Teaching Poor Theatre: 10 Vital Requirements

Have you ever considered teaching Poor Theatre to your students but weren’t sure where to start? Here is a comprehensive list of everything teachers should cover in a topic, unit, or program on this minimalist theatre style developed by Polish practitioner Jerzy Grotowski.

After reading this article, you should have a road map for Poor Theatre. A list of recommended texts and links to other articles about Poor Theatre on The Drama Teacher are also included.

This is the second in a series of articles outlining what is needed to teach certain theatre styles in the classroom. Article 1 covered teaching ancient Greek Theatre.

1. Understanding the Philosophy and Origins of Poor Theatre

• Grotowski’s Vision for Poor Theatre: Teachers should introduce Grotowski’s revolutionary idea that theatre should return to its fundamental elements: the actor and the audience. Grotowski believed that elaborate sets, costumes, and technical effects distracted from the true essence of performance. His concept of Poor Theatre emphasises minimalism, where the actor’s craft and the relationship with the audience take centre stage. This philosophy challenges both actors and audiences to engage deeply with the material and each other.
• Influence of Theatrical Traditions on Grotowski: When teaching Poor Theatre, discuss the diverse influences on Grotowski’s work, including the discipline and ritualistic elements in Noh theatre and Indian Kathakali. These traditions focus on the actor’s physical and spiritual discipline, which Grotowski incorporated into his training methods to develop actors’ expressive capabilities.
• Theatre as Ritual in Grotowski’s Work: Grotowski perceived theatre as a modern ritual akin to ancient religious ceremonies, aiming to transform the actor and the audience. This ritualistic approach strips away superficial layers, exposing deeper emotional and psychological truths, making the theatre experience a communal journey.

2. Actor’s Training and Physical Preparation

• Body as an Instrument in Grotowski’s Poor Theatre: Grotowski believed that the actor’s body should be the primary instrument for expression. Teachers should guide students through a regimen of physical exercises designed to develop flexibility, strength, and precision. This physicality allows actors to embody various emotions and characters without relying on external props or costumes.
• Grotowski’s Specific Exercises and Techniques: Include detailed instructions on Grotowski’s techniques, such as plastiques, which involve exploring various physical forms and movements to discover the body’s expressive potential. The via negativa, or “negative way,” focuses on eliminating habitual behaviours that impede genuine expression, pushing actors toward a more authentic and spontaneous performance.
• Vocal Techniques in Grotowski’s Method: When teaching Poor Theatre, vocal training is integral to Grotowski’s approach, emphasizing breath control, projection, and articulation. These techniques ensure that actors can convey subtle emotions and intentions through their voice alone, adhering to the minimalist principles of Poor Theatre.

3. Theatre Space and Audience Interaction

• Grotowski’s Exploration of Space: Teachers should instruct students on using non-traditional and flexible performance spaces, reflecting Grotowski’s practice of utilising rooms, basements, or outdoor environments. This flexibility allows performances to adapt to different spaces, challenging traditional audience-performer boundaries and creating a more immersive experience.
• Audience Engagement in Poor Theatre: Emphasise Grotowski’s techniques for engaging the audience, which often involve breaking the fourth wall. This practice transforms the audience from passive spectators into active participants, fostering a deeper emotional and intellectual engagement with the performance.
• Spatial Dynamics: Instruction while teaching Poor Theatre should include strategies for using space effectively to enhance the performance’s emotional and psychological impact. This involves considering the audience’s proximity and orientation, which is crucial in creating an intimate and powerful experience.

4. Minimalism in Production Elements

• Minimal Use of Scenery and Props in Grotowski’s Poor Theatre: Grotowski advocated a minimalist approach where the actor’s performance is the primary focus. Teachers should instruct students on using minimal props and set elements, encouraging creativity and improvisation. This approach challenges actors to rely solely on their skills and encourages the audience to engage more imaginatively with the performance.
• Costuming and Makeup: Instruction to students should follow Grotowski’s practice of using simple, neutral costumes and minimal makeup. These elements are not meant to create a specific character visually but to serve as a canvas for the actor’s physical and emotional expressions.
• Lighting and Sound in Poor Theatre Productions: Educators should explore minimal lighting and sound effects to enhance the atmosphere and focus the audience’s attention on the actors. Grotowski’s Poor Theatre uses these elements sparingly and purposefully to support the performance rather than overshadow it.

Highly Recommended Jerzy Grotowski and Poor Theatre Texts

5. Actor-Audience Relationship

• Breaking the Fourth Wall in Grotowski’s Work: Grotowski often employed techniques that directly engage the audience, breaking the traditional fourth wall. Teachers should instruct students on how to use direct address, eye contact, and other methods to involve the audience, making them an integral part of the performance.
• Empathy and Confrontation: Grotowski believed in provoking strong emotional responses from the audience, whether through empathy or confrontation. This can be achieved through intense performances, direct questioning, or physical proximity, encouraging the audience to reflect deeply on the performance’s themes.
• Shared Experience: Emphasise Grotowski’s idea of the performance as a shared experience between actors and the audience. This communal aspect is crucial in Poor Theatre, where each performance becomes a unique event shaped by all participants’ interactions.

6. Textual Interpretation and Adaptation

• Text as a Blueprint in Grotowski’s Methodology: Grotowski viewed the script not as a rigid guide but as a starting point for exploration. Teachers should encourage students to see the text as a flexible framework that can be adapted and interpreted creatively, allowing for spontaneity and discovery in performance.
• Improvisation and Experimentation: Grotowski emphasised the importance of improvisation and experimentation in rehearsals. This approach helps actors uncover deeper layers of meaning in the text and explore new ways of expressing its themes and emotions.
• Focus on Core Themes: Teacher instruction should guide students in identifying the essential themes and emotions within the text, focusing on these core elements while stripping away extraneous details. This aligns with Grotowski’s minimalist approach, emphasising substance over spectacle.

7. Emotional Authenticity and Intensity

• Emotional Depth: Grotowski placed great importance on emotional authenticity. Educators should encourage actors to tap into their experiences and emotions, fostering a truthful and compelling portrayal that resonates with the audience.
• Intense Focus and Concentration: Techniques for achieving intense focus and concentration are vital in Grotowski’s Poor Theatre. This focus allows actors to maintain high energy and authenticity throughout the performance, ensuring that every moment is charged with meaning and emotion.
• Transformative Experience: Grotowski aimed for theatre to be a transformative experience for both the actor and the audience. This involves pushing beyond superficial emotions to explore deep and often challenging themes, creating a space for reflection and transformation.

8. Use of Ritual and Symbolism

• Ritualistic Aspects in Grotowski’s Theatre: Grotowski often integrated ritualistic elements into his performances, using repetitive actions, chants, and symbolic gestures to create a more extensive level of engagement. While teaching Poor Theatre, you should explore how these elements can evoke a sense of shared ritual and communal experience.
• Symbolism and Metaphor in Grotowski’s Productions: Instruction when teaching Poor Theatre should cover symbolism and metaphor to convey abstract concepts and emotions. This technique allows the performance to operate on multiple levels, engaging the audience intellectually and emotionally.
• Cultural and Mythological References: Grotowski frequently drew on cultural and mythological references to add depth and universal relevance to his performances. Educators teaching Poor Theatre should encourage students to explore these references, enriching their understanding and interpretation of the material.

9. Collaborative Creation and Ensemble Work

• Collective Creation in Grotowski’s Method: Grotowski emphasised the importance of the ensemble in creating a cohesive and powerful performance. Teachers should encourage a collaborative approach, where actors work closely together, share ideas, and experiment with different approaches.
• Trust and Communication: Building trust and open communication within the ensemble is essential for the intimate and rigourous work required in Poor Theatre. This foundation allows for honest and fearless exploration of challenging material.
• Continuous Development: Grotowski believed in the continuous development and refinement of performance. Unlike traditional theatre, where a production is set after a few rehearsals, Poor Theatre often evolves with each performance, responding to the dynamics between the actors and the audience.

10. Critical Analysis and Reflection

• Reflective Practice in Grotowski’s Method: Encourage students to engage in reflective practice, critically analysing their performances and those of their peers. This process helps deepen their understanding of Grotowski’s methodologies and the principles of Poor Theatre.
• Contextual Analysis: Teach students to analyse the historical, cultural, and social contexts of Grotowski’s work, helping them appreciate the broader influences and motivations behind his approach.
• Documentation and Research: While teaching Poor Theatre, promote the documentation of rehearsals and performances and research into Grotowski’s theories and methodologies. This provides a theoretical foundation that enriches practical work, helping students articulate their creative processes and understand the significance of their work within the framework of Poor Theatre.