The Grotowski SourcebookRICHARD SCHECHNER, Lisa Wolford Wylam Routledge, 05.11.2013 - 548 Seiten This acclaimed volume is the first to provide a comprehensive overview of Jerzy Grotowski's long and multi-faceted career. It is essential reading for anyone interested in Grotowski's life and work. Edited by the two leading experts on Grotowski, the sourcebook features: *essays from the key performance theorists who worked with Grotowski, including Eugenio Barba, Peter Brook, Jan Kott, Eric Bentley, Harold Clurman, and Charles Marowitz *writings which trace every phase of Grotowski's career from his 'theatre of production' to 'objective drama' and 'art as vehicle' *a wide-ranging collection of Grotowski's own writings, plus an interview with his closest collaborator and 'heir', Thomas Richards *an array of photographs documenting Grotowski and his followers in action *a historical-critical study of Grotowski by Richard Schechner. |
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Seite xxvi
... scène . And what texts did Grotowski put into their hands ? During his Poor Theatre phase , Grotowski made text - collages from Polish and Greek classics and from the Bible ; or he used works such as Christopher Marlowe's Dr Faustus or ...
... scène . And what texts did Grotowski put into their hands ? During his Poor Theatre phase , Grotowski made text - collages from Polish and Greek classics and from the Bible ; or he used works such as Christopher Marlowe's Dr Faustus or ...
Seite 10
... scene [ s ] in the real lives of the participants ' ( 1984 : 70 ) . Individuals were " free to respond with ' active or passive reactions . " * but were " no longer invited to imagine - to do so would be inappropriate " ( 1984 : 49 ) ...
... scene [ s ] in the real lives of the participants ' ( 1984 : 70 ) . Individuals were " free to respond with ' active or passive reactions . " * but were " no longer invited to imagine - to do so would be inappropriate " ( 1984 : 49 ) ...
Seite 26
... scenes with his method of textual montage . The three are in conversation with each other , but are distinct . Grotowski is rare because he is a master of all three : actor training , mise - en - scene , and textual montage . Grotowski ...
... scenes with his method of textual montage . The three are in conversation with each other , but are distinct . Grotowski is rare because he is a master of all three : actor training , mise - en - scene , and textual montage . Grotowski ...
Seite 28
... scene : I used to be part of it . Our Theatre Laboratory productions are going in another direction . In the first place , we are trying to avoid eclecticism , trying to resist thinking of theatre as a composite of disciplines . We are ...
... scene : I used to be part of it . Our Theatre Laboratory productions are going in another direction . In the first place , we are trying to avoid eclecticism , trying to resist thinking of theatre as a composite of disciplines . We are ...
Seite 32
... scene ) . The " synthetic theatre " is the contemporary theatre , which we readily call the Rich Theatre -- rich in flaws . The Rich Theatre depends on artistic kleptomania , drawing from other disciplines , constructing hybrid ...
... scene ) . The " synthetic theatre " is the contemporary theatre , which we readily call the Rich Theatre -- rich in flaws . The Rich Theatre depends on artistic kleptomania , drawing from other disciplines , constructing hybrid ...
Inhalt
1 | |
38 | |
Textual montage | 56 |
Wyspianskis Akropolis | 64 |
Theatre Laboratory 13 Rzedow | 73 |
Grotowskis Apocalypsis | 88 |
Interview with Grotowski | 107 |
The Laboratory Theatre in New York 1969 | 114 |
The Vigil Czuwanie | 226 |
A prose meditation on Grotowski | 248 |
Lisa Wolford | 283 |
Grotowski or the Limit | 306 |
Some parallels in the training process | 312 |
Subjective Reflections on Objective Work | 328 |
Breaking the silence | 350 |
Objective Drama | 356 |
Why Should I Take Part in the Sacred Dance? | 134 |
Let Grotowski Sacrifice Masculinity | 141 |
Grotowski Right Did the Word Come Last? | 152 |
Jerzy Grotowski | 161 |
Dissolution and diaspora | 172 |
In Memory of Ryszard Cieslak | 189 |
Richard Schechner | 207 |
The day that is holy | 215 |
Lisa Wolford | 367 |
Performer | 376 |
From Objective Drama to | 385 |
Where is Gurutowski? | 404 |
Shapeshifter shaman trickster artist adept | 460 |
Notes | 495 |
Index | 510 |
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acting action activities actor ancient Apocalypsis appears arrived artistic asked aspects associations audience become begins body called character Cieslak close continued create creative culture dance developed direct director discover elements energy essential example exercises exists experience expression face fact feel function give Grotowski hand happen human important individual inner Italy Jerzy kind Laboratory Theatre later living look means meeting move movement nature never Objective Objective Drama observed organic original paratheatrical participants performance period person Photo physical play Poland Polish possible practice precise present Prince production question Richards ritual seems sense simple singing someone song Sources space speak spectators spiritual stage structure techniques theatre theatrical thing tradition understand University vehicle witness young