By Stephen Wangh
"The actor will do, in public, what's thought of impossible." whilst the popular Polish director Jerzy Grotowski all started 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 the right way to remodel those outstanding classes right into a own trip of inventive progress. brave and compelling, An Acrobat of the Heart is a useful source for actors, administrators, and lecturers alike.
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Extra info for An Acrobat of the Heart. A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski
This controversy between the “internal” and “external” theories of acting parallels a similar dispute between “mental” and “physiological” theories of psychology, with Ribot and Freud as exponents of the mental school and William James and Wilhelm Reich the physiological one. 3. In his book, The Function of the Orgasm, Wilhelm Reich suggests that the process of emotional suppression begins as a conscious act and only later becomes unconscious and automatic. See also The Drama of the Gifted Child by Alice Miller and The Betrayal of the Body by Alexander Lowen.
I ask the student to pick the strongest thing that ever happened to him, whether it aroused anger, fear, or excitement. [Strasberg, p. 149] Thus over the years, what Stanislavski began as a method of stimulating memory by means of sensory recall was transformed into a method of stimulating emotion by means of personal memory. ” He realized that by concentrating so completely on the actor’s mind, he had ignored the actor’s body. ” In his book Creating a Role, which was not published in English until 1961, Stanislavski writes: “In every physical action, unless it is purely mechanical, there is concealed some inner action, some feelings” [Stanislavski, 1961, p.
THE VIA NEGATIVA The actor must discover those resistances and obstacles which hinder him in his creative task. … By a personal adaptation of the exercises, a solution must be found for the elimination of these obstacles which vary for each individual actor. … This is what I mean by via negativa: a process of elimination. —Jerzy Grotowski, Towards a Poor Theatre What we usually call “developing one’s talent” is often nothing more than freeing it from the influences that hamper, occlude and frequently destroy it entirely.