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Grotowski and Poor theatre
Terms in this set (39)
as he began questioning the nature of theatre at the time. He wanted to identify the true essence, and so he set out to answer the question. what was this question
what is theatre
why was he dissatisfied with theatre of the time
h thought that it was trying too hard to copy television and film
what did he recognize about theatre of the time
He recognised that theatre will always remain technologically inferior to film and television
what did he want to discover in relation to theatre and film
He wanted to discover what it was that theatre could offer to audiences that television could not
what did he belive about theatre
that it should be brought back to its original roots
what was Grotowski the founder of
the Polish Laboratory theatre
what was the Polish Laboratory theatre
an experimental company.
why was it aptly named
The theatre was aptly named, for it was not a place where one went for entertainment; rather, it was a place of research where the actors explored potential in themselves and texts, where experiments were conducted and observations made.
what pieces did the group perform (how many)
The group did not attempt to perform a wide variety of works, but concentrated instead upon a limited number of dramatic pieces which they constantly reinterpreted and rediscovered.
what could poor theatre be compared with (another type of theatre)
why was rich theatre called "rich"
it was rich in its faults
why was rich theatre so full of faults
It draws upon other disciplines but fails to produce a work of art that has integrity. The Rich theatre, in its attempt to compete with film and television, uses mechanical devices that are more appropriate for film and television.
what type of characteristics did rich theatre embody
what were these realist characteristics (8)
Realistic 3-dimensional scenery
Multitudes of props
Separate performance area (most commonly the proscenium arch stage)
Realistic sound effects
what were the characteristics in poor theatre (6)
eliminated makeup (he insisted that the actors' physical flexibility is infinitely more interesting than costumes or makeup).
wanted simple costumes that were purely functional.
had no elaborate lighting (he proposed that direct lighting and shadows can be utilized effectively without the need for elaborate lighting schemes and mechanisms).
insisted that any music or sound effects be produced only the actors themselves (no recorded music)
Limited, multi-functional props (restricted to only those indispensable to the action). These were called "neutral" props.
used a space that could be rearranged for various productions.
in answer to the question "What is theatre?", Grotowski found that in order for theatre to exist, all that is needed is...
what made theatre different from film
And the trump card for the theatre - its unique quality - is the possibility for direct contact, togetherness, and dialogue between the actors and the audience.
what did Grotowski believe theatre could not exist without
He believed that theatre could not exist without the actor-spectator relationship.
how did the plays effect actors
his plays were actor centered and the plays were extremely physically demanding on actors
what is an actors arsenal
an accumulation of methods, artifices and tricks.
how did actors use these arsenals
he can pick out a certain number of combinations for each part and thus attain the expressiveness necessary for him to grip his audience.
why could this method sometimes be described as inseparable from the conception of the "courtesan actor".
This "arsenal" or store may be nothing but a collection of clichés, in which case such a method is inseparable from the conception of the "courtesan actor". '
why did Grotowski refers to actors as "holy"
This applies to the dedication of the actor, in giving himself as a gift, an almost saintly holiness which carries over to a performance.
what constitutes a "holy" actor
The actor who undertakes an act of self-examination, who reveals himself and sacrifices the innermost part of himself - the most painful, that which is not intended for the eyes of the world - must be able to manifest the least impulse.
If an actor is able to cast off his everyday mask and undergo a spiritual journey of self-realisation, then he makes it possible for the spectator to undergo a similar process of self-evaluation.
what did he hope this interaction between audience and actor would do
a transformation can take place in both parties. This is what is sacred about his theatre, and this is what makes an actor 'holy'.
what is the actor required to do in training
strip away the social mask he usually wears
the actor has to eradicate the blocks and barriers that prevent him from making progress.
what are the shocks that the actor experiences
The shock of confronting himself in the face of simple irrefutable challenges.
The shock of catching sight of his own evasions, tricks and clichés.
The shock of sensing something of his own vast and untapped resources.
The shock of being forced to question why he is an actor at all.
The shock of being forced to recognise that such questions do exist.
Poor Theatre is very physically demanding on the actor, what are the exercise called that they do and what are some examples
Corporel Exercises. They included such things as headstands, shouderstands, rolls, somersaults and leaps that developed the flexibility of the spinal column.
Plastiques. They are meant to make an actor more plastic and strong.
what parts of the body do the exercises address
Grotowski's exercises address every part of the body, from the feet to the head.
what does poor theatre aim to do to the actor
Poor Theatre aims to expose the spiritual process of the actor. The actor is required to cross frontiers, exceed limitations, and break down barriers in order to expose his inner core.
why should the actor be a kind of athlete
because the impulses that pass through him will often be large ones that require a strong, responsive, expressive body to contain them
The actor in Grotowki's theatre needed to undergo rigorous vocal training too. Why?
His productions included chanting and song, and the actors were required to use their voice for music and sound effects.
what did he say about actor-audience relationships
1. He said that there was an infinite number of performer-audience relationships (different scenic arrangement)
2. Grotowski saw the actor as a "high priest" who creates dramatic action, and at the same time, guides the audience into the action.
3. The audience must understand consciously or unconsciously, that the act of viewing the actor exposing his inner being, is an invitation to do the same thing.
4. Grotowski's aim was to disturb the spectator on a very deep level. 5. He felt that the spectator had very genuine spiritual needs and really wished, through watching the performance, to analyse himself.
6. He believed that the audience should feel as if they were a part of the performance they were watching.
what is one of the main principles of the Theatre Laboratory (props)
independence from props
what is forbidden concerning props
It is absolutely forbidden to introduce to the play anything that is not there at the very beginning
are there sets
There are no "sets" in the usual sense of the word. Sets are simple, yet they are designed in order to enhance the effect of the production through careful placement of the spectators.
what type of objects do they make use of (props)
objects that are indispensable to the dramatic action.
props are multi-functional and the number of props is extremely limited.
why are spectators placed in certain places
they should feel as if they are a part of the production that they are watching.
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