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Directing the unwritten: The legacy...

Salata, Kris.

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Directing the unwritten: The legacy of Jerzy Grotowski.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Directing the unwritten: The legacy of Jerzy Grotowski./
作者:	Salata, Kris.
面頁冊數:	311 p.
附註:	Adviser: Alice Rayner.
Contained By:	Dissertation Abstracts International68-06A.
標題:	Biography. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3267616
ISBN:	9780549062882

Directing the unwritten: The legacy of Jerzy Grotowski.
Salata, Kris.

Directing the unwritten: The legacy of Jerzy Grotowski. - 311 p.

Adviser: Alice Rayner.

Thesis (Ph.D.)--Stanford University, 2007.

This dissertation lays the foundations for rethinking the legacy of Jerzy Grotowski (1933-1999), one of the central figures that shaped 20th-century theatre art, scholarship, and pedagogy. Grotowski earned this reputation with his groundbreaking productions at the Laboratory Theatre, which brought new standards to actor training, new approaches to the actor/spectator environment, and the concepts of "poor" and "autonomous" theatre. However, these achievements represent only a ten-year period of Grotowski productions (1959-1969), and the prolific scholarship on that work limits his legacy to that of an avant-garde director from the 1960s. Grotowski's most mature but audience-less work on the craft of the performer, conducted at his Workcenter in Pontedera, Italy until his death, remains overlooked and undertheorized. I consider the last 13 years of Grotowski's lifework, which he spent working with his disciple Thomas Richards, as the most important part of Grotowski's legacy, a legacy that remains a living one.

ISBN: 9780549062882Subjects--Topical Terms:

531296
Biography.

Directing the unwritten: The legacy of Jerzy Grotowski.
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520 $a This dissertation lays the foundations for rethinking the legacy of Jerzy Grotowski (1933-1999), one of the central figures that shaped 20th-century theatre art, scholarship, and pedagogy. Grotowski earned this reputation with his groundbreaking productions at the Laboratory Theatre, which brought new standards to actor training, new approaches to the actor/spectator environment, and the concepts of "poor" and "autonomous" theatre. However, these achievements represent only a ten-year period of Grotowski productions (1959-1969), and the prolific scholarship on that work limits his legacy to that of an avant-garde director from the 1960s. Grotowski's most mature but audience-less work on the craft of the performer, conducted at his Workcenter in Pontedera, Italy until his death, remains overlooked and undertheorized. I consider the last 13 years of Grotowski's lifework, which he spent working with his disciple Thomas Richards, as the most important part of Grotowski's legacy, a legacy that remains a living one.
520 $a Grotowski's departure from the stage of both theatrical production and critical response resulted from his uncompromising pursuit of one central problem: "What does it mean to reveal oneself?" This very question drove his earlier directing work. However, I demonstrate that the answer led him gradually to strip the theatrical phenomenon down to its most elemental aspects. Abandoning the costume, the props, the dramatic text, the stage, and the spectator, Grotowski focused on the craft of the performer as a non-representational event.
520 $a My dissertation describes Grotowski's artistic move from the "outer" to the "inner" theatre as one deeply influenced by Polish Romanticism and its call for the "inner deed." I discuss the Laboratory Theatre's most famous production, Apocalypsis cum figuris, as a transitional work to non-representational performance. I also give an account of Richards' ongoing research, which represents the living legacy of Grotowski. Basing my theoretical discourse on Heidegger's phenomenology and a broad range of post-structural philosophy and critical theory, I discuss how Grotowski's project constitutes a philosophical practice.
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