Towards a Poor Theatre (P.15 - 25)
- P.15 ...we consider the personal and scenic technique of the actor as the core of theatre art.
- P.16 We do not want to each the actor a predetermined set of skills or give him a "bag of tricks." Ours is not a deductive method of collecting skills. Here everything is concentrated on the "ripening" (使成熟) of the actor which is expressed by a tension towards the extreme, by a complete stripping down, by the laying bare of one's own intimity - all this without the least trace of egotism (自我中心) or self-enjoyment.
- P.19 What is unique about it [Theatre]? What can it do that film and television cannot?...It [Theatre] cannot exist without the actor-spectator relationship of perceptual, direct, 'live' communication.
- P.21 Why are we concerned with art? To cross our frontiers, exceed our limitations, fill our emptiness - fulfil ourselves. This is not a condition but a precess in which what is dark in us slowly becomes transparent.
Journal: Grotowski, Jerzy. ‘Towards a Poor Theatre’ in Towards a Poor Theatre. ed. Eugenio Barba. London: Methuen Books, 1968.
Book: Grotowski, Jerzy, and Eugenio Barba (Ed.). Towards a Poor Theatre. London: Methuen Books, 1968.
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