By Stephen Wangh
"The actor will do, in public, what's thought of impossible." whilst the popular 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 sensible scene and personality process. Wangh's scholars supply candid descriptions in their struggles and breakthroughs, demonstrating tips on how to rework those extraordinary 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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Extra info for An Acrobat of the Heart. A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski
4. ” in the last chapter of this book. Introduction A LITTLE HISTORY The soul desires to dwell with the body because without the members of the body it can neither act nor feel. —Leonardo da Vinci, quoted by Michael Chekhov, To the Actor, on the Technique of Acting Four hundred years ago, Hamlet expressed his consternation at the art of acting: Is it not monstrous that this player here, But in a fiction, in a dream of passion, Could force his soul so to his own conceit That from her working all his visage wanned, Tears in his eyes, distraction in his aspect, A broken voice, and his whole function suiting With forms to his conceit; and all for nothing!
Some of the students move out onto the floor to stretch, but most of them sit finishing their coffee or staring out the windows at the street below. In the corner one young man plays a guitar. Some people who have worked together in the past chat with their old friends, but most of the students in this class are strangers to each other and sit silently, waiting for the class to start. When I enter the classroom, the guitarist finishes his phrase with a flourish and puts his instrument away. I sit down on the floor and call the group together in a circle.
The “listening” work may remind you of Sanford Meisner’s exercises. And the “physical character” work may resemble the teachings of Uta Hagen. There are many connections between Stanislavski’s and Grotowski’s approaches to acting, but ultimately the correspondences between the two lie not in the details of the techniques but in their outlook on art, and work and life: • Both approaches have the same aim: To free the actor from those blocks that prevent him or her from embodying emotional truth and creativity.
An Acrobat of the Heart. A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski by Stephen Wangh