At Work with Grotowski on Physical Actions

By Thomas Richards

Book Overview

I consider this book a precious report that permits one to assimilate some of those simple and basic principles which the self-taught at times come to know, yet only after years of groping and errors. The book furnishes information regarding discoveries which the actor can understand in practice, without having to start each time from zero. Thomas Richards has worked with me systematically since 1985. Today he is my essential collaborator in the research dedicated to Art as Vehicle.' - from the Preface by Jerzy Grotowski

• Format: Paperback
• Language: English
• ISBN: 0415124921
• ISBN13: 9780415124928
• Release Date: May 1995
• Publisher: Routledge
• Length: 152 Pages
• Weight: 0.51 lbs.
• Dimensions: 0.6" x 5.5" x 8.5"
• Age Range: 18 years and up
• Grade Range: Postsecondary

Customer Reviews

Great book for actors and others

This is a fascinating book on the Grotowski method of acting work. It is very well written and a must read for anyone in the acting profession and of interest to others who are curious about the creative process.

Grotowski expansion on Stanislavsky

Whoever said anything about "The Method" should realize Grotowski has nothing to do with Lee Strasberg. Grotowski has picked up at the end of Stanislavski's work, which only stopped evolving because of his death, and Jerzy Grotowski has expanded on those ideas and brought new meaning to physical actions. Thomas Richards explanations of how Grotowski and the Labratory Theatre's work taught actors like himself to embrace physical actions in a powerful, intense way is truly inspiring. This book is a must read, particularly in conjunction with "Towards a Poor Theatre" by Grotowski for any person working in modern theatre.

The most important book on acting to appear in years

Most people in theater have heard of Grotowski, but few have any first-hand experience of his work. This book is bound to become a standard work on acting as it explains in clear and consice detail how Grotowski applied his technique to the pratical work of acting. As a bonus, the book bridges the gap between traditional Stanislavski method and physically-based acting, by showing how Grotowski's work is in continuation of the Method, not in oppostion to it. Any serious student of theater will want to have this book on their shelf