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Instytut im. Jerzego Grotowskiego
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Z Grotowskim. Teatr jest tylko form±

 Author: Peter Brook
Z Grotowskim. Teatr jest tylko form± [With Grotowski: Theatre s Just a Form]
Edited by
Paul Allain, Georges Banu, Grzegorz Ziółkowski
March 2015
190x120 mm
5 Euro

Selected pages              

Published to mark Peter Brook’s 90th birthday.

From early on, Grotowski recognized the double nature of forms. They conceal, but they also protect the life that is within. For this reason, he set up his own barriers, so as to conceal and protect the work he was doing with his dedicated companions in their well-guarded private space. When he eliminated spectators from his theatre, and when he refused to allow writers to describe and evaluate his explorations, this was to prevent mere descriptions from replacing the vivid life of actions. And yet Grotowski, a great reader, an encyclopedic man of learning, knew well how essential in human life it is for understanding to be passed on, for there to be a chain of transmission. His quest was not only in a personal need to force the crust of the earth to open so as to reveal the blazing core hidden in its depths. It was also, in his own chosen field of theatre, to guide others, to help them discover in exact, detailed and repeatable ways what laws, what practices make this deep inner penetration possible. In this way, he could develop a craft that could be transmitted directly, from person to person, a craft that examined the relationship between impulse and action, and made their coming together possible. He carefully separated himself from his explorations, so that they could continue one day without him.

An extract from the text Grotowski was

Peter Brook
was born in London in 1925. He directed his first play there in 1942 at the age of eighteen. Since then he has directed over eighty productions in London, Paris and New York.

His work with the Royal Shakespeare Company includes Love’s Labour’s Lost, Measure for Measure, Titus Andronicus, King Lear, Marat/Sade, US, A Midsummer Night’s Dream and Antony and Cleopatra.

In 1971 he founded the International Centre for Theatre Research in Paris (CIRT) and in 1974 opened its permanent base in the Bouffes du Nord Theatre. At this time, CIRT was transformed into CICT – the International Center for Theatre Creations. There, he directed Timon of Athens, The Ik, Ubu aux Bouffes, Conference of the Birds, L’Os, The Cherry Orchard, The Mahabharata – with Polish actors Ryszard Cie¶lak and Andrzej Seweryn in the cast, Woza Albert!, The Tempest, The Man Who, Qui est là?, O! les Beaux Jours, Je suis un Phénomène, Le Costume, The Tragedy of Hamlet, Far Away, La Mort de Krishna, Ta Main dans la Mienne, Tierno Bokar, Sizwe Banzi is Dead, Le Grand Inquisiteur and Fragments. Many of these productions were performed both in French and English. King Lear, A Midsummer Night’s Dream, Le Costume, The Tragedy of Hamlet, Tierno Bokar, Le Grand Inquisiteur, Fragments and 11 and 12 have been presented in Poland.

In opera, he directed Boris Godounov, La Bohème, Le Nozze de Figaro, The Olympians and Salomé at Covent Garden in London; Faust and Eugene Onegin at the Metropolitan Opera House in New York; La Tragédie de Carmen and Impressions of Pelleas at the Bouffes du Nord in Paris; and Don Giovanni for the Aix en Provence Festival.  

Peter Brook’s autobiography, Threads of Time, was published in 1998 and joins other titles including: The Empty Space (1968), translated into many languages; The Shifting Point (1987); and There are No Secrets (1993). He is also the author of Evoking (and Forgetting!) Shakespeare (2002) and With Grotowski: Theatre Is Just a Form (2007, 2009). All of the aboveexcluding Threads of Time – have been translated into Polish.

His films include Moderato Cantabile, Lord of the Flies, Marat/Sade, King Lear, Meetings with Remarkable Men and The Mahabharata.