By Thomas Richards
`I think of this e-book a worthy file that allows one to assimilate a few of these uncomplicated and easy ideas which the self-taught from time to time come to grasp, but simply after years of groping and error. The booklet furnishes information about discoveries which the actor can comprehend in perform, with no need to begin every time from 0. Thomas Richards has labored with me systematically considering the fact that 1985. this present day he's my crucial collaborator within the study devoted to artwork as Vehicle.' - from the Preface by means of Jerzy Grotowski
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Extra resources for At Work with Grotowski on Physical Actions
Afterwards, the person who had done the “mystery play” was asked to recount the actual story he was trying to tell. In this way we could see how successful the actor had actually been in telling his story. Second: Did you believe? Sometimes a “mystery play” might work when, despite the fact that we did not understand, we believed what the actor had done, and as a result we felt or 36 received something from his work. Then one might say: “I did not understand, but I believed,” and the “mystery play” could be said to be on the right track.
Despite the confused ending to our improvisation, afterward I felt drained and happy with myself. ” In his analysis, Grotowski shocked our entire group by thanking us for showing him all the clichés of “paratheatrics” (or “participatory theatre”). He said in “paratheatrics” certain clichés inevitably appear, and he was astounded that they had appeared in the presentation of we young students who had not yet been exposed to such work and learned these clichés from others. Thus it was possible for him to see that such clichés were universal human banalities, not just limited to certain groups of people involved in this type of work.
We had fought to do something more profound than normal theatre; we thought we were superior, but in result we had just created banal theatre. Our actions had become wooden and forced. The key to this disaster lay not in any lack of commitment and, though young, the director was a very intelligent and gifted artist. But despite his and our overflowing commitment, finally we lacked the technique to fix a living process, and the ability to repeat it. After that experience I acted in two more plays, both performed in Greenwich Village in New York.
At Work with Grotowski on Physical Actions by Thomas Richards