I was assigned to be an intern with Gurawski, a young stage designer with Grotowski. The Theatre of 13 Rows company was in transition moving from Opole to Wrocław and about to be relabeled "Teatr Laboratorium". This I knew but still relished this opportunity to be in the old Opole workspace.
As field work Gurawski had taken me to an old castle outside of Cracow leaving me stranded on the roof stripping away plaster to reveal rotten beams. Rain had caused significant damage and it was my job to expose all the potential structural damage. It was dangerous work. Often found myself in precarious positions barely hanging on. The building was deep in a forest and at one point I thought this was some kind of prototype for Brezinka.
Returning to Opole I set about sanding the raked stage for an early production which I identified would later become Apocalysis Cum Figuris. Discussing the show with Gurawski he took me through a visualization of the actors. A scene of the actors in the desert with Cieslak sprawled in the center. Hi description reminded me of a moment from The Constant Prince. Gurawski disappeared and an assistant sent me to his office. It was cluttered but on the desk I viewed complicated set designs and again quite puzzled I thought he hadn't read Towards a Poor Theater yet. The office had two desks and I wondered if the other belonged to dramaturg Ludwik Faszen, Carefully locking the door behind me am amazed that everything at this early date was already conceptualized.
- See: Dream
:: note :: ... kept waking and wanting to go back to sleep to keep dreaming ...
Saturday, April 12, 2008
"Inspection and interviews. Close personal observation and talking with long term residents. It's a hard thing, really, to erase a trail. A lot of information can be recovered if you stay at it."
"Of course, but nobody has the time for this kind of field-work anymore. That's unfortunate, because this information is what we need, you know. This shows history and how people fit the places they occupy It's about what gets erased and what comes to replace it. These maps reveal the foundations beneath the ephemera." (from The Mappists in Light Action in the Caribbean by Barry Lopez)
- See: 3Life
:: note :: ... maps & time ...
Monday, April 07, 2008
Saturday, April 05, 2008
"These two concepts, practice and play, taken at their most serious and most spiritual, was what Grotowski gave his life to. "
"Grotowski's effects on theatre flow from three ideas that he identified, explored, and attempted to systematize. First, that powerful acting occurs at a meeting place between the personal and the archetypal-in this he continued and deepened the work of Stanislavsky. Second, that the most effective theatre is the "poor theatre" - one with a minimum of accoutrements beyond the presence of the actors. Third, that theatre is intercultural, differentiating and relating performance "truths" in and from many cultures. He explored these ideas over a lifetime of scrupulous work with people, work that was precise, detailed, systematic, physical; a set of practices more than a colloquium of ideas or beliefs. His writings can appear inspirational or opaque. But working with him was another matter altogether.
"(TDR/ Drama Review / Vol. 43, No. 2, Summer, 1999 / http://www.mitpressjournals.org/loi/dram ISSN:10542043)
- See: 3Life
:: note :: ... last day of classes ... these are the links between the worlds: personal to archetype/poor/intercultural ... a serious playful practice ...
Thursday, April 03, 2008
"We all lead three lives, an actual one, an imaginary one, and the one we are not aware of."(- Thomas Berhard. On the Mountain. p 8)
My question is how do all these lives entwine and practices which encourage awareness of these lives. Tagged 3life
- See: 3Life
:: note :: ... responding to Chris: "I'm going to be thinking and reflecting over the next 30 days on this question and I invite you to choose a question and engage in a research project as well." ...