Most people in theater have heard of Grotowski, but few have any first-hand experience of his work. This book is bound to become a standard work on acting as it explains in clear and consice detail how Grotowski applied his technique to the pratical work of acting.

As a bonus, the book bridges the gap between traditional Stanislavski method and physically-based acting, by showing how Grotowski's work is in continuation of the Method, not in oppostion to it. Any serious student of theater will want to have this book on their shelf

Comprehending this book is no small feat. Sure, you start with the premise that competing with the technical spectacle of movies and TV is a fruitless pursuit. That's not difficult. Neither is the idea of embracing poverty in theatre and making the human being the only center of performance. That's dead easy. Spare costumes, little or no makeup, no sound effects, as few light effects as possible. Who can argue with that?

But this doesn't mean everybody can embrace Grotowski's vision of Poor Theatre. His is one that involves stripping away all preconceived notions of theatre from the early Modern period on. This will never fly in commercial theatre, dependent as it is on technology, nor will it satisfy many recent playwrights, who depend on technical do-funnies to make their shows work.

Grotowski also takes a funny view of plays, playwrights, and theoreticians who don't agree with him. Among other things, he considers playwrights as hired talent and plays as essentially malleable. He also suggests that the only way the writings of Artaud are useful in theatre is if they are taken elementally rather than globally - a position sure not to sit well with many avant-garde directors.

Because this book isn't a straight-ahead statement of principles, ideas, and practices, it yields its secrets only with difficulty. Parts of it aren't even written by Grotowski, but are interviews by other authors, or even observations that don't include quotes from the man himself. It was basically compiled to provide an overview of the ideas and products of the Polish Laboratory Theatre up to that time, and it encourages experiment and development by the reader.

This isn't to say that it isn't actually useful. There are exercises for actors; there are statements of theory for directors; there are even sketches, diagrams, and photos for designers. However, expect to wrestle with this book if you're going to unlock its secrets. Once you elect to start down this path, you have a long row to hoe

"Towards A Poor Theatre" by Jerzy Grotowski is probably the most important book written on acting since Stainslavsky's three famous character books. There is so little known about Grotowski and many people have tried to fake his work and people need to read the man's original words. Grotowski's vision of theatre has had the greatest effect on me more than any other person in theatre. He saw acting as a Holy experience where both the actor and spectator were transformed after the performance. Grotowski expanded from where Stainslavsky left off and drew his ideas everywhere from modern art to religious rituals to primitive theatre. Any one interested in theatre must read this book somehow and be changed forever like I have.

There is no better book that I have read on the theory and practice of theatre. As Peter Brook says in the preface, "Grotowski is unique. Why? Because no-one else in the world, to my knowledge, no-one since Stanislavsky, has investigated the nature of acting, its phenomenon, its meaning, the nature and science of its mental-physical-emotional processes as deeply and completely as Grotowski."

Grotowski argues effectively that the split of the stage and the screen necessitates that the stage redefine its focus. The screen with its higher budget and countless retakes will always beat the stage in richness. So, Grotowski posits "If it [the stage] cannot be richer than the cinema, then let it be poor." The rest of the book illustrates what such a poor theatre means in practice. Brilliant.

I felt disappointed reading this book.... The ideas of the author are not fresh and his interpretation of Grotowski is, at best, misguided.

After a long hiatus from performing, reading this book excited me to absolutely no end! Stephen's thoughts and wise teachings brought me back to a place that I'd forgotten and was sorely missing. Thank you for the palpable tenderness and care that LEAPS off the page directly into my world and " where I live " Reading about acting can be confusing, right? This book magically trancends anything stodgy, incoherent, or inconsistent in structure and message. ( SO MANY acting and performance manuals DO NOT EVER get past the lumpy and condescending realm...) THIS is elegantly crafted and now sacred to me! Thank you Stephen.

Stephen Wangh, a former student of Grotowski and now a teacher of Experimental theater shares his knowledge in this inspiring and well written book. First of all, I want to say that you really need to have a teacher and be in a group to learn Grotowski's physical acting better. Grotowksi's work can also be very challenging and confussing at times and this book really helps guide you through it. The book follows a group of Stephen Wangh's first students through his training. That is what makes the book better then your average acting text book. You take a journey along with these people while learning the Grotowski method. As an actor I could relate to the actors frustrations and fears and in the book we see them overcome them. The book explains everything from what clothes to wear to voice work. I am glad Wangh added a section at the end of the book about how to deal with and survive acting. Very few people talk about this subject and it needs to be brought up more. I read this book before I was about to start working on a play and it re-inspired me and made me more discplined and focused. Stephen Wang also isn't self centered and basically says that do what you have to do to do the role you're playing good but try this method. The book is very well-thought out and easy to understand. Any actor should read this even if they think they know the Grotowski method.

The Grotowski sourcebook might be a bit expensive, but is surely worth the price. It is the only book I know that covers not only Grotowski's production period (up to the 70'S), but also his post-theatre experiments, which are much more interesting than you could expect. Schechner and Wolford managed to build a real Grotowski bible. Thumbs up!