Jerzy Grotowski, famous Polish stage director and theatrical theorist and great boldness visionary innovative, died last Thursday at age 65 at his home in Pontedera, near Pisa, Italy. Born in 1933 in Rzeszow, Krakow and studied in Moscow and achieved fame and across Europe in the sixties, with mounts outside of the laboratory standard of Wroclaw. He was exiled from Poland in 1982, spent three years in Paris and finally settled in Italy in 1985. In this country and organized workshops with marginalized groups in New York continued until his death, completely apart from conventional theatrical life. His dedication to train actors almost entirely occupied the last years of his life, in which he made no assembly, focusing on experimental studies stage.
Nudity, dispossession, poverty, severity, renunciation, and transgression, intimacy, transubstantiation ritual. And the "negative way" ... Eight, ten words, continually appear in the texts that gave the theater Grotowski in the sixties, seventies. Whoever gives me the news of his death, he says: "I knew he was so young." Born in 1933, but had disappeared long ago. The age of an artist is not available from birth, but since he fails to appear, to be subject, being active, and he was held in Pontedera, Italy in the Workplace Jerzy Grotowskj, where small groups to receiving, transmitting, now, the essence of his method. This has grown older than I was.
I just had an influence, or, more accurately, had lost all broadcast and admiration he had in Poland Communist. It is possible that schemes such strong, tough and vigilant in creating a school literary and artistic resistant, antimatter, and that is terminated with the system. Poland was rich with him, Gombrowicz and especially with Kantor, which he gained international public, or a public medium, while Grotowski remained in an intellectual force. Humanity
In Spain he loved some of theater artists. Like Brecht or the old Stanislawski, which were above but which, nevertheless, continued. It was logical, and this, in the good years of Grotowski, was a country with a regime under which the theater was decorative, emphatic, class, if not crude, boorish, subarctic. I'm using the word art too, or artistic, it was just something repudiated what Grotowski, sought an elemental and direct humanity. It is not yet clear that the counter is not, above all, culture, and even a sobrecultura, exquisite and difficult, or that the theater "stripped" of Grotowsk: i have managed to never be a theater naked.
Here came to him as a hot nail to claw in the middle of a tailor. Not achieved, none of the moves that were cultured began, mixed or hybrid made in the historic and never sufficiently recognized theater group, or test, went to the public. Of course, with Grotowski the front reached the destruction of the "forty years right theater, "as critic Triunfo, Monleón, but could not put anything in place. So we are. And we're also out of the other schools that followed in the theatrical world.
nudity, Grotowski said, is a revelation of the human being if the theater is no longer what is aesthetic, or what is public and became the territory in which we face with our own reality, whether we disclose it , we get not just the nakedness of the skin, but "the whole man, the human being." To that end, the base is the personality of the actor. Is he, as a "son of humanity": this "son of man-out all religious concept-who has to give proof of nudity, sexuality, disarmament, the sincerity in the integrity of being human. "Stripped to the end, even in the public exercise of his act is veiled by clothing." Philosophy
Practically, this philosophy of theater, or philosophy, or poetry or painting, everything is applicable to these heights of art-had to see it in his shows: in the Marlowe's Faust, that of Goethe, in reviews of Hamlet or Calderón ( The Constant Prince), but soon found that even in the representation, including some masterpieces that got to the school of actors, the impurity could be created, that the topic and repetition could taint the outcome. He dedicated his workshop paratheatrical activities: he dedicated himself to teaching, at conferences, lectures and books. Like all great creators of the arts, was unique: they disappear, or fall, is his work remains, and seldom his theory. You learn from what he did rather than what he said.
Taken from newspaper. Written by Eduardo Tecglen Haro.
Other related notes: Poverty and wealth. A unique search.
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