New PDF release: An Acrobat of the Heart. A Physical Approach to Acting

By Stephen Wangh

ISBN-10: 0307554139

ISBN-13: 9780307554130

"The actor will do, in public, what's thought of impossible." whilst the well known Polish director Jerzy Grotowski all started his 1967 American workshop with those phrases, his scholars have been shocked. yet inside of 4 weeks they themselves had skilled the "impossible."

In An Acrobat of the Heart, teacher-director-playwright Stephen Wangh unearths how Jerzy Grotowski's actual routines can open a pathway to the actor's internal creativity. Drawing on Grotowski's insights and at the paintings of Stanislavski, Uta Hagen, and others, Wangh bridges the space among rigorous actual education and useful scene and personality strategy. Wangh's scholars provide candid descriptions in their struggles and breakthroughs, demonstrating easy methods to rework those extraordinary classes right into a own trip of inventive development. brave and compelling, An Acrobat of the Heart is a useful source for actors, administrators, and lecturers alike.

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Additional resources for An Acrobat of the Heart. A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski

Example text

My acting teachers would tell me only what I was doing wrong, and now I don’t trust myself anymore. ” “I agree,” I say. “There are many jobs in this world that you can do well even if they are no fun. But you cannot act without joy. On the other hand, learning to act can also be hard work. So maybe the first question we must ask is, How can you work hard at something that is, basically, pure fun? ” “The answer? I don’t know. Our work here is fundamentally the process of asking questions. ” So this is how my first class begins with a group of students.

The knowledge that although you must find your own path, you are not alone in your solitude. The solitude you feel is one that others also experience, and the path you walk runs parallel to tracks that others have walked before. The external forms this book teaches include the plastique and the corporel exercises of Jerzy Grotowski. But as you study these forms it is important to remember that the exercises themselves are not a “method”; they are merely provocations, hints, ways of posing questions that can serve as trailheads into the wilderness of your personal process.

Again and again Grotowski turned our attention to the space around us, until finally we began to perceive that the world we inhabit is not actually empty at all. It is filled with the imagery that we project into it, and therefore everything an actor does is not so much an act of doing as it is a response to a real or an imaginary partner. Starting the second week of our workshop, Grotowski began to coach us in monologues and scenes from Shakespeare. And here again his approach was baffling, for he seemed to work differently with every actor in the group.

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An Acrobat of the Heart. A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski by Stephen Wangh


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