| Papers [1-6] of 6 | Search results on "JERZY GROTOWSKI": |
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Jerzy Grotowski, 2005.
This paper explores Jerzy Grotowski's belief of theatre as a religious experience.
1,350 words (approx. 5.4 pages), 4 sources, $ 53.95
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Abstract
The paper explains that for many performers, acting is merely a stereotypical portrayal of humankind, with no direct link to the soul of the individual. The paper contends that this type of performance, though capable of universal identification, severely lacks the realism that is so significant to life upon the stage. The paper discusses how Jerzy Grotowski recognized this condition in much of what people attempted to call theatre.
From the Paper
"For many performers acting is merely a stereotypical portrayal of humankind, with no direct link to the soul of the individual. This type of performance, though capable of universal identification, severely lacks the realism that is so significant to life upon the stage. Jerzy Grotowski recognized this condition in much of what people attempted to call theatre. He saw that actors lacked a spiritual connection to their work and that this personal element of performance separated theatre amateurs from a sense that theatre was, in essence, a religious experience that transcended mere acting and brought true life to the stage. Grotowski, like Stanislavski, believed that actors needed to go beyond what was historically expected of them in relation to the generalizations of the craft."
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"The Painted Bird" by Jerzy Kosinski: A Work of Art or Rubbish?, 2002.
This essay discusses the novel 'The Painted Bird' by Jerzy Kosinski along with some common criteria for evaluating works of art and determining their cultural value.
1,745 words (approx. 7.0 pages), 0 sources, $ 56.95
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Abstract
The author of this paper defends this novel by Jerzy Kosinski , so often attacked and ridiculed by critics, and hails it as a classic work of art of supreme historical value.
From the Paper
Before beginning, however, a few comments on this controversial novel are important leading into the discussion. First of all, it is impossible to read The Painted Bird without feeling strong emotions and asking difficult questions: Could such a story really be true? If it is true, how can people treat other humans in this way? Are there still people in the world like this, seemingly without traditional values or morality? In a similar cultural setting, would I act in the same way? The characters in The Painted Bird demonstrate the most incredible forms of inhumanity and amorality imaginable and the story of the boy's experiences are at times beyond belief. Second, this book has been called everything from a classic of literature (for its portrayal of the horrors of war from the eyes of an innocent child) to an outrageous fabrication (written by a pathological liar and apologist for the Nazis).
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"Ubu Roi", Directed By Antonin Artaud, 2000.
An examination of Artaud's interpretation of Alfred Jarry's play, focusing on the "theater of cruelty" and ideas of Jerzy Grotowski.
900 words (approx. 3.6 pages), 3 sources, $ 31.95
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Abstract
"Antonin Artaud's theater of cruelty techniques are springboards for the director's imagination. His theories, based in part on Cambodian and Balinese dance, extol a form of "total theater," where visual images, gesture, light, sound, and noise take precedence over the written or spoken word.
From the Paper
"Antonin Artaud's theater of cruelty techniques are springboards for the director's imagination. His theories, based in part on Cambodian and Balinese dance, extol a form of "total theater," where visual images, gesture, light, sound, and noise take precedence over the written or spoken word. This potent combination is used to disturb the subconscious of the audience and kindle their imaginations. These images are often shocking, but as Artaud explains, "We are not free, and the sky can still fall on our heads; and the theater exists to remind us of this fact" (Artaud 79).
Alfred Jarry's King Ubu displays "the spirit of profound anarchy which is the root of all poetry" (Artaud 42), and this can be seen in Act IV of the play as Pa Ubu states,
We'll stay on top of this hill and we'll not be so..."
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Artaud?s Theater, 2002.
This paper takes a look at Antonin Artaud's techniques of bringing performance to the stage.
906 words (approx. 3.6 pages), 3 sources, MLA, $ 32.95
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Abstract
According to the paper, Artaud's theories are based in part on Cambodian and Balinese dance, extolling a form of "total theater," where visual images, gesture, light, sound and noise take precedence over the written or spoken word. The writer compares this work to that of Jerzy Grotowski's whose approach to theater centers on the actor. The paper finally reveals the commonality of Artaud and Grotowski: the element of shock.
From the Paper
"Our "theater of cruelty" production has the spectator in the center surround by the spectacle of the play (Artaud 81). Sound and violent physical images swirl about the viewers. Images of crime, love, war, and madness all assault the audience in a revolving spectacle which spreads its "visual and sonorous outbursts" (Artaud 86) over the entirety, reigniting its tired psyche with "intense and sudden shocks to revive our understanding" (Artaud 86). Costumes are ritualistic; masks are often but not always used; musical instruments enhance the work, from ancient drums to the newest synthesizer's sonic extremes; and lasers and very special lights play their part as the "fusillades of fiery arrows" (Artaud 95) that Artaud dreamed. All can now be realized with our current technology."
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Evaluation of the Novel "Being There", 2002.
A discussion of Jerzy Kosinski's novel.
900 words (approx. 3.6 pages), 1 source, $ 31.95
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Abstract
Discusses Jerzy Kosinski's novel. Perspective of the world from the point of view of the mentally retarded protagonist, Chance. Symbolic use of the garden. Achievement of comic effects by use of language. Author's satirical attack on society & politics, the rich & the powerful. Commends the novel as clever, witty and powerful.
From the Paper
"Book Evaluation of ?Being There?
Jerzy Kosinski?s ?Being There? presents an unusual perspective of the world from the eyes of Chance, the chief protagonist. Chance is a mentally retarded man who has lived most of his life in isolation from the rest of the world. By using Chance?s narrative viewpoint, Kosinski transforms the mundane details of daily life into an unpredictable and thus dramatic spectacle, full of wonder and excitement. Because Chance is a simple man, the dramatic suspense of his entry into the unknown and treacherous world is heightened. Although ?Being There? is a witty satire against the rich and powerful, Kosinski?s real triumph lies in his ability to show realistically how such a vulnerable man manages to navigate his way through life to the upper echelons of society.
At the star..."
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Book Evaluation of ?Being There?, 2002.
A critical book review of Jerzy Kosinski?s novel ?Being There? .
1,028 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
This paper briefly looks at the unusual main character in Kosinkski's novel. It shows how the novel presents an unusual perspective of the world from the eyes of Chance, the chief protagonist. Chance is a mentally retarded man who has lived most of his life in isolation from the rest of the world. The paper states that Kosinski?s real triumph lies in his ability to show realistically how such a vulnerable man manages to navigate his way through life to the upper echelons of society.
From the Paper
"At the start of the book, Kosinski plunges the reader into Chance?s life by giving a meticulous and intimate glimpse of his inner world. Distanced from human life, Chance?s world revolves around plants. In spite of his mental retardation, Chance possesses an intuitive ability to take care of plants: ?Very gently he let the stream touch every plant, every flower, every branch of the garden? (Kosinski 3). In fact, Kosinski paints an endearing portrait of Chance with a poignant analogy between plants and people. Unlike typical people, Chance shares the innocence and fragility of the plants in the garden: ??no plant can do anything intentionally: it cannot help growing, and its growth has no meaning, since a plant cannot reason or dream? (Kosinski 3). Ironically, when he is thrust into the outside world, Chance manages to thrive because of his intuitive connection to the garden. Kosinski cleverly utilizes the universal metaphor of the garden and growth to enable Chance to capture the imagination of the people."
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