By Stephen Wangh
"The actor will do, in public, what's thought of impossible." whilst the well known Polish director Jerzy Grotowski begun his 1967 American workshop with those phrases, his scholars have been shocked. yet inside 4 weeks they themselves had skilled the "impossible."
In An Acrobat of the Heart, teacher-director-playwright Stephen Wangh unearths 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 distance among rigorous actual education and useful scene and personality approach. Wangh's scholars supply candid descriptions in their struggles and breakthroughs, demonstrating the right way to rework those awesome classes right into a own trip of creative progress. brave and compelling, An Acrobat of the Heart is a useful source for actors, administrators, and lecturers alike.
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Additional resources for An Acrobat of the Heart. A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski
Most of us had attended voice or acting classes there. But when the studio door was opened on that Monday, the space looked unfamiliar. Folding chairs had been arranged in three rows in front of the windows, and to the side of the chairs, along the left wall, stood a long table with three more chairs behind it. The center of the studio was completely empty. It was, we were told, a sacrosanct space where we should trespass only in order to work. We entered silently, walking carefully along the perimeter of the room, and sat down on the cold metal chairs in our shorts and leotards, feeling naked and apprehensive.
Since none of them have worked with me before, I tell them a little about myself. 1 The first to speak is a dark-haired, heavyset woman named Veronica. She feels she has learned a great deal from the acting techniques she has been studying, but that they have left her feeling out of touch with her body. “Of course, we had dance classes,” she says, “but the body work never seemed to connect with the acting. ” Brian is a tall, gangling young man with a small goatee and a touch of sadness in his eye.
The central idea of experimental theater is that this process of “stumbling around” is, in fact, an excellent way to proceed. It can lead us to discoveries we might never have made if we had confined our explorations to those pathways for which we had maps, and it instills in us a willingness to enter each new project with an open mind and with the (supremely important) courage to make mistakes. The processes described in this book are not well-marked, limited-access highways for you to follow; they are simply pathways into the vast playgrounds of your own creativity.
An Acrobat of the Heart. A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski by Stephen Wangh