Jerzy Growski And Poor Theatre

Question 1

What is “Toward’s a Poor Theatre”?

Answer 1

A book (1968) which which Jerzey Grotowski described and explained his theatre of “Poor Theatre”.

Question 2

What happened in 1959?

Answer 2

Grotowski travelled to Paris where he met mime artist, Marcel Marceau.
Mime is aching whole-heartedly with the body, using gestures and facial expression to convey multiple meaning, but no sounds.
Marceau’s incredible talent in mime deeply impressed Grotowski.

Question 3

What did Grotowski believe about drama?

Answer 3

He returned to “the very root” of acting, when performances were spiritual rituals conducted by some of the earliest indigenous people on earth.
He felt drama should be to cater for spiritual rather than entertainment needs of those involved.
He hoped watchers would be provoked to reflect inwardly about themselves and their own perceptions.

Question 4

Discuss poor theatre costume, effects etc?

Answer 4

Costume was nondescript.
Musical effects replaced with sound off.
Small, intimate performance space-closer emotional connection between performer and audience.

Question 5

How did Grotowski describe his approach?

Answer 5

Used the word “asceticism” (austerity, self-denial) to describe his approach.

Question 6

Where did grotowski teach the techniques of poor theatre?

Answer 6

In the laboratory theatre

Question 7

What did poor theatre include? (5)

Answer 7

Not allowed theatrical make-up or costumes.
Changing role or character done through skilful manipulation of voice and body.
No music, all sound from performers themselves.
Ambiguous theatrical properties only. Ambiguous prop (shape not so specific to define its function).
No use of auditorium or proscenium arch stage. He preferred large room could be rearranged.

Question 8

What’s one of grotowskis most well known productions

Answer 8

Akropolis

Question 9

Describe akropolis

Answer 9

Performers play roles of prisoners in Auschwitz concentration camp.
Acting area filled with large pieces of discarded metal, broken wheelbarrows, stovepipes.
Audience arranged on wooden cots similar to which prisoners slept, arranged haphazardly around the space. (Actors all around them)
Audience represented the dead.
Performers conducted the cruel work routines of concentration camp, but also daydreams of prisoners.
Climax of Akropolis-actors start viciously attacking the metal objects, breaking them even further, before building new metal structure over heads of audience.
Supposed to remind spectators of gas chambers.

Question 10

Describe the Holy Actor

Answer 10

Needs to make a gift of himself by working from deep within.
Concentrate with absolute intensity-almost meditative manner.
Refers to idea of immense dedication required from actor. Actor gives themself so no longer hold own characteristics or mindset.
Relates to religious sacrifice: holy actor offers themself to achieve profound liberation.
Needs to get rid of all own mannerisms, habits.
This is needed before can be process of deep psychological discovery.

Question 11

Desribe via negativa

Answer 11

The uncluttering of the mind
Process performer can become holy actor.
Grotowski belived work made up of ‘systems’ and these ‘systems’ prevent actor from truly bonding spiritually with character.
Via negativa removes systems so performer become in tune with heartbeat, breathing patterns, hand and body positions.
Ultimate goal is profound awareness.

Question 12

What is needed to achieve via negativa? (3)

Answer 12

Absolute silence
Exclusion of all thoughts from mind
Intense concentration on respiration and even slightest movement

Question 13

Discuss physical actor exercises

Answer 13

Growoski trained his actors hard.
Believed it essential for performer be physically fit and healthy-powerful acting tool.
Actors went through heats of physically demanding rehearsals every day-even gymnastics acrobatics.
Muscular blocks were one of systems he believed needed to be broken down through via negativa and challenging strength and stamina of actors physicality.
He recommended intense yoga and meditation sessions.
Needed to free mind of superficial, distracting thoughts preventing becoming holy actor.
Demanding breath control exercises-organs of speech and vocal resonators used to convey sacred purpose of drama.

Question 14

Why was physical training important? (3)

Answer 14

Made body stronger and more flexible tool for performance.
Broke down self-consciousness and inhibitions.
By demanding from body, also demanding much from mind.

Question 15

Describe actor-audience relationship

Answer 15

Grotowski considered drama sacred ceremony shared by both actor and audience.
For ceremony to be psychologically profound and intense. He recommended audience be small/med sizes.
Felt impossible to share emotional connection with vast anonymous audience.

Question 16

Describe staging

Answer 16

Grotowski insisted acting space be stripped bare.
Only essential, non-distracting elements remained within space.
No ‘easy’ modern technologies-music, light effects.
Mood or atmosphere of scene created purely through delivery of actors.
Ambiguous theatrical properties allowed-audience use imagination.
Drama should not be elevated on a stage.
Raising drama on stage above level of audience create separation and emotional barrier.
Audience must be immediately accessible.