Amber-Lily Foxon 25/10/14

I am going to be looking into the work of the 3 most influential directors in theatre history
Jerzy Grotowski, Vsevolod Meyerhold and Peter Brook. I will then be comparing and
contrasting different approaches to acting and I will be looking at the impact they've had on
the industry.
Jerzy Grotowskis had a unique theatrical approach that was based on two processes. The
first one being, A reduction to what is the essence of theatre and secondly breaking
down the walls of the theatre. I think the idea behind this was to eliminate anything
artificial meaning things like props, lighting effects or objects which were not essential. I
view this as a new and different approach because he wants to focus more on the actors
ability and to change their perception on what is possible as actors, which is something I
have not yet experienced. Grotowski stated that, This was the point of departure. He
never believed in having music, scenery, decorations and lighting effects because he
believed they were not important. To me this shows that Grotowski really thought about
everything, even characterisation. There would be two groups of people, the actors and
the audience but when removing all of them none essential elements, Grotowski believed
that it becomes possible to remove the division between stage and spectators.
I think the idea behind this is to be unpredictable and to use all of the space, for example
in Marlowes Doctor Faustus he used a very long table where the audience sat with the
actors. This created an intimate dynamic of relation between actors and spectators, with
the action unfolding on and around the table where they were seated. I think Grotowskis
aim was to show the actors and the audience that there is no limitation in theatre and that
is what I find really exciting about his work. The fact that he was fearless and prepared to
take his work to a whole new level in creating not a stage but a place and atmosphere by
using just actors. A good example of this is in Kordian the point of departure was a scene
in the hospital. What Grotowski did was he filled the entire space and set it out as if it was
a hospital. I think this is a great way to set a mood and an atmosphere in a theatre
because you want the audience to feel as though they are involved or even apart of what
ever is happening. I liked this approach because when I was watching it, I really got a
sense of atmosphere and environment, which for me made it feel so realistic. Furthermore,
the main principle of reduction was to see what could be removed and then found in the
essence of theatre. Grotowski called it theatrical doctrine the Poor Theatre because it is
like taking away all the rich elements that are unnecessary. I also like the fact that
Grotowski used a lot of spiritual technics, he would ask the actors to call on spirits, then
provoke their appearance, so that the audience were seen as the spirits. This resulted in
the actor creating himself a kind of music and rhythm. The actors would do this by using
the floor, shadows, reflections of light, body, feet and voice. Everything becomes music.
This technique amazed me because of the level of visualisation and imagination was so
clear and powerful. Looking into Grotowskis work in great detail has lead me to question
what methods do I find work for me? Do I want to take this and use it in my own work?
However, the one thing that I have learnt from his work is that you have to feel something
and then act upon that inner feeling.
Jerzy Grotowski interview Wywiad z Jerzym Grotowskim - YouTube. 2014. Jerzy
Grotowski interview Wywiad z Jerzym Grotowskim - YouTube. [ONLINE] Available at:
https://www.youtube.com/watch?v=y1nA4HCa6zI. [Accessed 22 October 2014].
Jerzy Grotowski, Tragiczne dzieje doktora Fausta", 1963 - YouTube. 2014. Jerzy
Grotowski, Tragiczne dzieje doktora Fausta", 1963 - YouTube. [ONLINE] Available at:
https://www.youtube.com/watch?v=WQLYehzGtEE. [Accessed 28 October 2014].
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Amber-Lily Foxon 25/10/14
Training at Grotowski's "Laboratorium" in Wrozlaw in 1972 Screener - YouTube. 2014.
Training at Grotowski's "Laboratorium" in Wrozlaw in 1972 Screener - YouTube. [ONLINE]
Available at: https://www.youtube.com/watch?v=dRyLLTvs00c. [Accessed 28 October
2014].
Vsevolod Meyerhold was a contemporary of Stanislavski and Chekhov because his ideas
were influenced by the musicality of Chekhov's work and by the intensive actor training he
undertook in the Moscow Arts Theatre with Stanislavski himself. Often Meyerhold and
Stanislavsky are often presented as opposed "systems" for actors in training. However,
they were both focus on releasing the actor's emotional and expressional potential. They
are just two different approaches. Meyerhold wanted to create a new kind theatre for a
new era. He was one of the most enthusiastic activists of the new Soviet Theatre. He
joined the Bolshevik Party in 1918 and tried to radicalise Russian theatres, effectively
nationalising them under Bolshevik control. Meyerhold had a vision from a young of what
he wanted to change within the theatre and he was determine to do so. Meyerhold used
dance and physical movement because he believed it would help with the development in
the actor's awareness of their body. The idea came from finding a means of expression
through actions. He went on to call this style of preparing and performing, "Biomechanics".
Biomechanics is a series of exercises to develop and release the emotional potential of
the actor through movement. I looked at a few videos clips based on this and I found it
amazing how strong and clear you had to be within your body movements. Meyerhold
believed that the creativity of the actor is shown in his movements, which is enhanced and
extended by the use of masks. Meyerhold's used make-up, hair, hats, scarves, eyeglasses
as well as Commedia dell' arte as a mask, which he explored in his training because
masks enabled the paradoxical nature of theatre to be explored in rehearsals and
performance. What was most important for Meyerhold, was that the mask forced the actor
to externalise his means of communication-to use the body. The shapes generated by the
body needed to complement the expression of the face.
Meyerhold believed that the creativity of the actor is shown in his movements, which is
enhanced and extended by the use of masks. Meyerholds mask training was explored
through make-up, hair, hats, scarves, eyeglasses as well as Commedia dellarte marks.
Masks therefore enabled the paradoxical nature of theatre to be explored in rehearsals
and performance. What was most important for Meyerhold, was that the mask forced the
actor to externalise his means of communication to use the body. The shapes generated
by the body needed to complement the expression of the face. I think this is a good
technique because it allows the actors to use their body in a way that makes the feel
emotion.
In the case of using puppetry as a theatrical device, Meyerholds vision was bold and
radical in its strong integration of the graphic component into the production. It helped
transcend boundaries of the theatrical form. Meyerhold derived this from Japanese
theatre, in particular the Kabuki theatre of japan, as puppetry was held a prominent part
within their pieces.
Mayerhold hated anything predictable and so he when on to explore deep into the
grotesque. It creates discomfort and it mixes opposites, comedy or tragedy, life or death
and beauty or ugliness. I personally think its bizarre but I do find the contrasts interesting
because they are all so relatable. Meyerhold felt that it challenged the audiences
perceptions and he liked how it was naturally mischievous, even satirical. The fact that it
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Amber-Lily Foxon 25/10/14
stretched the natural to the extent that it became unnatural or stylised, helped him achieve
his ideal performance. It revelled in mystery and fantasy, which I think enhanced
Meyerholds intentions of surprising the audience. What I understood from this research is
that on a contrary to Grotowski, you do something and then you feel it afterwards. This is a
more phycological angle as a posted to an inspirational angle. I think that it is based on
reactions from the inside. I really like this approach because it teaches actors to be
sensitive to their bodies and to feel what their bodies are doing and it is about reacting
mentally and emotionally to that physical and inner feeling.
Meyerhold's Biomechanics - YouTube. 2014. Meyerhold's Biomechanics - YouTube.
[ONLINE] Available at: https://www.youtube.com/watch?v=eoq8_90id2o. [Accessed 29
October 2014].
Vsevolod Meyerhold - YouTube. 2014. Vsevolod Meyerhold - YouTube. [ONLINE] Available
at: https://www.youtube.com/watch?v=4Hw9icvuUzo. [Accessed 29 October 2014].Peter
Brook
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