Word: grotowskis
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Compare, for instance, the warmth and easy rapport of these obviously experienced players-now in their fifth season-with the seemingly bogus spiritual communion of the Loeb actors in last year's Grotowski experiment, The Three Sisters. Grotowski's method was salient throughout the production, but it didn't add to (frequently detracted from) Chekhov's script. If animal magnetism caused the players to embrace each other at the end of the play, their frantic hugging gave the audience at least an emblem of deep feelings which, purely as artists, they were unable to make the audience share...
...Jerzy Grotowski talks about the concept of theatre as a laboratory for the encounter between people and that he as producer-director is responsil?le for coordinating two groups. the actors and the spectators. He doesn't touch people but is very concerned with the psychic communication involved. His method of rchearsal which he calls via negativa, is a stripping away of any barrier between the actor and the spectutor: he says that even the text is a barrer because it is just one more metaphor separating and so it too must be made subservient to the actor-spectator relationship...
...Well, I think a lot of things about Grotowski. The first thing I must say is that I saw most of his work and I have spoken to him. I have a great deal of respect for what he is trying to do and have a very strong response to the work itself. My feeling is that he is more successful in that situation where the audience is Polish. Not only because of the question of understanding the language, because I think the way in which it is spoken, the special use of speech makes the words impossible...
...That's strange because Grotowski doesn't want his theatre to be like a painting-that is exactly the spectacle aspect he is trying to get away from. He says that is what a movie can be and that is what television can be but theatre must concentrate on its essence. he relationship between the actor and the spectator. And so we have to get rid of all the costumes and props and lights and everything just to get that. So, in fact, your comment is an expression of the ultimate failure of his work...
...presented in New York City where it was extremely difficult to get tickets for it, where there was a great kind of atmosphere of importance about this event. It was unfortunately for something called "the poor theatre," a real, big, fancy New York event. And I can't blame Grotowski for it, I can only blame New York...