葛羅托斯基的有機路線

In 1996, [Jerzy Grotowski] was appointed the first Chair of Theatre Anthropology in the prestigious Colege de France. He delivered ten lectures in Paris between March 1997 and January 1998 on the subject of “the organic line in theatre and ritual.” P. 54

Grotowski’s recurrent basic concepts

• Sacrifice: via negativa, disarmament, untaming, work ethics

• Presence (here and now): attention, awareness, perception, vigilance, body techniques over mental methodologies

• Totality: a fusion of the mind and body, a connection to the essence, that which precedes any social conditioning

• Literal: without pretence; be present, total, making the supreme sacrifice of revelation, be organic p. 83

Organicity/Artificiality

• Throughout his career, Grotowski showed little interest in actors who behave “naturally” on stage. Instead he sought those actors who reveal nature—their own personal nature as well as that of all humanity. Eventually, he would call this phenomenon organicity, one of the enduring searches of Grotowski’s career. Pp. 7-8

via negativa

• Throughout the various periods of his research, Gortowski applied the principle of via negativa. Whether striving toward a poor theatre, to be in the beginning (Theatre of Sources), or the unrepresentable origin (Art as Vehicle), the main principle that guided his work was the process of stripping away the non-essential to reach pure presence. But how it this done? P. 122

Technique of Trance

• For Grotowski, trance is the ideal state of an actor in performance… Grotowski says,

“Let’s say that we see an actor, during a performance, and what he is doing is very clear, clean, the organic process is visible, there is no disorder, everything arrives in an evident and strong manner; it’s strong because it sends a kind of suggestion. We can say that it hypnotizes the people. At this moment, many people that are watching see something that is unknown, which is not only organicity and articulation. There is something more, a potent energetic phenomenon, and so people say: “this actor is in a state of trance.” (Grotowski 1982: 9-10) P. 61

Ritual and Theatre for Grotowski

• Ritual is a word that has haunted Grotowski since his early days in the theatre. In his theatre productions, he was often accused of trying to fashion new rituals for the audience. During paratheatre, critics attacked him for trying to create a public ritual and, in Theatre of Sources, for appropriating the rituals of traditional cultures. In his final phase of research, Ritual Arts or Art as Vehicle, he finds the way to articulate, in words and practice, his relation with ritual: ritual is action and Performer is the doer. He now attempts to create a ritual for the doer—to lead a rare person toward his/her essence. P. 81

旁白： Buddha’s whole methodology is that of self-remembering:

SAMMASATI This self-remembering Buddha calls sammasati — right

mindfulness. Krishnamurti calls it ‘choiceless awareness’, the Upanishads call it ‘witnessing’, Gurdjieff calls it ‘self-remembering’, but they all mean the same. But it does not mean that you have to become indifferent; if you become indifferent you lose the opportunity to self-remember. Go on a morning walk and still remember that you are not it You are not the walker but the watcher And slowly slowly you will have the taste of it — it is a taste, it comes slowly. And it is the most delicate phenomenon in the world; you cannot get it in a hurry. Patience is needed.

Untaiming by Watching

• Cuesta led the Irvine group through many long hours of work and eventually a structure emerged which was named Watching. P. 130

• The primary objective is to watch. P. 130• Watching is a silent activity. No cries, moans, or

verbalizations. No stomping, pounding, or drumming. No flailing arms, pseudo-fits, acrobatics, or choreography. Don’t do what you know how to do. P. 130

• Watching consists of ten different sections. P. 130

Watching• Section #1: Control of the Space

– Immobility– Control of the space with movement, no displacement – Control of the space with displacement

• Section #2: The Web: A. Pulsation B.Cresecent-moons C. Silent Dance• Section #3: Running• Section #4: Nebula• Section #5: Silent Dance II (this time the dance is offered to someone in the

room…)• Section #6: Pulsation II• Section #7: Crescent-moons II• Section #8: Connection-Disconnection• Section #9: The Spiral• Section #10: Control of the Space II

– Control of the space with displacement– Control of the space with movement, no displacement– Immobility

Do it!

1987 年我們在蘆洲的藝術學院中正堂做 Watching ，前為 Jairo Cuesta 。