of the real substance: a totality of physical and mental reactions. This opportunity must be treated in a disciplined manner, with a full awareness of the responsibilities it involves.
- Theatre is a place of provocation, a challenge the actor sets himself and also, indirectly, other people.
- Theatre can exist without costumes and sets. Theatre can exist without music to accompany the plot. Theatre can exist without lighting effects. Theatre can even exist without a text.
- Can theatre exist without an audience? It requires at least one spectator to make it a performance!
- The actor must not illustrate but accomplish an 'act of the soul' by means of his own organism.
- The theatre is an act engendered by human reactions and impulses, by contacts between people. It is both a biological and spiritual act.
- An actor has no right to mold his partner so as to provide greater possibilities for his own performance. He does not have the right to correct his partner unless authorized by the work leader/director.
- The actor allows a role to 'penetrate' him. At first there is a natural resistance, but by acquired technical mastery of certain skills, the barriers can be dropped. The secret of the role demands his opening himself up. The act of performance is an act of sacrifice…. His gift to the spectator.
- The successfully developed ensemble/cast has created for itself a form of interpersonal understanding based on body and mental sensitivity and communal relating and action. There evolves a multilevel system of communication.
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