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Abstract
This article intends to approach the identification of some concepts proposed by Grotowski in his first creative stage in the sixties which defined his model of an actor such as Poor Theater, techniques 1 and 2,elimination principle, via negativa, precision and organization, the body life and body-memory impulse, and the holy actor, and how these terms nurtured the emergence of the performer, the man who updates the Polish Master’s work in a new art and culture period, the postdramatic era. This article is nourished by the voice of great connoisseurs of the Master’s work as Eugenio Barba, Thomas Richards, Jairo Cuesta and Jean Slowiak with whom it was possible to have an interview as well as with the Catalan actors, Pere Sais and Anna Caixach, and of course with Grotowski’s voice which accompanies to put this text together.
References
Barba, E., & Saravese, N. (2010). El Arte secreto del actor. Diccionario de antropología teatral (4nded.). Lima: Editorial San Marcos E.I.R.L.
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Sais, P. (2009). Grotowski. Del teatre a l’art com a vehicle. Barcelona: Institut del Teatre de la Diputació de Barcelona.
Schechner, R., & Woldford, L. (1997). The Grotowski sourcebook. London/New York:Routledge.
Slowiak, J., & Cuesta, J. (2007). Jerzy Grotowski.New York: Routledge.
