Abstract
Abstract The Polish director Jerzy Grotowski (b. 1933) has brought a highly personal perspective to the trend in the second half of the twentieth century of assigning a secondary role to the dramatic text in the theatre. He has been compared to Artaud for drawing inspiration from oriental performing arts and rethinking the theatrical space so as to bring about a closer audience involvement; but he differs from his French predecessor in the technical precision of his work and in sacrificing stage technology in favour of a ‘poor theatre’. Between 1959 and 1971, working first with the Theatre of Thirteen Rows (Opole) and then the Laboratory Theatre (Wroclaw), he placed the performer firmly at the centre of the theatrical experience. Calling for a ‘holy actor’ prepared to give himself or herself unreservedly to the audience, he devised technical exercises to enable him or her to achieve this.
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