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亘賴 爻賵蹖 鬲卅丕鬲乇 亘蹖鈥屭嗃屫�
噩賲毓蹖 丕夭 賳馗乇蹖賴鈥屬矩必ж藏з� 鬲卅丕鬲乇 爻丿賴贁 亘蹖爻鬲賲 丿乇 賯蹖丕爻蹖 鬲卮亘蹖賴蹖 亘丕 讴鬲丕亘 芦鬲卅丕鬲乇 賵 賴賲夭丕丿卮禄 丕孬乇 丕賳鬲賵賳賳 丕乇鬲賵貙 讴賴 芦毓賴丿 毓鬲蹖賯禄 鬲卅丕鬲乇 賱賯亘 诏乇賮鬲賴 丕爻鬲貙 丕蹖賳 丕孬乇 乇丕 芦毓賴丿 噩丿蹖丿禄 賳丕賲蹖丿賴鈥屫з嗀�. 诏乇賵鬲賮爻讴蹖 丿乇 丕蹖賳 讴鬲丕亘 亘丕 乇賵蹖讴乇丿蹖 賳賯丕丿丕賳賴 亘賴 賳馗乇蹖賴鈥屬囏й� 丕乇鬲賵貙 乇賴蹖丕賮鬲蹖 毓賲賱蹖 丕夭 丕賳丿蹖卮賴鈥屬囏й� 丕賵 亘賴 丿爻鬲 賲蹖鈥屫囏� 賵 鬲噩乇亘賴贁 爻丕賱鈥屬囏� 賮毓丕賱蹖鬲 賳賲丕蹖卮蹖 禺賵丿 乇丕 亘蹖鈥屬矩必� 賵 氐丕丿賯丕賳賴 丿乇 丕禺鬲蹖丕乇 賳爻賱鈥屬囏й� 倬爻 丕夭 禺賵丿 賲蹖鈥屭柏ж必�.
243 pages, Paperback
First published January 1, 1968
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About the author
Jerzy Grotowski
17听books46听followersJerzy Grotowski was a Polish theatre director and innovator of experimental theatre, the "theatre laboratory" and "poor theatre" concepts.
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Displaying 1 - 30 of 57 reviews
March 23, 2012
'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.'
September 19, 2008
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 眉ber-globalized 21st century reader, these experiments may seem less than novel鈥攃ontemporary theatre and the yoga class happening down the street have a lot in common with what's going on in this book. But given the setting of Grotowski's work (post-war, Eastern Bloc Poland) the title of this book clues us in on the tools that he had. Whereas Brecht sensationalized the concept of "poor theatre" in his Threepenny Opera, Grotowski & Co. lived it. We're talking towards a poor theatre鈥攚ho could spare the three pennies to even see it? Lucky for me my roomie had this book. Now I have three pennies to spend at the theater.
December 16, 2015
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 book of lists.
this is the first of many Grotowski books I have to read for my research paper. Luckily, I find him interesting. Unluckily, I don't really understand everything he talks about. Hopefully, this paper will turn out well. Until then, here comes more Grotowski reading!
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 book of lists.
this is the first of many Grotowski books I have to read for my research paper. Luckily, I find him interesting. Unluckily, I don't really understand everything he talks about. Hopefully, this paper will turn out well. Until then, here comes more Grotowski reading!
January 1, 2021
丕蹖賳 讴鬲丕亘 賲孬賱 賯乇丌賳 亘乇丕蹖 丕賴丕賱蹖 鬲卅丕鬲乇 賴爻鬲 賵 賵丕噩亘 賴爻鬲 禺賵賳丿賳卮 亘乇丕蹖 毓賱丕賯賴 賲賳丿丕賳 .
May 7, 2009
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 Grot's intention isn't to provide the means to recreate such works as "Akropolis" and "Constant Prince"--Grot's aesthetic is his own. If anything, "Towards and Poor Theatre" provides three things:
a. Theory -- impassioned words on the actor's necessary societal role (actor as shaman, conduit for cross-cultural mythologies, etc.) and Theatre's unique attributes as an aesthetic form and the advantages found therein.
b. Exercises -- well-detailed guides to unleashing the actor's voice through resonators and association games, poses and movement-etudes to develop the actor's physical dexterity and strength, etc.
c. Production Notes -- "backstage" guides to the work behind some of Grot's most famous productions ("Akropolis," "Dr. Faustus," etc.)
While I loved the essays for their savage sincerity and consideration of the actor's art throughout history, I found the "exercises" section pretty dry. I mean, how many times can you read about the "effectiveness" of a game in which actors run around pretending to be tigers? I don't doubt that these exercises are tried-and-true; it seems that Grot. did a lot to cut-down on the inevitable laugh-factor by instituting rigid rehearsal rules (absolute silence, moratorium on talking about others' work, etc.). In offering actors a incomparably personalized method--grounded in, above all else, discipline--Grotowski has produced a timeless source of inspiration and practical means to improving the sincerity of performance. If you haven't yet, grab this book!
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 Grot's intention isn't to provide the means to recreate such works as "Akropolis" and "Constant Prince"--Grot's aesthetic is his own. If anything, "Towards and Poor Theatre" provides three things:
a. Theory -- impassioned words on the actor's necessary societal role (actor as shaman, conduit for cross-cultural mythologies, etc.) and Theatre's unique attributes as an aesthetic form and the advantages found therein.
b. Exercises -- well-detailed guides to unleashing the actor's voice through resonators and association games, poses and movement-etudes to develop the actor's physical dexterity and strength, etc.
c. Production Notes -- "backstage" guides to the work behind some of Grot's most famous productions ("Akropolis," "Dr. Faustus," etc.)
While I loved the essays for their savage sincerity and consideration of the actor's art throughout history, I found the "exercises" section pretty dry. I mean, how many times can you read about the "effectiveness" of a game in which actors run around pretending to be tigers? I don't doubt that these exercises are tried-and-true; it seems that Grot. did a lot to cut-down on the inevitable laugh-factor by instituting rigid rehearsal rules (absolute silence, moratorium on talking about others' work, etc.). In offering actors a incomparably personalized method--grounded in, above all else, discipline--Grotowski has produced a timeless source of inspiration and practical means to improving the sincerity of performance. If you haven't yet, grab this book!
August 5, 2007
蹖乇跇蹖 诏乇賵鬲賵賮爻讴蹖 賱賴爻鬲丕賳蹖貙 蹖讴蹖 丕夭 讴丕乇诏乇丿丕賳丕賳 倬蹖卮乇賵 鬲蹖丕鬲乇 賲丿乇賳 噩賴丕賳 丕爻鬲 讴賴 亘丕 賲讴鬲亘 鬲蹖丕鬲乇蹖 丕卮 亘賴 賳丕賲 "鬲蹖丕鬲乇 亘蹖 趩蹖夭"貙 丕夭 丿賴賴 蹖 卮氐鬲 賯乇賳 亘蹖爻鬲賲 賲卮賴賵乇 卮丿. 丕夭 賲卮賴賵乇鬲乇蹖賳 讴丕乇賴丕蹖 鬲蹖丕鬲乇蹖 诏乇賵鬲賵賮爻讴蹖 賵 诏乇賵賴 讴丕乇诏丕賴蹖 丕卮 丿乇 賯乇賳 诏匕卮鬲賴貙 "丌讴乇賵倬賵賱蹖爻" 亘乇 賲亘賳丕蹖 賲鬲賵賳 亘乇 诏乇賮鬲賴 丕夭 讴鬲丕亘 賲賯丿爻 丕爻鬲 讴賴 亘乇 乇賵蹖 氐丨賳賴 丕蹖 賳賴 趩賳丿丕賳 丿賵乇 丕夭 丕乇丿賵诏丕賴 丌卮賵蹖鬲爻 丕噩乇丕 卮丿. "卮讴賵賳鬲丕賱丕" 亘乇 丕爻丕爻 賲鬲賳蹖 丕夭 讴丕賱蹖丿丕爻丕貙 "丕賵乇賮賴" 丕孬乇 跇丕賳 讴賵讴鬲賵貙 "爻賵诏賳丕賲賴 蹖 丿讴鬲乇 賮丕賵爻鬲賵爻" 亘乇 賲亘賳丕蹖 賳賲丕蹖卮 賳丕賲賴 蹖 讴乇爻鬲賵賮乇 賲丕乇賱賵 賵 丕噩乇丕蹖蹖 丕爻鬲孬賳丕蹖蹖貙 讴賴 丿乇 丌賳 鬲賲丕卮丕诏乇丕賳 丿乇 卮丕賲 禺丿丕丨丕賮馗蹖 賮丕賵爻鬲賵爻貙 亘丕 亘丕夭蹖诏乇丕賳 爻乇 蹖讴 賲蹖夭 賲蹖 賳卮爻鬲賳丿貙 賵 亘丕賱丕禺乇賴 賳賲丕蹖卮 賳丕賲賴 蹖 "賴賲蹖卮賴 卮丕賴夭丕丿賴" 亘丕 亘丕夭蹖 "乇蹖趩丕乇丿 趩蹖卮賱丕讴"貙 賴賳乇倬蹖卮賴 蹖 賲卮賴賵乇 诏乇賵賴貙 丿乇 亘爻蹖丕乇蹖 丕夭 卮賴乇賴丕蹖 噩賴丕賳 丕噩乇丕 卮丿貙 賵 丕夭 丌賳 亘賴 毓賳賵丕賳 蹖讴蹖 丕夭 亘夭乇诏 鬲乇蹖賳 丕噩乇丕賴丕蹖 鬲蹖丕鬲乇蹖 賯乇賳 亘蹖爻鬲賲 蹖丕丿 賲蹖 卮賵丿. "賴賲蹖卮賴 卮丕賴夭丕丿賴" 蹖讴 丕噩乇丕 賴賲 丿乇 蹖讴蹖 丕夭 噩卮賳 賴丕蹖 賴賳乇 卮蹖乇丕夭貙 賵 丕噩乇丕蹖蹖 賴賲 丿乇 亘丕睾 賮乇丿賵爻 鬲賴乇丕賳 丿丕卮鬲. 賳馗乇蹖賴 蹖 诏乇賵鬲賵賮爻讴蹖 丿乇 鬲蹖丕鬲乇貙 亘乇 丕爻丕爻 賳馗乇蹖賴 蹖 "鬲蹖丕鬲乇 亘蹖賵賲讴丕賳蹖讴" 丕夭 "賲賴 蹖乇 賴賵賱丿" 亘賳丕 卮丿賴. 丿乇 丕蹖賳 賳馗乇蹖賴 丕賳丿丕賲 亘丕夭蹖诏乇 亘噩丕蹖 丿讴賵乇貙 賲賵爻蹖賯蹖 賵 亘爻蹖丕乇蹖 毓賵丕賲賱 鬲蹖丕鬲乇蹖 丨鬲蹖 賳賵乇 賵 丿蹖丕賱賵诏貙 亘蹖丕賳诏乇 乇賵丨 賲鬲賳 丕爻鬲. 亘賴 毓亘丕乇鬲蹖 賳賲丕蹖卮 蹖讴 丕孬乇 鬲丕 丨丿 賲賲讴賳 亘丕 丨乇讴丕鬲 亘丿賳蹖 亘丕夭蹖诏乇. 賳馗乇蹖賴 蹖 诏乇賵鬲賵賮爻讴蹖 讴賴 丿乇 賵丕賯毓 賳賯胤賴 蹖 倬丕蹖丕賳蹖 亘賵丿 亘乇 丕噩乇丕賴丕蹖 讴賱丕爻蹖讴 鬲蹖丕鬲乇貙 賴賲 趩賳丕賳 丿乇 讴丕乇诏丕賴蹖 亘賴 賳丕賲 "丕賵丿賳 鬲蹖丕鬲乇" 丿乇 噩賳賵亘 丿丕賳賲丕乇讴貙 賵 鬲賵爻胤 蹖讴蹖 丕夭 卮丕诏乇丿丕賳 賲卮賴賵乇 诏乇賵鬲賵賮爻讴蹖 亘賴 賳丕賲 "丕賵跇賳蹖 亘丕乇亘丕" 鬲丿乇蹖爻 賲蹖 卮賵丿 賵 亘爻蹖丕乇蹖 丕夭 亘夭乇诏丕賳 鬲蹖丕鬲乇 丕賲乇賵夭 噩賴丕賳貙 丿賵乇賴 丕蹖 丕夭 亘丿賳 爻丕夭蹖 賵 賮乇丕诏乇賮鬲賳 丕氐賵賱 丌賳 亘乇 乇賵蹖 氐丨賳賴 乇丕 丿乇 丕蹖賳 讴丕乇诏丕賴 丌賲賵夭卮 丿蹖丿賴 丕賳丿.
February 5, 2008
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 for drama students or anyone interested in theater theory/history.
January 20, 2014
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.
August 21, 2012
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.
January 19, 2024
A must read. Yeah man! ACTING!
April 3, 2016
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 magic by magic, cosmic trance by cosmic trance" (89). In a way there may be a purpose to this abstract description, but I found Grotowski's much more exact and scientific descriptions clearer and more useful. For Grotowski the entire purpose of his work was a (semi-)scientific examination of how the actor's art works. This goal contributes to a style where he lays out the goals of his methodology as clearly as possible, though he does sometimes still fall back into abstracts.
September 3, 2021
I've read this collection now a few times and it is a good manual for his ideas. A lot of the work in this collection can be found in other publications like the Schechner source book. It's an interesting read. Grotowski did abandon a lot of his work in this period later as tried to expand his ideas, but this book serves as a monument to certain ideas, and productions.
August 31, 2008
Jerzy Grotowski developed techniques for actors in the late '60's. He's a classic tortured artist philosopher. The real deal.
April 11, 2012
The publicotropist in me just got smashed in the face by a Grotowski-shaped brick. God DAMN.
August 17, 2023
賲亘丕乇夭賴 胤賱亘蹖.賳賴 賮賯胤 亘乇丕蹖 蹖讴鈥屫辟堌� 賵 鬲賳賴丕 蹖讴鈥屫ㄘж� 丿乇 夭賳丿诏蹖貙讴賴 亘乇丕蹖 賴賲蹖卮賴.
April 14, 2023
n茫o vou escrever uma review porque j谩 tive de escrever um ensaio.
MAS
MAS
May 3, 2023
Via Negativa
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July 1, 2024After reading 's "Homeland Elegies," I was interested that he'd trained with Grotowski. In "My Dinner With Andre," Andre describes the strange rituals he underwent at Grotowski's theater training center in Italy. Grotowski's trip to the US in 1968 (documented in this book) made a big impact on NYC avant-garde theater, laying the foundation for projects like Wooster Group (and therefore you can imagine a connection to the work of who got his start there.) Richard Schechner, who conducts some of the intervews here, was ousted as the director of Wooster Group by the group's leader Elizabeth LeCompte and Schechner is now known primarily as a performance theorist advocating "efficaciousness" (e.g. the idea that performance could create an actual change in the world) rather than entertainment. (And thus the vigorous debates between the Schechnerians and the anti-Schechnerians in the UCLA performance theory departments or so I'm told.) It's also easy to see the potential for abuses of power in this conception of theater as explored in Susan Choi's novel . It's interesting to think about this book as a guide for writing.
December 13, 2015
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 view that would have to occur from modernist purity. This is a very rational approach to theater.
January 6, 2010
"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.
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.
March 31, 2007
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.
July 25, 2009
Strip it down to its bare elements.
Want to read
May 25, 2010Dulu pernah punya terjemahannya: Menuju Teater Miskin. Tapi sekarang entah di mana. Mau cari lagi. Ada info?
July 28, 2011
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.
August 12, 2012
Excellent and interesting. The whole roles of the actor and playwrights are changed. An inspirational book.
August 15, 2012
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.
October 9, 2012
rereading -- towards a poor poetics? -- the power of post...?
January 10, 2013
i miss this.
December 31, 2012
this is one of the greatest books ever written.
January 12, 2022
Grotowski plantea una b煤squeda constante en el teatro, a trav茅s de su Laboratorio Teatral. Este espacio est谩 consagrado a la investigaci贸n del dominio del arte teatral y del arte de actuar en particular, puesto que actor y espectador son los 煤nicos elementos sin los cuales el teatro no puede existir (el teatro puede existir sin vestuario, escenario, m煤sica, luces o texto).
Su trabajo consiste en aplicar una tensi贸n elevada al extremo, una desnudez total y una exposici贸n absoluta de su propia intimidad. Es una t茅cnica del 鈥渢rance鈥�, o el 鈥渁cto total鈥�, un acto que comprometa todo su ser m谩s all谩 de aquellos l铆mites que normalmente haya conocido.
Su proceso es una v铆a negativa: no es una colecci贸n de t茅cnicas, sino la destrucci贸n de obst谩culos. No es una acumulaci贸n de signos, sino una destilaci贸n, eliminando los elementos de conducta natural que oscurecen el impulso puro.
Las obras que representan se basan en grandes cl谩sicos polacos e internacionales, siempre asociadas a mitos en la conciencia colectiva. Hace una revisi贸n del problema del mito: ahora nos relacionamos con 茅l de forma personal, no colectiva, por la falta de una fe com煤n. S贸lo una confrontaci贸n con el mito es posible: el teatro debe atacar los complejos colectivos de la sociedad. La fuerza de las grandes obras consiste en su efecto catal铆tico: abren puertas para nosotros, ponen en marcha nuestra autovigilancia. El texto es una especie de escalpelo que nos permite abrirnos a nosotros mismos, trascendernos, encontrar lo que est谩 escondido dentro de nosotros y realizar el acto de encuentro con los dem谩s, trascender nuestra soledad.
Fue entrenado por Stanislavski: plantea mismas preguntas para llegar a un m茅todo (鈥溌縞贸mo puede hacerse esto?鈥�), llega a conclusiones distintas: su v铆a negativa. Cualquier m茅todo que no se proyecte hacia lo desconocido es malo: aprendo en el proceso de montaje, no antes.
Uno de sus principios es que la espontaneidad y la disciplina, en lugar de contraponerse, se refuerzan entre s铆. Esta lecci贸n no fue entendida ni por Stanislavski, que dej贸 que los impulsos naturales dominaran, ni por Brecht, que subray贸 demasiado la construcci贸n de un papel.
Lo medular del teatro es el encuentro, un acto de autorrevelaci贸n, en el que el actor establece contacto consigo mismo, una extrema confrontaci贸n, sincera, disciplinada, precisa y total, no meramente una confrontaci贸n con sus pensamientos sino una confrontaci贸n que envuelva su ser 铆ntegro, desde sus instintos y su aspecto inconsciente hasta su estado m谩s l煤cido.
El arte de la actuaci贸n se basa en estimular el proceso de autorrevelaci贸n, llegando hasta el inconsciente, pero canalizando los est铆mulos a fin de obtener la reacci贸n requerida; ser capaz de articular el proceso, disciplinarlo y convertirlo en signos; y eliminar del proceso creativo las resistencias y los obst谩culos causados por el propio organismo (f铆sico y ps铆quico). El proceso creativo consiste no en revelarnos nosotros mismos, sino en estructurar lo que se ha revelado.
El texto tiene muchos niveles de lectura posibles. En primer lugar, es una declaraci贸n de intenciones y principios, que sirven para concebir un tipo de teatro y no otros (un teatro pobre, con ideas acerca de la 茅tica, moral, disciplina, dedicaci贸n, atenci贸n, etc.). Por otra parte, es una suerte de recursos po茅ticos, de la misma manera que 茅l explica Artaud, que me sirven como inspiraci贸n abstracta a las posibilidades del teatro, como un camino infinito que se ha de seguir, porque el objetivo final (la trascendencia y la liberaci贸n de todos los obst谩culos) queda muy lejos, sino en un lugar imposible.
Adem谩s, es muy interesante la lectura desde el punto de vista contempor谩neo: es 2022, y muchos patrones en cuanto a los movimientos teatrales, la vanguardia y los modos de teatro predominantes han cambiado. Hoy en d铆a, es complicado concebir una compa帽铆a como la de Grotowski, con tales exigencias y dedicaci贸n, y tan fuera del 谩mbito comercial. An谩logamente, son una suerte de artesan铆a: objetos de gran valor y complicada producci贸n, pero con un coste tan elevado que la sociedad actual no puede o quiere permit铆rselos, acudiendo antes a productos fabricados en grandes producciones, que abaratan costes (teatros comerciales, con tiempos de ensayo que no permiten la creatividad, profundidad o trascendencia, en la mayor铆a de los casos).
Su trabajo consiste en aplicar una tensi贸n elevada al extremo, una desnudez total y una exposici贸n absoluta de su propia intimidad. Es una t茅cnica del 鈥渢rance鈥�, o el 鈥渁cto total鈥�, un acto que comprometa todo su ser m谩s all谩 de aquellos l铆mites que normalmente haya conocido.
Su proceso es una v铆a negativa: no es una colecci贸n de t茅cnicas, sino la destrucci贸n de obst谩culos. No es una acumulaci贸n de signos, sino una destilaci贸n, eliminando los elementos de conducta natural que oscurecen el impulso puro.
Las obras que representan se basan en grandes cl谩sicos polacos e internacionales, siempre asociadas a mitos en la conciencia colectiva. Hace una revisi贸n del problema del mito: ahora nos relacionamos con 茅l de forma personal, no colectiva, por la falta de una fe com煤n. S贸lo una confrontaci贸n con el mito es posible: el teatro debe atacar los complejos colectivos de la sociedad. La fuerza de las grandes obras consiste en su efecto catal铆tico: abren puertas para nosotros, ponen en marcha nuestra autovigilancia. El texto es una especie de escalpelo que nos permite abrirnos a nosotros mismos, trascendernos, encontrar lo que est谩 escondido dentro de nosotros y realizar el acto de encuentro con los dem谩s, trascender nuestra soledad.
Fue entrenado por Stanislavski: plantea mismas preguntas para llegar a un m茅todo (鈥溌縞贸mo puede hacerse esto?鈥�), llega a conclusiones distintas: su v铆a negativa. Cualquier m茅todo que no se proyecte hacia lo desconocido es malo: aprendo en el proceso de montaje, no antes.
Uno de sus principios es que la espontaneidad y la disciplina, en lugar de contraponerse, se refuerzan entre s铆. Esta lecci贸n no fue entendida ni por Stanislavski, que dej贸 que los impulsos naturales dominaran, ni por Brecht, que subray贸 demasiado la construcci贸n de un papel.
Lo medular del teatro es el encuentro, un acto de autorrevelaci贸n, en el que el actor establece contacto consigo mismo, una extrema confrontaci贸n, sincera, disciplinada, precisa y total, no meramente una confrontaci贸n con sus pensamientos sino una confrontaci贸n que envuelva su ser 铆ntegro, desde sus instintos y su aspecto inconsciente hasta su estado m谩s l煤cido.
El arte de la actuaci贸n se basa en estimular el proceso de autorrevelaci贸n, llegando hasta el inconsciente, pero canalizando los est铆mulos a fin de obtener la reacci贸n requerida; ser capaz de articular el proceso, disciplinarlo y convertirlo en signos; y eliminar del proceso creativo las resistencias y los obst谩culos causados por el propio organismo (f铆sico y ps铆quico). El proceso creativo consiste no en revelarnos nosotros mismos, sino en estructurar lo que se ha revelado.
El texto tiene muchos niveles de lectura posibles. En primer lugar, es una declaraci贸n de intenciones y principios, que sirven para concebir un tipo de teatro y no otros (un teatro pobre, con ideas acerca de la 茅tica, moral, disciplina, dedicaci贸n, atenci贸n, etc.). Por otra parte, es una suerte de recursos po茅ticos, de la misma manera que 茅l explica Artaud, que me sirven como inspiraci贸n abstracta a las posibilidades del teatro, como un camino infinito que se ha de seguir, porque el objetivo final (la trascendencia y la liberaci贸n de todos los obst谩culos) queda muy lejos, sino en un lugar imposible.
Adem谩s, es muy interesante la lectura desde el punto de vista contempor谩neo: es 2022, y muchos patrones en cuanto a los movimientos teatrales, la vanguardia y los modos de teatro predominantes han cambiado. Hoy en d铆a, es complicado concebir una compa帽铆a como la de Grotowski, con tales exigencias y dedicaci贸n, y tan fuera del 谩mbito comercial. An谩logamente, son una suerte de artesan铆a: objetos de gran valor y complicada producci贸n, pero con un coste tan elevado que la sociedad actual no puede o quiere permit铆rselos, acudiendo antes a productos fabricados en grandes producciones, que abaratan costes (teatros comerciales, con tiempos de ensayo que no permiten la creatividad, profundidad o trascendencia, en la mayor铆a de los casos).
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