3 was a theatre director and the founder of the experiment based theatre style, ‘Poor Theatre.’ Grotowski understood the influence and impact both film and television had on the popularity of theatre of the 1970s and thus aimed to strip down theatre to its purist form. ’’Consequently, I propose poverty in theatre. We have resigned from the stage-and-auditorium plant: for each production, a new space is designed for the actors and spectators. Thus, infinite variation of performer-audience relationships is possible. The actors can play among the spectators, directly contacting the audience and giving it a passive role in the drama. “. With his adviser Ludwig Flaszen, Grotowski abandoned the use of lavish costumes and highly detailed sets. Similarly to other avant –garde practitioners he aimed to change the already existing conventions or “excess” within theatre. Poor theatre productions place emphasis on the actors/actress’ and began to use minimal props. Poor theatre can be performed anywhere and due to this it is a style used within contemporary theatre.
Poor theatre essentially focuses on the physicality of the actors and would use props for transformation into other objects often as a motif. Grotowski argued that “actors should not be taught a predetermined set of skills’. He wanted the acting to come across as genuine and trained his actors for a number of years. Grotowski stated that in the laboratory there should be ‘unlimited time’ in the creation process showcasing his meticulous approach towards theatre bith physically and mentally. In regard to his rehearsal techniques and practices Grotowski was highly influenced by the work of Constantin Stanislavski, Berthold Brecht and Meyerhold, however He praised Stanislavski’s system stating he was “the first great creator of a method of acting”. Similarly to Stanislavsky, Grotowski’s rehearsal techniques aimed for his actors to draw emotion and self- revelation. Grotowski argued that “there can be no true creative process within the actor if he lacks discipline and spontaneity.” Actors therefore need to master a method. In regard to semiotics Grotowski once said “the important thing is to use the role as a trampoline, a chance to study and play with what is behind our masks. Creativity, especially where acting is concerned, is boundless sincerity, yet disciplined”. Showcasing his attention to detail and the constant trend of him separating the actor from to roll into him/herself, although The Grotowski’s artistic ideology and rehearsal techniques are regarded as the most extensive some criticize his approach on the grounds “his work is somewhat ambiguous and confusing, with Grotowski sometimes talking in riddles. The artistic ideology and rehearsal techniques of Jerzy Grotowski will be further assessed.
‘Poor theatre’ developed in the 1960s was Grotowski’s non- commercial response to the growing film and television industries, Grotowski believed that theatre couldn’t compete will film so shouldn’t try to. Grotowski’s theatre aimed to train actors using spiritual, physical and ritualistic aspects of theatre as well as creating a new found bond between actor and spectator eliminating the division between the two. Poor theatre often explored taboo topics such as politics and war as well as themes such as discovery, death, fear, spirituality and religion.
Grotowski’s theatre had references to social and political context through his use of intertextuality. His work had great social and educational significance. For example Grotowski lead a production of a play named Akopolis set in Auschwitz Germany based on the concentration camps. This was socially accurate at the time considering the concentration camps were located 60 miles away from where the 13 row theatre later to be known as the laboratory theatre was located. This example of Grotowski’s bravery as a director earned him much attention and was the key in launching his career. Grotowski also showed great versatility as a director in the way in which he could adapt a script and create new wrinkles in a character. Grotowski also lead a production of the play doctor Faustus going against tradition and having the character act as a comedic one. Grotowski also went against the traditional naturalistic practices as he had his actors using their bodies as various objects on the stage, creating an unusual setting for the audience because they had been exposed to rich or naturalistic theatre at the time. Grotowski also sat his audience in and amongst the actors as they were present for Faustus’ last supper setting the foundation for the immersive style theatre we see often today. Grotowski thus relinquished the grand set designs, historical costumes, music, as well as traditional seating styles having audience members seated across around or within the action. Only fixed lights were used, the set had now become bare places and most notably Grotowski had placed emphasis on the vocal and physical qualities of his actors.
Many argue that Grotowski’s techniques are the most extensive in regard to actor development since Stanislavski. Poor theatre proposed new challenges for actors. For example the removal an elevated stage. Grotowski’s poor theatre commanded actors to perform at a high level through stringent and highly intense rehearsal methods. Its overriding aim is to prepare the actor to perform at such a high level that they could immerse their audience in the production. Grotowski similarly to Stanislavski relied on the importance of authentic acting however used more physicality and his actors would have had to be fit. Traditional spaces were discarded. Grotowski elected rooms and buildings. Poor theatre required the simplest possible use of staging, lighting costumes and special effects this enabled actors to transform empty spaces and mundane objects to a variety of things. Symbolism was essential in conjunction with the relationship between the actor and audience. Like Stanislavski Grotowski emphasized the use of emotional memory to recall an experience and recreate the feeling with that memory, demanding total honesty in order to make the performances come across as genuine. The performance style of poor theatre was very intense, the actors were very physical and had to use their bodies as a variety of things notably props. There were also few limitations with Grotowski’s poor theatre, for example Stephan Nunn argues “the austere approach can be a beautiful thing, but as an artistic matter it’s rather hermetic. At worst it can be annoying and inspire a kind of zealotry”.
Grotowski coined the term ‘via negativa’ which refers to actors eliminating all limitations and unwanted stage habits enabling the actor to immerse themselves in their respective characters whilst also giving Grotowski the opportunity to rebuild the actor/actress from the ground up. The “paratheatre” was another term coined by Grotowski to create a connection based theatre style aimed to break traditional connotations between actor and audience. Paratheatre was also performed in public buildings and obscure rooms. Grotowski’s rehearsal concept can be broken into 9 categories, acting through focus and awareness, working in silence, physical training, voice, human contact, transformation, memory, evoking silence and truth. Grotowski focused on developing actors physical capabilities as he aimed for their bodies to be the essential part of performance. Grotowski believed physical exhaustion brings fourth genuine emotion and thus required his actors to do high amounts of cardio exercises. Often jogging in circles and sometimes running through woods naked. Yoga was used as a precursor to these sessions used for the stretching and warming up of the muscles actors needed to maintain high level performances.
Working in pairs using neutral masks Grotowski enabled his actors were to mirror each other’s movements in slow motion. This was beneficial to the actors as it promotes self -awareness, chemistry and full potential of the body within the space. Grotowski also would have actors create a series of freeze frames depicting various situations that show both actors asleep, unconscious and finally death, a method very demanding however when observing the physical actions the other actors gain a deeper understanding of the darker themes associated with Poor theatre, notably death. The final rehearsal technique Grotowski would use with the neutral masks was simply having an actor perform a series of physical movements and gestures for their partner to later repeat. This enables actors to improve concentration, focus and remain observant. Giving the actor a third eye in regard to their personal performance as well as encouraging actors to get
A key component of Actor development in Grotowski’s system was voice work. Grotowski placed high value on the affect dialogue had in the performance and stated “the means of verbal expression have been considerably enlarged because of all means of vocal expression are used, starting from the babbling of a very small child and including the most sophisticated oratorical relation”. Vocal training was paramount and Grotowski’s actors could effortlessly change their tone from very high and very low whilst being clear enough to hear. Grotowski believed that should his actors achieve this degree of vocal skill a process of “interior ripening”. One technique Grotowski famously used was to have an actor identify nine parts of which become a channel of sound and physicality. This exercise was beneficial as it relevant to the individual and through this one’s voice also develops.
Moving to the ritualistic connections to Poor theatre Grotowski would often have his actors improvise rituals where they would experiment vocally sometimes with songs which they would in turn use for the text based rehearsals where in which Grotowski would take an established text and task his actors with creating transformational theatre aiding creativity whilst making sure his actors were able to think on their feet. Grotowski’s critics however argued that his methods bear no relevance to theatre practice and are too extreme. Although Grotowski was quoted “we do not cater for the man who goes to the theatre to satisfy a social need for contact with culture”.
In conclusion Grotowski’s “poor theatre” has both positive and negative aspects. Grotowski created a highly sophisticated method which many see as the most detailed since Stanislavski as he too placed emphasis on genuine emotions whilst performing. Poor theatre also laid down the foundation for the immersive style theatre we see today as Grotowski elected to break the fourth wall and sit amongst the audience thus creating a new relationship between the performers and the audience by stripping away the excess of theatre Grotowski had a new found canvas on which he could completely construct transformational theatre. With settings and costumes relevant to contemporary theatre. However Grotowski is criticized on the grounds that his artistic approach to theatre is perhaps too gung ho in terms of the disapproval of lighting, costume and set designs as well as not being entirely clear in quotes often talking in riddles, despite this though Grotowski is still held in high regard and although there aren’t many Poor theatre practitioners his teaching methods are still very much prevalent in theatre today.’
Bibliography
• https://www.youtube.com/watch?v=TQVgQpP_9Tk
• http://www.telegraph.co.uk/culture/donotmigrate/3620594/Culture-quake-towards-a-poor-theatre.html
• http://culture.pl/en/artist/jerzy-grotowski
• http://owendaly.com/jeff/grotows2.htm
• http://culture.pl/en/artist/jerzy-grotowski#second-menu-1
• https://www.youtube.com/watch?v=y1nA4HCa6zI