Word: grotowski
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Dates: during 1970-1979
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...dramas; when Hungarian poets in prison, denied their simple tools of pen and paper, continue to write by repeating the lines to themselves in an unceasing litany, it becomes difficult to talk about poems as if they were anything other than prayers. Richard Gilman, discussing the "Poor Theatre" of Grotowski, argued in New American Review No. 9 that "Art is a new action for which life has no precedents: culture is the taming of the implications this throws up." And it is precisely this action which calls into question the relation of art to those sanctions so harshly imposed...
...intimidation), gymnastic runaways, and fatuous political irrigation's which have afflicted numerous productions this year. We got through without bluejeans, mad scenes, copulation, fashionable violence, obscenity, and references to Bobby Seale. The words are the play (any play) and Seltzer gave us the words with acceptable cuts and no Grotowski exercises or similarly insulting polemical interment. Give me the words and allow me to decide what I am experiencing...
...means of expression. What makes this production so fine are the performances of the lesser characters-the inmates... "the people" in metaphor. These roles are largely non-verbal, and Director Charles Bernstein has achieved with his very raw staging (no lights, props, or costumes, and no raised stage) a Grotowski energy level without accenting his particular techniques for achieving that level, as the Loeb production of Three Sisters tended...
...trying to isolate what it is that theater can uniquely do that films and television cannot do. This has led in two directions, one sacred, the other profane, both of which, like diastolic and systolic pressures, have always been at the heart of theater. With Jerzy Grotowski and the Polish Laboratory Theater, the emphasis is on the sacred, on a lacerating spiritual intensity, a stripping to the soul. With Hair and Oh! Calcutta! the emphasis is on the profane, on Dionysian revels, a stripping to the body. A reverse movement is also present, with Grotowski illuminating the profanation...
...intensely theatrical: visual images that slice faster than pain can follow to the deepest resources of the imagination. No one else's emblems of the irrational at the core of man-not Jean Genet's black white Negroes, not Samuel Beckett's ashcans, not even Jerzy Grotowski's Holy Auschwitz-are quicker or more deadly than Eugene lonesco's best: when he bothers to aim, he can knock the cigarette from one's lips at 40 paces. As Death and the nun came together onstage in Dusseldorf in the world premiere of lonesco...