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      • Out of Grotowski’s practices, he devised what he called “poor theater,” which approaches a production by first eliminating all the parts of theater that can be considered “extraneous.” Poor theater entails little to no costuming, props, or elaborate sets.
      www.backstage.com/magazine/article/guide-to-the-jerzy-grotowski-technique-74788/
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  2. Jul 10, 2024 · In some instances, performances utilized norealprops at all, instead employing actors as props themselves. To achieve the level of authenticity and skill required for Poor Theatre, Grotowski’s actors underwent intense training over extended periods.

  3. Mar 15, 2022 · Poor theater entails little to no costuming, props, or elaborate sets. Instead, Grotowski relies on the abilities of the actors.

    • Backstage Staff
  4. Jerzy Grotowski’s idea of Poor Theatre has really shaken things up in the world of theater. It’s all about keeping things simple, focusing on the bare minimum when it comes to props and design, and putting all the spotlight on the connection between the actors and the audience.

  5. Foregoing the use of props altogether, Grotowski let the actors' bodies represent different objects, establishing an intimate dynamic of relation between actors and spectators by seating audience members as the guests at Faust's last supper, with the action unfolding on and around the table where they were seated.

  6. Nov 1, 2013 · To focus in on this horizontal relationship between the actor and the spectator, Grotowski calls for a ‘poor theatre’, a theatre stripped of all superfluous elements, such as set, costumes, props, and make-up.

    • Cole Matson
  7. Towards a Poor Theatre contains texts by Jerzy Grotowski (1933-1999), interviews with him, and other supplementary material presenting his method and training. Originally published in 1968, it has established itself as a classic work on theatre.

  8. Nov 16, 2017 · Poor theatre’ is a phrase that Ludwik Flaszen coined for the work with Grotowski; but it was also poor economically and in its material resources. If you see the Apocalypsis room, as the main space in Wrocław is called, it’s not a very big studio.

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