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2nd out of 7 books
—
4 voters
Towards a Poor Theatre
Originally published in 1968, Jerzy Grotowski's groundbreaking book is available once again. As a record of Grotowski's theatrical experiments, this book is an invaluable resource to students and theater practioners alike.
Paperback, 264 pages
Published
March 1st 2002
by Routledge
(first published 1968)
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I read this book en suite with Artaud's Theatre and Its Double and Brook's The Empty Space, all of which share certain theories of the purpose and goals of theatre. But of the three, this is by far my favorite. I think that what I liked most about Grotowski's book is the exactitude of his work compared to Brook and especially Artaud--one of the things I especially disliked about Artaud was that, in Grotowski's words, when Artaud "moves from description to theory however, he starts explaining mag...more
This book had many beautiful pearls of wisdom for anyone interested in theatre. Grotowski is an inspiration for anyone who believes in theatre just as an artform in general. I believe every aspiring actor should read Grotowski's ten things: the final chapter of this book.
However, if you are not into theatre you will.not.enjoy.this. there were some chapters I skimmed over because it was just lists of exercises that Grotowski did and no matter how interesting a list can be, I don't want to read a...more
However, if you are not into theatre you will.not.enjoy.this. there were some chapters I skimmed over because it was just lists of exercises that Grotowski did and no matter how interesting a list can be, I don't want to read a...more
Outstanding read! Over time, Grotowski has developed this almost mythological mystique as an experimental theatre artist; consequently, many view his theories and techniques with dubiousness and reserve. "Sure, it worked for the Teatr Labortorium, but how the hell can I apply this stuff to my production of 'Guys and Dolls?'"
True, what Grot. and Co. developed through their remarkably empirical studies of the actor's craft are largely unrepeatable. Well, the productions, that is. But it seems that...more
True, what Grot. and Co. developed through their remarkably empirical studies of the actor's craft are largely unrepeatable. Well, the productions, that is. But it seems that...more
یرژی گروتوفسکی لهستانی، یکی از کارگردانان پیشرو تیاتر مدرن جهان است که با مکتب تیاتری اش به نام "تیاتر بی چیز"، از دهه ی شصت قرن بیستم مشهور شد. از مشهورترین کارهای تیاتری گروتوفسکی و گروه کارگاهی اش در قرن گذشته، "آکروپولیس" بر مبنای متون بر گرفته از کتاب مقدس است که بر روی صحنه ای نه چندان دور از اردوگاه آشویتس اجرا شد. "شکونتالا" بر اساس متنی از کالیداسا، "اورفه" اثر ژان کوکتو، "سوگنامه ی دکتر فاوستوس" بر مبنای نمایش نامه ی کرستوفر مارلو و اجرایی استثنایی، که در آن تماشاگران در شام خداحافظی ف...more
In 1950s Poland, Grototwski pioneered the idea of a theatre laboratory as a place where theatre happens through a process of experimentation. This book reveals his experiments as a crux between what we see in contemporary theatre and the rich traditions of theatrical forms from all over the world. From the standpoint of the über-globalized 21st century reader, these experiments may seem less than novel—contemporary theatre and the yoga class happening down the street have a lot in common with wh...more
"I am the tiger...not you...I am going to eat you..." from the "Tiger Exercise" (177).
I'm reading around this text, thrilled at much of what I find. I'm lazing in the chapter in which Grotowski teaches pupils how to use the seven different voice resonators in their body. So far I can only feel the chest, nasal, and occipital resonators at work. And it makes Emily look at me like I'm crazy because I'm humming and grunting around the apartment.
I'm reading around this text, thrilled at much of what I find. I'm lazing in the chapter in which Grotowski teaches pupils how to use the seven different voice resonators in their body. So far I can only feel the chest, nasal, and occipital resonators at work. And it makes Emily look at me like I'm crazy because I'm humming and grunting around the apartment.
'So always avoid banality. That is, avoid illustrating the author's words and remarks. If you want to create a true masterpiece you must always avoid beautiful lies: the truths on the calender under each date you find a proverb or saying such as: "He who is good to others will be happy." But this is not true. It is a lie. The spectator, perhaps, is content. The spectator likes easy truths. But we are not there to please or pander to the spectator. We are here to tell the truth.'
Sep 23, 2010
Jon
is currently reading it
I haven't finished this one yet, but even these early footprints glow brightly on into the dark distance, begging the question: will ANYONE be able to follow in the way that Grotowski and Cieslak forged? Best to step out of the stroller and make the best of the time we've got.
Any time the opportunity to read up on an influential artist in their own words arises, the conversation for one's own artistic vision opens in unexpected ways. There remained plenty of room for disagreement with Grotowski's theatre, yet I found myself rethinking my aesthetics, techniques and even an overall method to performance. More than 40 years after publication, Grotowski remains a huge influence on the theatre landscape.
Essential topic, but so much theatrical writing is pseudo-philosophy that it makes the reading a slog. Brock's Empty Space covers the topic in a much better way.
Every actor and theatre professional in the world should read this book at least three times. It is fantastic, mindblowing and (at least to me) life changing.
If you have any interest in theatre, especially physical theatre, this is your bible. This is one of those iconic books that changed theatre forever.
Excellent and interesting. The whole roles of the actor and playwrights are changed. An inspirational book.
May 25, 2010
gieb
marked it as to-read
Dulu pernah punya terjemahannya: Menuju Teater Miskin. Tapi sekarang entah di mana. Mau cari lagi. Ada info?
I don't necessarily think Grotowski's method is for me, but I really like some of his ideas and was very edified by reading this.
Feb 05, 2008
Vanessa
rated it
4 of 5 stars
Recommends it for:
Raving thespians
Recommended to Vanessa by:
CC
Grotowski's vision was of a bare bones theater - little in the way of costume, set, makeup or lighting - everything coming from the actor, with a great deal of participation from and interaction with the audience. If you have ever seen the film "My Dinner With Andre", there is a part where Andre describes taking part in one of Grotowski's theater experiences, which had a profound effect on him. While Grotowski's Poor Theatre may seem dated now it was revolutionary stuff at the time. A good read...more
rereading -- towards a poor poetics? -- the power of post...?
this is one of the greatest books ever written.
Strip it down to its bare elements.
i miss this.
Really gets down to thinking about theater and acting in holistic (why is that not spelled with a 'w'?) way. Its critiques of theater, and the piecemeal opulence of the modern, egocentric, and overdone theater hit the mark entirely. Anybody involved in theater should read this.
I've never had any personal experience with Grotowski's technique, but this book gave me as much of an understanding as one can have without actually doing it.
Jerzy Grotowski developed techniques for actors in the late '60's. He's a classic tortured artist philosopher. The real deal.
The publicotropist in me just got smashed in the face by a Grotowski-shaped brick. God DAMN.
May 20, 2013
Pita
marked it as to-read
May 20, 2013
Timbeaux
marked it as to-read
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Jerzy Grotowski was a Polish theatre director and innovator of experimental theatre, the "theatre laboratory" and "poor theatre" concepts.
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Feb 25, 2008 08:33am