Jerzy Grotowski creates what he calls

Introduction.
Grotowski's position before the action method is very spiritual, because it claims defence net the actor is the basis of the theater: no acting, no fakes or imitates it must be delivered to the character defence net and the character himself at a public event confession, as one who creates defence net the link between the work and the viewer, looking which such public display. According to the ideology of JG, the actor is the representative of wealth defence net in poverty, which needs no accessories, defence net or accessories (costumes, makeup ...) to show their talents without hesitation, all you need is your voice and his body as unique elements of study and expression. JG really revolutionized the theater, because he returned to his sacred origins.
Jerzy Grotowski was born in Rzeszow (Poland) August 11, 1933 & died in Pontedera, (Italy) January 14, 1999, it was a Polish theater director and a leading figure in the avant-garde theater of the twentieth century. Most notable defence net of his work is possibly defence net the development of so-called poor theater, which involves advanced technique of psychophysical pioneering work of Konstantin Stanislavski.
He studied in Krakow and Moscow, after which he began his career as director and theorist theater founding his own company, the Theatre of the 13 rows, which he headed from 1959 to 1964. In 1965 he moved to Wroclaw and changed the name to Theatre Lab. He triumphed with free classics like The Constant Prince of Calderon de la Barca, where Ryszard defence net Cieślak embodies his conception of holy Actor adaptations. In 1976 the Laboratory Theatre disappeared and continued teaching and experimental work worldwide. Generates the concept defence net of Poor Theatre. His work has influenced contemporary directors and actors such as Alejandro Jodorowsky, Eugenio Barba and Peter Brook. The collection of his theoretical writings, Towards a Poor Theatre, was published in 1968 with introduction of Brook.
Grotowski revolutionized defence net theater was because he returned to his sacred origins. In his opinion the theater can not be an end in itself. The theater defence net is a vehicle, a means of self-study, self-exploration, a possibility defence net of salvation. The actor has in itself its field. Hand, eye, ear, heart are what you study and what you study. Seen this way, the interpretation defence net is the work of a lifetime: the actor extends stepper his knowledge of himself through the painful and ever-changing circumstances of the trials. In the terminology of Grotowski, defence net the actor allows the paper as "soak"; initially the major obstacle is her own person, but a constant defence net work leads him to acquire technical mastery over his physical and psychic defence net means. This left "penetrate" defence net the paper is related to the exposure itself actor, who does not hesitate to show exactly how it is, because it understands that the secret of the role demands open, revealing their secrets. Therefore, the act of interpreting is an act of sacrifice. His theatrical concept is embodied in the work Towards a Poor Theatre (1968), which has significantly defence net influenced the European theater.
Jerzy Grotowski creates what he calls "poor theater", a theater defence net that can exist without makeup, no costumes, no scenery, no light, no sound effects, etc. There is only one thing without which there would be no theater: the relationship between actor and spectator.
The actor transformed by controlled use of gesture, the body has always been the main tool of the actor, you do not need so many things, you can create music from one's body either through defence net pat onto or voice, body actor illuminates the stage. Even said that the actor can exist without a text, you can improvise fashion Commedia dell 'arte, but that there is a theater without actors and public, for that matter Grotowski define the theater as "what happens between the spectator and actor "and defence net demanding something special from both and told him that as you can not educate an audience, if we can educate the actor. Interested defence net in the particular actor because he is a human being, it is an encounter with another person, the feeling of mutual understanding.
The theater is not of course a scientific defence net discipline, but the theater, particularly the art of the actor can not, as claimed Stanislavski, be based only on inspiration or talent, is required defence net to master a method. It is a process of self-knowledge. Grotowski was trained in the methods of Stanislavski, also were attractive biomechanical training Meyerhold, Indian Kathakali theater and not Japanese, but in his theater taught a collection of techniques not taught prefabricated methods that lead to stereotype, defence net but its purpose is des