Jerzy Grotowski’s Poor Theatre

Theatre Practitioner
ア. Grotowski played a major part in the development of “transformational
theatre”

イ. At the heart of his works was a drive to create highly original works
where actors not only created characters but also a huge imaginary
world

ウ. Actors were required to create locations, sounds, objects and character

using minimal sets and props by manipulating their expressive and
performance skills. In short, transform the imagination of the audience
by transforming themselves.

エ. Stanislavski and Grotowski both focus on actor/audience relationship

but Grotowski used the actors a lot more as an item instead of using
props.

オ. Grotowski’s technique can help us to concentrate more effectively, use

our bodies and voices more skilfully and develop greater self-
awareness. Grotowski’s system is a way of life, not just a training
program. It produces people of extraordinary physical and vocal skill,
totally dedicated to their art, and outstanding in their emotional
maturity. His training works on commitment, discipline, dedication,
cohesion and focus! And most importantly... trusting yourself and each
other.

カ. His actors were so vocally an physically skilled that they could

communicate clearly though sounds ad movements. The actors would
create an inner harmony and peace of mind that would keep then
healthy in both mind and body. Grotowski actors believed that acting is
a search for self-knowledge and awareness. Their style of training
taught them to break free of limitations and realise their full potential.

キ. Grotowski stated that an actor must begin by doing nothing! He

believed that if a group of actors could remain completely still for
several minutes without disturbances, then they would be able to
concentrate more intensely and use it as a creative passage.

ク. His actors were extremely physically skilled. They developed a

technique of movement which allowed to control every move they
made, even the smallest in every detail. It is our bodies that express
 everything about us. Everything we think and feel is expressed through
our bodies and everything we experience is felt through our bodies. He
gave the actors physical skills for fully expressing their imaginations
and their personalities.

ケ. Vocal training was essential. They focussed their voices as though they
were coming from different parts of their bodies. They used full
registers of their voices from very high to very low. He emphasised
clarity and used techniques such as singing, chanting and reciting
poetry. All actors were so vocally strong that they were able to recite
atmospheric sounds of the world such as mechanics, animals, thunder
and so on. To Grotowski the voice is and instrument.

コ. He believed in true contact between human beings. He believed that

real harmony in human relationships only developed when people
really learned to look a each other and listen to each other. He wanted
to be more aware of the impact they had on other people.

サ. In his ‘poor theatre’ he always aimed for the simplest possible use of
staging, lighting, costumes and special effects. This forced actors to
use all their skills to transform empty spaces and simple objects into a
whole range of imaginative worlds. Symbolism was essential in this
form of theatre. In the theatre of poverty, the only important elements
were the actors themselves and their relationship with the live
audience. Often actors in the audience’s personal spaces, close
enough to touch them. Grotowski arranged the space he was using so
that the audience would be completely involved in the theatre as
possiblel.

シ. Like Stanislavski, Grotowski emphasised the use of emotion memory to

recall an experience and recreate the feeling that went with that
memory. He demanded total honesty and total commitment from his
actors in their use of emotion memory. They has to make use of all
their memories, no matter how painful or private. This made their
performances genuine. Through this process, actors would come closer
to knowing the the truth about themselves. It is an important path to
self-knowledge. Grotowski demanded total commitment an belief in
every activity, even the simplest exercise.

ス. Grotowski stated that an actor must begin by doing nothing. He called

this creative passivity . He believed that if a group of actors could
remain completely still for several minutes in complete silence , with
no outside noises or disturbances, then they would begin to experience
 an internal silence as well. By making this silence happen, by evoking
it, they could learn to concentrate intensely.

セ. Grotowski warned his actors to avoid what he called ‘The beautiful lie’,
both on stage and in their everyday lives. By this he meant doing
something just because it looked good or because it was what people
expected them to do.

QUIZ
1. What did Grotowski believe was the true nature of acting

The connection between the actor and the audience

2. Explain in what three ways Grotowski’s system of training was a “way

of life”

It produces people of extraordinary physical and vocal skill, totally

dedicated to their art, and outstanding in their emotional maturity.

3. In what way did Grotowski see actors as poets

He said that feelings and emotions could be shown by the body and not
only by words and poetry

4. Why did Grotowski want his actors to “evoke silence”

Because if they could be completely silence then they were able to

concentrate intensely

5. Why did he believed physical training was so important

Because training taught them to break free of limitations and realise their
full potential.

6. Name two ways Grotowski trained his actor’s voices

He made them practise using very high to very low voices and singing and
reciting poetry

7. Why was “Human contact” important to Grotowski’s training

Because he wanted them to be able to act as props and feel comfortable

in contact with each other to that they were able to experiment with
different actions
8. In what ways was Grotowski’s theatre “poor”

They used minimal/no props, sets and costumes so that the full attention
was on the actor and they had to able to set the scene and be able to tell
the story through there emotions and actions

9. Come up with TWO OF YOUR OWN WAYS to “transform” something on

stage using the conventions of ‘Poor Theatre’

You can become a prop or part of the set or you can become a character
and show detail and expressions

10.How did emotional memory help actors achieve “self-knowledge”

according to Grotowski

By using emotional memory the actors would reflect on things that

happened to them in life and this helped them to learn more about who
they are

11.What do you believe is meant by “The Beautiful Lie”

Doing what is expected of you or what looks good instead of what feels
right

12.How do you feel about about Grotowski’s system? What do believe will
be challenging and/or rewarding

I feel that Grotowski’s methods are very rewarding and you can emerge a
more vocally, physically and emotionally stronger person. But... it is also
extremely challenging and requires intense focus and dedication

13.What is SIMILAR and DIFFERENT between Stanislavski’s and

Grotowski’s use of emotional memory

They both focused a lot on Actor Audience Relationship but Grotowski

used a lot less props and he tended to use his Actors as items.