RESUMO -Desejo sem Objeto1 -Este texto faz uma reflexão pessoal sobre o trabalho do Workcenter of Jerzy Grotowski and Thomas Richards. Por intermédio de diferentes experiências e histórias, o artigo aborda os problemas do ofício, da artesania, da arte e da transformação de si. Apresenta-se a arte como veículo e problematizam-se temáticas importantes para a área como tradição, interioridade, grupo. A partir do trabalho com os cantos tradicionais e das experiências do autor com Grotowski, o texto indaga sobre o sentido do fazer artístico. Palavras-chave: Workcenter of Jerzy Grotowski and Thomas Richards. Performance. Teatro. Cantos Tradicionais. Grotowski. ABSTRACT -A Desire Without an Object -This text is a personal reflection on the work of the Workcenter of Jerzy Grotowski and Thomas Richards.Through several experiences and stories, the article addresses issues of the activity, craft, art, and transformation of the self. It presents art as a vehicle and discusses issues important to the field as tradition, interiority, and group. Based on work with traditional songs and the author's experiences with Grotowski, the text questions the meaning of artistic creation. Keywords: Workcenter of Jerzy Grotowski and Thomas Richards. Performance. Theatre. Traditional Songs. Grotowski. RÉSUMÉ -Désir sans Objet -Ce texte propose une réflexion personnelle sur le travail du Workcenter of Jerzy Grotowski and Thomas Richards. À travers différentes expériences et histoires, cet article aborde certains problèmes inhérents au métier, à sa dimension artisanale, à l'art et à la transformation de soi. L'art est présenté ici en tant que véhicule et quelques thématiques importantes pour ce domaine, telles que la tradition, l'intériorité et le groupe, sont problématisées. À partir du travail sur les chants traditionnels et d'expériences de l'auteur en compagnie Grotowski, le texte s'interroge sur le sens de la pratique artistique. Mots-clés: Workcenter of Jerzy Grotowski and Thomas Richards. Performance. Théâtre. Chants Traditionnels. Grotowski.
In 1996, Jerzy Grotowski changed the name of his Workcenter at Pontedera in Italy to that of the Workcenter of Jerzy Grotowski and Thomas Richards, and it was here that Richards and his associate Mario Biagini developed the Actions that had originated with their thirteen years of close collaboration with Grotowski before his death in 1999. Dies Irae was premiered in 2004. Various research projects led by Richards and/or Biagini include Tracing Roads Across (2003–06) and Open Programme, which began in 2007. Such works as I am America, crafted on the poems of Allen Ginsberg, and Electric Party, both directed by Biagini and first performed in 2009, have emerged from Open Programme. A recently ‘finalized’ work, The Letter (2008), directed by Richards, was the result of a long process of development that passed through three major phases and two differently named Actions, starting in 2003. Richards is the author of At Work with Grotowski on Physical Actions (1995) and Heart of Practice (2008), while Biagini has edited, with Antonio Attisani, the three-volume Opere e Sentiere (2007 and 2008). The conversation below is an edited version, in consultation with Richards and Biagini, of their discussion with Maria Shevtsova in November 2008, as part of her ‘Conversations’ series at Goldsmiths, University of London. These last pupils of Grotowski give uncommon insight into the processes of their work together, continuing their generous and open reflections in their responses to questions from members of the audience.
RESUMO O texto é baseado na transcrição, revista pelo autor, de A. R. Ciamara de parte de um seminário ministrado pelo autor, no ano de 2000, na Universidade de Roma "La Sapienza". O texto se articula a partir de questões respondidas por Biagini sobre temas importantes para a compreensão do trabalho do Workcenter of Jerzy Grotowski and Thomas Richards. Trata-se a questão do legado de Grotowski, problematiza-se a questão do trabalho sem público e o conceito de ação física. O texto discute, ainda, a função dos cantos vibratórios no trabalho de Grotowski e do Workcenter e discorre sobre a dificuldade de definir e colocar em palavras determinadas dimensões do trabalho. Por fim, o texto se pergunta sobre as relações entre quem faz e quem estuda teatro e sobre o sentido do ofício de ator.
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