By James Slowiak and Jairo Cuesta
Written via theatre pros who labored in detail with Grotowski during the last twenty-five years of his existence, this ebook fills a spot within the released writings approximately this grasp director and instructor. during this publication, the writers reveal Grotowski’s value and the way his frank rhetoric, his progressive theories, his landmark productions, and pioneering cultural tasks proceed to reason controversy and supply fertile themes for dialogue and additional experimentation in theatre studios, study rooms, and on phases world wide. The publication introduces Grotowski to a brand new iteration of theatre scholars, outlining his contributions to 20th century functionality and putting them in context and in point of view.
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Extra info for Jerzy Grotowski (Routledge Performance Practitioners)
He gave lectures and planned the company’s first major paratheatre tour. In Japan, he met Tadashi Suzuki. They attended a Nô Theatre rehearsal and visited Tokyo by night. Tadashi Suzuki (b. 1939): Japanese director who developed the Suzuki Method of Actor Training, a strenuous, physical approach. In September–October 1973, the Laboratory Theatre presented fourteen performances of Apocalypsis in Philadelphia and theatre workshops at the University of Pittsburgh. The group then retreated to a rural campground near Pittsburgh to conduct a Special Project which lasted eight days.
FAREWELL TO POLAND By spring, Grotowski was able to arrange for the Theatre of Sources team to leave Poland. They installed themselves in Italy. From March through June 1982, Grotowski delivered a series of lectures about the organic process at the University of Rome and conducted practical work at a farm in Umbria. In the summer, Grotowski returned to Poland with several members of the Theatre of Sources team. Although there was a faint-hearted effort to continue working, the situation in Poland proved impossible for Grotowski.
From March through June 1982, Grotowski delivered a series of lectures about the organic process at the University of Rome and conducted practical work at a farm in Umbria. In the summer, Grotowski returned to Poland with several members of the Theatre of Sources team. Although there was a faint-hearted effort to continue working, the situation in Poland proved impossible for Grotowski. The Jaruzelski government tried desperately to use artists to curry international favor. Grotowski, however, saw a big ethical difference between directing plays for a national audience under an oppressive regime, as many of his contemporaries chose to do, and using that same regime’s money to operate a closed, international laboratory as was his wont.