By Stephen Wangh
"The actor will do, in public, what's thought of impossible." while the popular Polish director Jerzy Grotowski begun his 1967 American workshop with those phrases, his scholars have been surprised. yet inside of 4 weeks they themselves had skilled the "impossible."
In An Acrobat of the Heart, teacher-director-playwright Stephen Wangh finds how Jerzy Grotowski's actual routines can open a pathway to the actor's internal creativity. Drawing on Grotowski's insights and at the paintings of Stanislavski, Uta Hagen, and others, Wangh bridges the space among rigorous actual education and useful scene and personality method. Wangh's scholars supply candid descriptions in their struggles and breakthroughs, demonstrating how one can remodel those impressive classes right into a own trip of inventive development. brave and compelling, An Acrobat of the Heart is a useful source for actors, administrators, and lecturers alike.
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Extra resources for An Acrobat of the Heart. A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski
His innovations have spawned thousands of experiments in textual deconstruction and environmental theater. Yet his remarkable actor-training work has made only minor inroads upon more traditional acting techniques. A few teachers, including Zygmunt Molik of the original Polish Laboratory Theatre, continue to give workshops in physical acting, but in spite of its transformative power, Grotowski’s approach to actor training has not proliferated. Why is that? Why, thirty years after Grotowski introduced his vision of a body-centered actor training, are there still so many actors whose voices and bodies seem quite disconnected from their emotional instruments?
In Peter Shaffer’s play Amadeus, Mozart’s nemesis, Salieri, perceives that Mozart has a direct connection with the heavenly source of music. ” But most of us are not Mozart. We are rarely blessed with such divine inspiration. To find our way in the wilderness of artistic creativity, we must stumble around, “experimenting” with different solutions before we are satisfied with the answers we find. The central idea of experimental theater is that this process of “stumbling around” is, in fact, an excellent way to proceed.
The other was to try to support ourselves by teaching acting. In the fall of 1973 we opened the Acting Growth Program. I taught theater games and Linda taught physical acting. It was as I watched Linda teach that I really began to understand how Grotowski’s exercises functioned. I could see that even without his guidance, the physical training itself could transform actors. And, watching Linda, I began to understand how a teacher could sense what was going on within a student and serve as a catalyst to the learning process.
An Acrobat of the Heart. A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski by Stephen Wangh