2008 : no time for Grotowski in class

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2007 -- no time to get to G. in class (maybe, part 3 textbook -- Image Building)
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Stanislavsky
stanislavsky.us

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Twentieth-Century Theatre: A Sourcebook by Richard Drain; Routledge, 1995 [ ]

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"Towards a Poor Theatre" by Jerzy Grotowski, Simon and Shuster, New York, 1968, pp. 15-25

direct.vtheatre.net/grotowski

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Grotowski

... texts in Engl. -- grotowski (direct.vtheatre.net)

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13. Grotowski's Laboratory Theatre * The Director and the Stage: From Naturalism to Grotowski : Book by Edward Braun; Holmes & Meier, 1982. 218 pgs.

In 1959 Jerzy Grotowski, in collaboration with the writer Ludwik Flaszen, established a small, experimental theatre company in the provincial town of Opole, sixty miles from Auschwitz, in Poland. At that time a young theatre director of twenty-six, Grotowski had received a conventional theatrical training at the Cracow Advanced Acting School. In addition, during his student years he had travelled widely, studying ancient and classical theatre techniques, and as part of his training had spent one year at the State Institute of Theatre Art in Moscow. He was fascinated by the forms of Oriental and Asian theatre he had witnessed in his travels, and, not surprisingly, was greatly influenced by Stanislavsky - to whom he has referred as 'my spiritual father'.

Grotowski's co-founder in the establishment of what was initially named the Theatre of Thirteen Rows was Ludwik Flaszen. Literary and dramatic critic, and author, his official position was that of literary adviser to the theatre - but the role he actually played was far more crucial in the development of the theoretical concepts that motivated the theatrical experiments. Grotowski sees Flaszen's role - which he likens to that of a 'devil's advocate' - as absolutely essential in a research-orientated theat­ rical establishment. Flaszen has said himself of his work: 'For example, when I analyzed Grotowski's work for him, I tried to find all that had become merely a shell, the reasoned, or the artificial. I analyzed what could be rejected. When I felt my analysis was helpless, I knew I was dealing with something alive …'

According to Grotowski, the membership of the group they directed was quite fluid during the first two to three years. Of the half-dozen or so actors who formed the company in 1959, three were still working with Grotowski more than twenty years later. In time, they were joined by four other actors, and this central core of nine (including Grotowski and Flaszen) has remained, at the time of writing, virtually unchanged in all their years of collective research.

http://www.questia.com/PM.qst?a=o&d=91273063


[ru]

Перформер с большой буквы — это человек действия. Это не тот чело век, который играет роль другого. Это танцор, жрец, воин: это человек, стоящий выше категорий искусства. Ритуал — это перформенс, законченное действие, акт. Выродившийся ритуал — это спектакль. Я не собираюсь делать никаких открытий, я просто вспоминаю забытые вещи. Вещи такие древние, что все многообразие эстетических категорий к ним не применимо. Я — учитель Представления. Я воспитываю перформера. Я говорю в единственном числе, потому что учитель — это некто, несущий в себе учение, учение должно быть воспринято, но ученик должен воспринять и отк рыть для себя учение сам, персонально. Не так ли и учитель научился? Это инициация или похищение знания. Перформер — это образ жизни. Можно назвать его человеком знания, если вам нравится романтическая лексика Кастанеды. Мне ближе образ Пьера де Комба. Или даже Дон-Жуана, описанного Ницше: бунтовщика, который должен покорить знание, и даже если он не проклят окружающими, он все равно ощущает свою непохожесть, он как аутсайдер. В индуистской традиции существует феномен «вратий» (банды мятежников). Вратия — это некто, идущий покорять знание. Человек знания располагает «деланием", а не идеями и теориями. Что может сказать истинный учитель своему ученику? Учитель говорит: «Сделай это". Ученик тщится понять, превратить неизвестное в известное: он пытается избегнуть делания. Самим желанием понять он уже сопротивляется знанию. Он может понять только тогда, когда сделает. Он делает или не делает. Знание — это вопрос делания. [Grotovsky]
http://kvadrat.artmill.org/texts/library/perform.asp

2006 Statement of Principles - Jerzy Grotowski + http://owendaly.com/jeff/grotdir.htm

translation?

http://en.wikipedia.org/wiki/Jerzy_Grotowski

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