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8 unusual facts about Jerzy Grotowski


Acting

Other approaches may include a more physical approach, following the teachings of Jerzy Grotowski and others, or may be based on the training developed by other theatre practitioners including Sanford Meisner.

Alan Questel

As an actor he worked with Jerzy Grotowski and The Polish Theatre Laboratory from 1973 through 1978 in America, France and Poland.

Jonathan Holloway

The 1972 Fringe was a life determining experience for Holloway who cites work he saw by Lindsay Kemp, Steven Berkoff, Max Stafford-Clarke and Jerzy Grotowski as forging the aesthetics with which he still works today.

Nitin Ganatra

He went on to train under the tutelage of the late Master theatre practitioner Jerzy Grotowski.

Psycho-physical Awareness

Other pioneers and practitioners in this field that need mentioning include Phillip B. Zarrilli and Jerzy Grotowski.

Robert Serumaga

Serumaga drew on the theories of Constantin Stanislavski and Jerzy Grotowski to train his company in the psychological identification of actor and character.

Roy Hart

He was a guest speaker at psycho-therapeutic and theatre congresses throughout the world; Jerzy Grotowski and Peter Brook held discussions with him in his studio in London.

Theatre games

The theatre games tradition is a method of training actors that was developed in the 20th century by practitioners such as Joan Littlewood, Viola Spolin, Clive Barker, Keith Johnstone, Jerzy Grotowski and Augusto Boal.


JoAnne Akalaitis

After choosing acting as a career, she also studied with the Actor's Workshop in San Francisco, the San Francisco Mime Troupe, The Open Theater Workshop in New York, and acting theorist Jerzy Grotowski in France.

Theatre company jerusalem

Major artistic influences in their works were; Director Jerzy Grotowski's work with Serge Ouaknine (a pupil of Grotowski), Andre Gregory and The Roy Hart Theatre.

Theatre of Cruelty

"Though many of those theatre-artists proclaimed an Artaudian lineage (Jerzy Grotowski, Peter Brook, Richard Schechner among them)," Susie Tharu argues, "the Artaud they invoke is marked by a commitment as ahistorical and transcendent as their own."


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