The Grotowski SourcebookThis 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. |
Im Buch
Seite xvi
57 5.3 The Double Mephistopheles, Antoni Jaholkowski and Rena Mirecka,
carries Faustus to Hell. (Photo: Opiola- Moskwiak.) 58 6. 1 Rena Mirecka creates
a mask for Akropolis solely by use of her facial muscles. (Photo: Theatre
Laboratory.) ...
57 5.3 The Double Mephistopheles, Antoni Jaholkowski and Rena Mirecka,
carries Faustus to Hell. (Photo: Opiola- Moskwiak.) 58 6. 1 Rena Mirecka creates
a mask for Akropolis solely by use of her facial muscles. (Photo: Theatre
Laboratory.) ...
Seite 54
Faustus is in white; Mephistopheles is in black, played simultaneously by a man
and a woman: other characters are dressed as Franciscans. There are also two
actors seated at the tables with the audience, dressed in everyday clothes.
Faustus is in white; Mephistopheles is in black, played simultaneously by a man
and a woman: other characters are dressed as Franciscans. There are also two
actors seated at the tables with the audience, dressed in everyday clothes.
Seite 56
Faustus finds himself singing the same religious hymn invoking Mephistopheles.
Scene 7. The appearance of Mephistopheles (the Annunciation). Faustus is on
his knees in a humble pose. Mephistopheles. on one leg, a soaring angel, sings
...
Faustus finds himself singing the same religious hymn invoking Mephistopheles.
Scene 7. The appearance of Mephistopheles (the Annunciation). Faustus is on
his knees in a humble pose. Mephistopheles. on one leg, a soaring angel, sings
...
Seite 57
During a walk Faustus tells Mephistopheles of his decision to give him his soul.
Scene 10. Faustus' s baptism. Before signing the contract, Faustus is almost
drowned in a river (the space between the tables). Thus he is purified and ready
for ...
During a walk Faustus tells Mephistopheles of his decision to give him his soul.
Scene 10. Faustus' s baptism. Before signing the contract, Faustus is almost
drowned in a river (the space between the tables). Thus he is purified and ready
for ...
Seite 58
Mephistopheles tempts Faustus. In Scene 13 the young saint has begun to
suspect that the Devil is also in God's service. Scene 14 corresponds to a real
break in reality. Mephistopheles, at this point in the production, is like a police
informer.
Mephistopheles tempts Faustus. In Scene 13 the young saint has begun to
suspect that the Devil is also in God's service. Scene 14 corresponds to a real
break in reality. Mephistopheles, at this point in the production, is like a police
informer.
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Inhalt
| 8 | |
| 6 | |
| 21 | |
| 54 | |
Wyspianskis Akropolis | 62 |
Theatre Laboratory 13 Rzedow | 71 |
Grotowskis Apocalypsis | 97 |
Interview with Grotowski | 105 |
The day that is holy | 213 |
The Vigil Czuwanie | 224 |
A prose meditation on Grotowski | 246 |
OBJECTIVE DRAMA 198386 | 281 |
Grotowski or the Limit | 304 |
Some parallels in the training process | 310 |
Subjective Reflections on Objective Work | 326 |
Breaking the silence | 348 |
The Laboratory Theatre in New York 1969 | 112 |
Why Should I Take Part in the Sacred Dance? | 138 |
Let Grotowski Sacrifice Masculinity | 139 |
Is Grotowski Right Did the Word Come Last? | 150 |
Jerzy Grotowski | 159 |
Dissolution and diaspora | 170 |
In Memory of Ryszard Cieslak | 187 |
PARATHEATRE 196978 | 205 |
Objective Drama | 354 |
ART AS VEHICLE 1986 | 365 |
Performer | 372 |
Grotowski Art as a Vehicle | 379 |
Where is GurutowskH | 402 |
Exoduction Shapeshifter shaman trickster artist adept | |
Bibliography and References Cited 503 | |
Andere Ausgaben - Alle anzeigen
The Grotowski Sourcebook Lisa Wolford,Richard Schechner,Lisa Wolford Wylam Eingeschränkte Leseprobe - 1997 |
Häufige Begriffe und Wortgruppen
acting activities actor Akropolis ancient Apocalypsis Apocalypsis cum figuris Art as Vehicle artistic asked audience Auschwitz Balinese become begins Biagini body Constant Prince create creative culture Cynkutis dance developed direct director doers elements energy Eugenio Barba example exercises experience Faustus feel Flaszen fragments gestures Grotowski's theatre Gurdjieff Haiti Haitian Hasidic human individual inner action Jan Kott Jerzy Grotowski Kabuki kind Kordian Laboratory Theatre living look means Mephistopheles montage movement Objective Drama Opole Osinski paratheatrical participants performing structure person Peter Brook Photo play Poland Polish Pontedera Poor Theatre possible practice precise question Richard Schechner ritual Ryszard Cieslak scene Schechner sense silence Simon Peter Simpleton simply singing Slowiak someone song space speak spectators spiritual stage Stanislavsky T.S. Eliot techniques Theatre Laboratory Theatre of Productions Theatre of Sources theatrical thing tradition witness words Workcenter Wroclaw yantra
Bibliografische Informationen
| Titel | The Grotowski Sourcebook Worlds of Performance |
| Herausgeber | RICHARD SCHECHNER, Lisa Wolford Wylam |
| Verlag | Routledge, 2013 |
| ISBN | 1136167358, 9781136167355 |
| Länge | 548 Seiten |
| Zitat exportieren | BiBTeX EndNote RefMan |