GROWTOWSKI

I don’t believe Will uses the physical theories and practices of Growtowski, but I believe some of his theories and exercises really force the actor to accept another character because we become worn out, frustrated, and personally, a little hysterical and so are more open to trying something new, or allowing the connection between our character and ourselves as the physical exertion plays as a kind of test on our mentality which afterwards aids us to experiment with other things concerning our characters. So, here’s some background on Mr Jerzy Grotowski:

Jerzy Grotowski was born in Poland on August 11 1933. He concentrated on finding the truth in the actions, and feelings expressed to the audience through the actor(s) on stage, by physically exerting them, and centring themselves on the play they studied in relation to the feelings they felt through the text.

He believed in finding peace within the actors, and have them be still and silent for a few minutes, knowing that once completed, they would be able to delve into the passage, allowing the aura of the text to entwine with their premonition freeing them to liberate their body into organic improvisation.

Grotowski also developed the idea of a ‘poor theatre’ having the actors the main and practically only focus of their performances. He did this by removing all the cemented elements of conventional theatre, such as; costume, dramatic lighting, music, and scenery. He became known for having the actors use vocal technique to form the soundscape or music of the show, I think this is an effective use of an actor as the actors challenge themselves having to imitate the exactions of a bird call, or create the sounds one may hear when walking down a busy street. In addition to this it adds intrigue to the audience, as, personally, I always find new discoveries in what the human body can do fascinates me, so watching five actors on stage become a ‘day at the zoo’ would encompass me in a new enthralling world where sounds tell the story, and attract me to reconnoitre what else we are capable of.

Grotowski was also a great believer of physical exertion; pushing boundaries of the body and emotions. He applied to his actors many exercises which were often associated with Yoga, as it was physically fatiguing and centred the mind with the endurance of that particular exercise. Although Grotowski soon found partnering was more liberating for the actors, and creatively loosening, I find the idea of endurance quite fascinating and enthralling.

For my site specific performance we are doing an endurance piece which involves cake being rubbed into my face, and I think although some might say there is no progression within our piece as we are doing the same thing for the entirety of the piece, as I actually begin to become tired and bored as it continues, I can channel my negative energies into a new emotion which is effectively expressed through my character. I can change my boredom and need for change, into maybe my character stealing more cake and eating it, which would then trigger a new reaction within my partner, which evolves our scene into something different and with new meaning.

To conclude, I do enjoy Grotowski’s method of endurance, and dragging the true essence of what your body wants to do be freed, and think physical exhaustion, by doing repetitive exercises forces your body to be pushed past adrenaline, and fully commit to the task at hand. Personally, I feel exhilarated when practicing the works of Grotowski as I truly feel I enter another domain and true, natural emotions become more intense and honest within my acting and in organic improvisation