In the work Art as Vehicle (a term coined by Peter Brook to describe Grotowski’s Workcenter research), traditional tools are aimed at an approach to the interiority of the human being. This intimate research for the individual, toward which the Workcenter’s Focused Research Team is oriented, is carried out in contact and interaction, within precise performative opuses. In February 2008, Thomas Richards selected and began to work with a new group of young international actors. The work of the new team currently consists in the process of teaching-through-creation. Focused Research Team works in a diligent, intimate and concentrated setting, focusing both on a kind of personal inner practice as well as upon the development of their craft as theatre practitioners. For the past twenty-three years at the Workcenter, Richards has made an in-depth investigation into precise tools stemming from the African and Afro-Caribbean Diaspora, principally ancient vibratory songs. This sustained praxis, which developed at the Workcenter and can be considered to be the core of its research, continues to develop within Focused Research Team. Through work on ancient songs from the African and Afro-Caribbean traditions, as well as with texts (spanning from Western tradition to traditions such as the Bauls of Bengal to relevant modern texts), Richards works with the team members helping them come in contact with the inner aspects of the Workcenter research. Focused Research Team is also exploring ways in which these inner aspects can facilitate and enrich human contact and experience.
Within Horizons Part III, Focused Research Team will continue its creative line, which entails the development of a ‘focused performative context’ in which the Workcenter’s essential research can unfold. Since its beginnings, a fulcrum of the exploration at the Workcenter has been an investigation into the possibilities of human experience and contact within a performative environment. Now, Focused Research Team is making an inquiry into how the inner aspects of the work can coincide with, infuse and transform quotidian action into “focused performative context.” Within Horizons III, this “context” will see further exploration and refinement, as the team searches to uncover the way in which a known circumstance can reveal an unknown potential. Throughout Horizons Part III, selected theatre practitioners and interested individuals will be invited to witness the on-going research.
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