Into to Making Theatre April 22, 2013
Directing Paper: Grotowski
In the realm of theater, and specifically directing, there have been numerous prominent influences that have constructed innovative and fascinating theories on how to maximize the potential of a performance; perhaps none more so than Jerzy Grotowski who is renowned as one of the most influential pioneers of the experimental theater movement. More specifically, Grotowski is recognized for his revolutionary work, which incited communities of the 20th century to redefine theater and its place in contemporary society. His most famous contribution to the theater world was his notion of Poor Theater. This work will examine Grotowski’s background, inspirations, directing style, productions that are affiliated with him, and at this work’s conclusion Grotowski’s influence on the theater realm will be made apparent. Jerzy Grotowski was born on August 11, 1933, in Rzeszow, Poland. He was raised predominantly by his mother, while his father was in the midst of World War II as a soldier of the Polish Army. When the Nazi presence increased in Poland, Grotowski fled with his mother to Krakow, where he enrolled in High Theatrical School. In 1955, he graduated with an acting degree and proceeded to pursue his aspirations of becoming a director by continuing his studies at the Lunacharsky Institute of Theatrical Arts in Moscow, Russia. While he was only at the institution for a year, it was here that Grotowski got his first taste of work performed by Stanislavsky, whom he later referred to as his “spiritual father” (Bellini-Sharp). Grotowski’s work was largely influenced by Konstantin Stanislavsky, as there are countless parallels in their work. One example of Grotowski’s view, “that it is not possible to be something without knowing it (Mitter 83)” coincides with Stanislavsky, who developed the internal approach to acting, which “involves identifying as closely as possible with the character to be played” (Arnold 125). The two found that acting could be done most effectively when actors reflected on their own personal experiences to find events and emotions that closely corresponded with the character. For example, to prepare for a role that involves fear, the actor must resort back to a time where he or she experienced something frightening, and attempt to reenact that fear that they once felt. In doing so, the actor embodies a connection with the character inciting a very psychological experience that makes its way from the brain throughout the body in character development. The sources of Grotowski’s inspirations were not limited to Stanislavsky. Arguably his greatest influence was Asian theater, which heavily emphasizes ritual theater. Through his study of Asian theater works, Grotowski began to define theater as two distinct entities: actor and audience (Schechner and Wolford 144). It is this notion that lead to the development of his directing style. Grotowski developed a unique approach to directing that stressed movement and physicality. Grotowski essentially abandoned all costumes and staging and resorted to working with all black sets and his actors in plain black rehearsal costumes. He believed through this technique he could evoke an actor’s dormant emotions to enhance the actor’s ability to connect with the character and produce a more realistic product for the actors and the audience. For example, he used actors’ bodies and voices to make sound, as opposed to using sound effects. Likewise, he refused to implement superfluous lighting designs and electronics, which eventually transformed into what he referred to as Poor Theater. Poor Theater essentially encompasses all of the aforementioned elements in an attempt to emphasize the true elements of theater, which in Grotowski’s view were solely the actors and the spectators. Grotowski utilized Poor Theater in numerous productions in his Laboratory Theater in Poland. These productions included one of his most famous, The Constant Prince, along with several others such as, Apoacalypsis Cum Figuris, The Tragical History of Doctor Faust, and Akropolis. The elements of Poor Theater in his productions often contained political and social themes. Despite limitations due to the natural gifts of the voice and body of the actor, Grotowski could convey sacred rituals of theatre and the themes of social transformation to the audience. Grotowski’s productions are widely accredited for the development of political theater in the 20th century. Jerzy Grotowski’s unique methodology of directing has made a tremendous impact on actor training. Many theatrical communities around the U.S. have gradually drifted away from conventional Western theater acting norms and have turned toward a more Grotowski based production. More specifically, Grotowski’s preference to put actors in a raw and natural environment has been adopted by many acting instructors all around the world and especially in New York. All in all, Grotowski left behind long and distinguished legacy that is very much positive and present in modern times.
References:
Arnold, Stephanie. The Creative Spirit: An Introduction to Theatre. The McGraw-Hill
Companies, Inc. New York, NY. 2011. Pg. 119-142.
Bellini-Sharp, Carole. "Grotowski Directing Style." Personal interview. 13 Apr. 2013.
Mitter, Shomit. Systems of Rehearsal: Stanislavsky, Brecht, Grotowski, and
Brook. London: Routledge, 1992. Print. Pg. 80-103.
R. Schechner and L. Wolford. The Grotowski Sourcebook. Routledge, London, England.
1997. Pg. 97-163.
