Description:
We have started a new year of our IB year 2 theatre arts class. So, beginning this new year, we have started to learn about Jerzy Grotowski's 'poor theatre'. This is for us to apply in this year's school play. In order to do this, we had two hard-working, physical rehearsal sessions. This included a physical preparation by doing a walking warm-up and other exercises.
On the second rehearsal we had a much more personal and physical experience.
Analysis:
"The theatre that values the body of the actor and its relation with the spectator and does away with costumes, decor and music"That is how Jerzy Grotowski defines 'poor theatre'. This is done with the actor breaking any physical boundaries or limits they have by employing physical work. "Poor theatre" seeks to create a personal relationship between the actor and the spectator and convert it into the central role. In other words Grotowski's 'poor theatre' actors would establish such a peace of mind and harmony by reaching a certain level of concentration. This theatre practice what to transform a being, in this case an actor, that can connect with another being, the audience.
This week we have tried to accomplish that for future school play rehearsals. Trying to understand the theatre practice ourselves before we teach them to other actors.
One of the main things that I could encounter by doing these rehearsals, is the fact that the actor finds its very own personal barriers. For example, the effort exerted into the physical practices caused tiredness, thirst, boredom, etc. In my case it was tiredness, I realised it had been a long while since I did any physical effort and got tired pretty quickly. This was definitely one of my barriers. I had to recover after each exercise by breathing heavily. How could I get rid of something that my body was needing? Well, according to Grotowski, we should use the via negativa - what shouldn't I do?
While doing this, we had to break our own barriers. Whatever you felt, you didn't have to do according to the via negativa.
Another of the barriers I found myself in was the lack of confidence at first. While doing the small pirouettes, I was afraid to fall on my face or hurt myself. I realised that barriers that were presented were not only physical but also physiological. The idea of harming myself frightened me and prevented me from doing it comfortably.
Connections:
One of the most important connections I found was with previous physical trainings.
Kabuki training - I found these rehearsals similar because they require certain level of concentration for the actor. As well, you should have self-discipline and control every single movement you do. In contrast with Kabuki, "poor theatre" should be much more personal while in Kabuki there was a certain physicality that you had to do in order to fulfil the conventions.
Paucartambo - The spontaneity was a common factor in both. They both show a reflection of the person's ideas. They both represent a certain image given (in Paucartambo any of the troupe characters and in 'poor theatre' a specific image). What is different is the syncretism found behind Paucartambo and the individual reasons in 'poor theatre'.
German Expressionism - As for GE similarities, I can say that they were similar as both had certain physicality.
Kabuki training - I found these rehearsals similar because they require certain level of concentration for the actor. As well, you should have self-discipline and control every single movement you do. In contrast with Kabuki, "poor theatre" should be much more personal while in Kabuki there was a certain physicality that you had to do in order to fulfil the conventions.
Paucartambo - The spontaneity was a common factor in both. They both show a reflection of the person's ideas. They both represent a certain image given (in Paucartambo any of the troupe characters and in 'poor theatre' a specific image). What is different is the syncretism found behind Paucartambo and the individual reasons in 'poor theatre'.
German Expressionism - As for GE similarities, I can say that they were similar as both had certain physicality.
Acrobatics - These exercises seemed like the ones you would do in yoga or perhaps in gymnastics making you stretch your backbone.
Reflections:
Overall, even though this week has been exhausting since it was the first time in the year we rehearsed it was gratifying. I can say now that I learned from the outside in. I used my body to learn something, to understand it, and then internalised it. This week has left me wandering about some things...
Overall, even though this week has been exhausting since it was the first time in the year we rehearsed it was gratifying. I can say now that I learned from the outside in. I used my body to learn something, to understand it, and then internalised it. This week has left me wandering about some things...
To what extent does using the via negativa help in order to break barriers? Why is it so important to break barriers in order to perform for an audience? Is it possible to keep certain barriers in and perform in the same someone without them would do? What happens when an actor is handicapped or is missing any limb? Can they perform this kind of theatre practice? Will they have to accommodate their bodies in order to fit in it? Do these kinds of limitations prevent them from a plain performance or could otherwise benefit them?
