By Stephen Wangh
"The actor will do, in public, what's thought of impossible." while the popular Polish director Jerzy Grotowski begun his 1967 American workshop with those phrases, his scholars have been shocked. yet inside of 4 weeks they themselves had skilled the "impossible."
In An Acrobat of the Heart, teacher-director-playwright Stephen Wangh unearths how Jerzy Grotowski's actual routines can open a pathway to the actor's internal creativity. Drawing on Grotowski's insights and at the paintings of Stanislavski, Uta Hagen, and others, Wangh bridges the distance among rigorous actual education and useful scene and personality process. Wangh's scholars supply candid descriptions in their struggles and breakthroughs, demonstrating the best way to rework those impressive classes right into a own trip of creative progress. brave and compelling, An Acrobat of the Heart is a useful source for actors, administrators, and lecturers alike.
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Extra info for An Acrobat of the Heart. A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski
Similarly, when you enter a dance studio, you choose a place on the floor that “feels right” for dancing. If one day you were to notice that a section of the dance floor was wet, you would look for a dry area in which to work because it would be foolhardy to practice leaps and pirouettes on a wet floor. In the same way, when you walk into an acting studio, you automatically seek out a place in which you feel comfortable doing your acting work. Acting requires emotional leaps, and you need as much safety as you can get before engaging in pirouettes of the heart.
He realized that by concentrating so completely on the actor’s mind, he had ignored the actor’s body. ” In his book Creating a Role, which was not published in English until 1961, Stanislavski writes: “In every physical action, unless it is purely mechanical, there is concealed some inner action, some feelings” [Stanislavski, 1961, p. 228]1 The actor Vasily Toporkov, who worked with Stanislavski during the 1930s, describes his late work this way: Konstantin Stanislavski directed our attention to what is the most tangible, the most concrete in each human action; its physical aspect.
1 The first to speak is a dark-haired, heavyset woman named Veronica. She feels she has learned a great deal from the acting techniques she has been studying, but that they have left her feeling out of touch with her body. “Of course, we had dance classes,” she says, “but the body work never seemed to connect with the acting. ” Brian is a tall, gangling young man with a small goatee and a touch of sadness in his eye. He brushes his long hair out of his face as he says, “Being on stage for me is a little like being at one of those parties where you don’t know what to do with your hands.
An Acrobat of the Heart. A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski by Stephen Wangh