Exhibition Rationale This exhibition aims to recall the spirit which animated the performances of... more Exhibition Rationale This exhibition aims to recall the spirit which animated the performances of Jerzy Grotowski's company from its beginning in the 1950s until the 1980s, covering the period of its productions and its subsequent development during the 'Paratheatre' phase (in the 1970s) and beyond, including a focus on the 'Theatre of Sources' and connections with Indian culture. This will be the largest most comprehensive collection of material ever shown in public. It builds on an exhibition organized by Wroclaw's Grotowski Institute and presented at the Polish Cultural Institute in Rome in 2006, by also including a reconstruction of the set of The Constant Prince, costumes and props from different productions, with a special emphasis on The Constant Prince, including further rare pieces such as colour pictures of that performance and photos from the last performance Apocalypsis cum figuris, as well as scenes from the lives of the laboratory members. It will also include a complete collection of original posters and leaflets from the post-theatrical phase. A special section, commissioned for this exhibition, will present new pictures by photographer Francesco Galli of the places and the protagonists of the Theatre of Sources. Screenings will show films, video and documentaries on or connected to Grotowski's work. The importance of this exhibition derives from the revolutionary impact that the works of Grotowski's Teatr Laboratorium had all over the world, which changed forever our way of thinking about and making theatre. One of the clearest and most influential results of Grotowski's research was the continuous modification of the spatial relations between actors and spectators, among the spectators, and between the actors themselves. This will clearly be presented in the exhibition with examples from early productions such as Orpheus, Shakuntala, Dziady, Kain and finally Kordian, set in a psychiatric hospital brought to you by CORE View metadata, citation and similar papers at core.ac.uk
This essay - in Italian - stems from a long-term exploration on the issue of reception. Among rel... more This essay - in Italian - stems from a long-term exploration on the issue of reception. Among relevant matters connected with wider implications of the concept of reception, this study analyses in particular the research on space and relationship with the spectators that Grotowski and his company the Laboratoy Theatre (which included the architect Jerzy Gurawsky) undertook and developed throughout the different phases of their work in the different productions (1959-1969) seeking for the re-enactment of “Ritual Theatre”, until the radical change that came with the conception of Active Culture and the practice of the Paratheatre (1970-1978), where spectators were replaced by participants.The essay then summerises the developments and the achievements of the next phases of Grotowski's work, the Theatre of Sources (1979-1982), and the Art as Vehicle (1986-1999), where his focus and experimentations moved from “horizontal” to “vertical” reception.
Adrian OConnell Films Copyright 2011"Does nobody understand" By Victoria AlexanderClips... more Adrian OConnell Films Copyright 2011"Does nobody understand" By Victoria AlexanderClips from the recent production of "does nobody understand?" staged in The Waterside Theatre, Jan 2011.Using James Joyce's 'Ulysses' as a starting point for this piece of work, the director - Giuliano Campo, the writer - Victoria Alexander and the second year drama students take us on a journey through the sub concious mind of the protagonist, Bloom - Contains themes of schizophrenia, sexual fantasy, bodily desires, adultery, mourning, all things that form the basis of being human9 minutes of Mixed Clips - total running length of stage performance - 1 hour 10 minutes"The myth of Ulysses represents the journey of everyones soul throughout their own lives. Living with full conciousness our own life is a work; our principal work, and it is fraught with obstacles. theatre is the place where we can explore and experiment this supreme work" -Giuliano CampoCopyright 2011
This is a research-based theatrical action, performed by one actor only, which follows Carlo Coll... more This is a research-based theatrical action, performed by one actor only, which follows Carlo Collodi’s “The Adventure of Pinocchio” in its integral version. The project was a response to an invitation by Teatro Talia (Tagliacozzo, L’Aquila) who produced the premiere in 2012. The production was supported by the Arts Council Northern Ireland. The research imperatives of this work move along two intersecting trajectories to examine how they connect and may implemented in practice. This is a methodological innovation. The first relates to re-enacting and revitalization of Grotowski’s latter experimentation of the performer’s energies, exploring and mapping the passages from the so-called coarse level (the “everyday level”, that is a heavy organic level linked to the forces of life, to sensuality, to instincts), to “a more subtle level”. This involves a personal exploration of different extra-daily dimensions of own body-mind states, experienced in a laboratory setting, to reach a so-cal...
The School of Creative Arts & Technologies at Ulster University (Magee) has brought together the ... more The School of Creative Arts & Technologies at Ulster University (Magee) has brought together the subject of computing with creative technologies, cinematic arts (film), drama, dance, music and design in terms of research and education. We propose here the development of a flagship computer software platform, SceneMaker, acting as a digital laboratory workbench for integrating and experimenting with the computerprocessing of new theories and methods in these multidisciplinary fields. We discuss the architecture of SceneMaker and relevant technologies for processing within its component modules. SceneMaker will enable the automated production of multimodal animated scenes from film and drama scripts or screenplays. SceneMaker will highlight affective or emotional content in digital storytelling with particular focus on character body posture, facial expressions, speech, non-speech audio, scene composition, timing, lighting, music and cinematography. Applications of SceneMaker include ...
Giuliano Campo, The History of the international group L’Avventura (1982-1985) The international ... more Giuliano Campo, The History of the international group L’Avventura (1982-1985) The international group L’Avventura (GIA) which was born as an autonomous development of Grotowski’s paratheatre was one of the theatrical realities that Eugenio Barba calls "the underground theatre" of the 20th Century. The reconstruction of the project called Viae, with all its different initiatives, provides a significant testimonial of a work, the relevance of which cannot only be valued in terms of performance.
One of the original members of Jerzy Grotowski’s acting company, Zygmunt Molik’s Voice and Body W... more One of the original members of Jerzy Grotowski’s acting company, Zygmunt Molik’s Voice and Body Work explores the unique development of voice and body exercises throughout his career in actor training.This book, constructed from conversations between Molik and author Giuliano Campo, provides a fascinating insight into the methodology of this practitioner and teacher, and focuses on his ‘Body Alphabet’ system for actors, allowing them to combine both voice and body in their preparatory process.The book is accompanied by a DVD containing the films Dyrygent (2006), which illustrates Molik’s working methods, Acting Therapy (1976), exploring his role in the Theatre of Participation, and Zygmunt Molik's Body Alphabet (2009). It also includes an extensive photo gallery documenting Zygmunt Molik’s life and work.
This is a partial transcription, translated from Italian into Portuguese by Joice Aglae Brondani,... more This is a partial transcription, translated from Italian into Portuguese by Joice Aglae Brondani, of an interview I gave during a conference at the University 'La Sapienza' in Rome in 2009 on 'Influences of a Master's teaching', part of a larger event named 'Grotowski at the University of Rome', organised by Prof Luisa Tinti. In here I give an account of my collaboration with actor Zygmunt Molik.
This is the translation in Polish, by Ewa Molik, of the book I wrote with Zygmunt Molik 'Zygm... more This is the translation in Polish, by Ewa Molik, of the book I wrote with Zygmunt Molik 'Zygmunt Molik's Voice and Body, The Legacy of Jerzy Grotowski', London and New York: Routledge 2010.
Research-based voice coaching for former Drama at Magee graduate (BA/MARes) Emma Taylor, who acte... more Research-based voice coaching for former Drama at Magee graduate (BA/MARes) Emma Taylor, who acted as voice over in the film Tides, A History of Lives and Dreams Lost and Found (Some Broken) by Alessandro Negrini 2016, director of Photography OddGeir Saether (Inland Empire, David Lynch).Synopsys (by Alessandro Negrini)Is the story of a river able to reveal a sense of life imprisoned by history? Despite the end of the conflict, in Northern Ireland there is still a city with two different names: Derry, for Catholics, Londonderry for Protestants. In the middle of the city, flows the river Foyle, which separates them and at the same time act as their border: from 1969, when the most recent Northern Irish conflict started, most of the Protestants residents moved out of the area in fear of intimidation and sectarian violence.The film, narrated from the point of view of the river itself, through dreamlike sequences and archive material made by ordinary people in the 50’s, 60’s and 70’s – i...
This article provides an overview of the multifaceted role that Pirandello had at the time of the... more This article provides an overview of the multifaceted role that Pirandello had at the time of the birth of theatre directing in Italy, highlighting aspects that demonstrate his involvement in the world of theatre practitioners. I relate some features of this role to the relationship between Pirandello and acting and I provide some examples of how acting relates to the characters of some of Pirandello’s novels, providing a comparative analysis of aspects of Konstantin Stanislavski’s background, key theories and practices.
This study, translated into Portuguese by the editor, stems from my specific interest in trance a... more This study, translated into Portuguese by the editor, stems from my specific interest in trance and altered states of consciousness. I am concerned with their use in theatre through what Jerzy Grotowski called "personal techniques", a set of principles and tools of practical knowledge which the performer, conceived in a non-strictly theatrical sense, uses for the harmonic development and discovery of the self. The text is organised in three different parts. Firstly, I introduce the research method. Here, before delving into a detailed analysis and definition of the state of possession, the altered states and their correlation with the art of the actor, I illustrate the reasons why a study on this topic can be considered useful today. The second part is devoted to a detailed analysis of the phenomenon, which uses historical, psychiatric and anthropological sources, yet filtered through a rigorous theatre studies approach. Here I propose a scale of trance, which sees possess...
In the Introduction to this collection of essays that marks the 100th anniversary of the making o... more In the Introduction to this collection of essays that marks the 100th anniversary of the making of the film Cenere, Maria Pia Pagani and Paul Fryer write: 'The practice of filming great actors in representative roles is almost as old as the moving picture industry itself. In the case of the iconic Italian actress Eleonora Duse, we have no audio evidence of her voice... Our evidence survives in a single film, Cenere (Ashes)... It offers us the best possible proof of Duse's spiritual meditation as an actress: on the screen she remembered all the "mother roles" that she had created for the theatre, and used them to crete a new performance for a new medium... Giuliano Campo places Duse's work within the historical context of Italian theatre, as the "last symbol" of the tradition of the Grande Attore'. The main subject of this chapter is the rise and fall of the system of Roles and Parts in Italy, peculiar to European theatre in the nineteenth century....
Abstract In recent years, prominent scholars and Stanislavski experts such as Anatoli Smeliansky ... more Abstract In recent years, prominent scholars and Stanislavski experts such as Anatoli Smeliansky and Franco Ruffini, among others, have stressed the continuity of the inner principles of Stanislavski’s work in Grotowskian practices, with specific reference to pedagogy and laboratory theatre modality. In this essay, I intend to analyse the links between the research undertaken by Stanislavski and Grotowski focussing on the essential differences as well as the contiguities, and notably the work on the character, the work on impulses, the individual and group work within a pedagogical context and the so called “work on the self”.
... Katzu and Ioshita Ono in Paris in 1990 187 29 At work in Wrocław 188 30 With Eugenio Barba du... more ... Katzu and Ioshita Ono in Paris in 1990 187 29 At work in Wrocław 188 30 With Eugenio Barba during a session of the ISTA (International School of Theatre Anthropology) in Wrocław in 2005 188 31 Giuliano Campo with Ferdinando Taviani, Eugenio Barba and Mirella Schino in ...
Exhibition Rationale This exhibition aims to recall the spirit which animated the performances of... more Exhibition Rationale This exhibition aims to recall the spirit which animated the performances of Jerzy Grotowski's company from its beginning in the 1950s until the 1980s, covering the period of its productions and its subsequent development during the 'Paratheatre' phase (in the 1970s) and beyond, including a focus on the 'Theatre of Sources' and connections with Indian culture. This will be the largest most comprehensive collection of material ever shown in public. It builds on an exhibition organized by Wroclaw's Grotowski Institute and presented at the Polish Cultural Institute in Rome in 2006, by also including a reconstruction of the set of The Constant Prince, costumes and props from different productions, with a special emphasis on The Constant Prince, including further rare pieces such as colour pictures of that performance and photos from the last performance Apocalypsis cum figuris, as well as scenes from the lives of the laboratory members. It will also include a complete collection of original posters and leaflets from the post-theatrical phase. A special section, commissioned for this exhibition, will present new pictures by photographer Francesco Galli of the places and the protagonists of the Theatre of Sources. Screenings will show films, video and documentaries on or connected to Grotowski's work. The importance of this exhibition derives from the revolutionary impact that the works of Grotowski's Teatr Laboratorium had all over the world, which changed forever our way of thinking about and making theatre. One of the clearest and most influential results of Grotowski's research was the continuous modification of the spatial relations between actors and spectators, among the spectators, and between the actors themselves. This will clearly be presented in the exhibition with examples from early productions such as Orpheus, Shakuntala, Dziady, Kain and finally Kordian, set in a psychiatric hospital brought to you by CORE View metadata, citation and similar papers at core.ac.uk
This essay - in Italian - stems from a long-term exploration on the issue of reception. Among rel... more This essay - in Italian - stems from a long-term exploration on the issue of reception. Among relevant matters connected with wider implications of the concept of reception, this study analyses in particular the research on space and relationship with the spectators that Grotowski and his company the Laboratoy Theatre (which included the architect Jerzy Gurawsky) undertook and developed throughout the different phases of their work in the different productions (1959-1969) seeking for the re-enactment of “Ritual Theatre”, until the radical change that came with the conception of Active Culture and the practice of the Paratheatre (1970-1978), where spectators were replaced by participants.The essay then summerises the developments and the achievements of the next phases of Grotowski's work, the Theatre of Sources (1979-1982), and the Art as Vehicle (1986-1999), where his focus and experimentations moved from “horizontal” to “vertical” reception.
Adrian OConnell Films Copyright 2011"Does nobody understand" By Victoria AlexanderClips... more Adrian OConnell Films Copyright 2011"Does nobody understand" By Victoria AlexanderClips from the recent production of "does nobody understand?" staged in The Waterside Theatre, Jan 2011.Using James Joyce's 'Ulysses' as a starting point for this piece of work, the director - Giuliano Campo, the writer - Victoria Alexander and the second year drama students take us on a journey through the sub concious mind of the protagonist, Bloom - Contains themes of schizophrenia, sexual fantasy, bodily desires, adultery, mourning, all things that form the basis of being human9 minutes of Mixed Clips - total running length of stage performance - 1 hour 10 minutes"The myth of Ulysses represents the journey of everyones soul throughout their own lives. Living with full conciousness our own life is a work; our principal work, and it is fraught with obstacles. theatre is the place where we can explore and experiment this supreme work" -Giuliano CampoCopyright 2011
This is a research-based theatrical action, performed by one actor only, which follows Carlo Coll... more This is a research-based theatrical action, performed by one actor only, which follows Carlo Collodi’s “The Adventure of Pinocchio” in its integral version. The project was a response to an invitation by Teatro Talia (Tagliacozzo, L’Aquila) who produced the premiere in 2012. The production was supported by the Arts Council Northern Ireland. The research imperatives of this work move along two intersecting trajectories to examine how they connect and may implemented in practice. This is a methodological innovation. The first relates to re-enacting and revitalization of Grotowski’s latter experimentation of the performer’s energies, exploring and mapping the passages from the so-called coarse level (the “everyday level”, that is a heavy organic level linked to the forces of life, to sensuality, to instincts), to “a more subtle level”. This involves a personal exploration of different extra-daily dimensions of own body-mind states, experienced in a laboratory setting, to reach a so-cal...
The School of Creative Arts & Technologies at Ulster University (Magee) has brought together the ... more The School of Creative Arts & Technologies at Ulster University (Magee) has brought together the subject of computing with creative technologies, cinematic arts (film), drama, dance, music and design in terms of research and education. We propose here the development of a flagship computer software platform, SceneMaker, acting as a digital laboratory workbench for integrating and experimenting with the computerprocessing of new theories and methods in these multidisciplinary fields. We discuss the architecture of SceneMaker and relevant technologies for processing within its component modules. SceneMaker will enable the automated production of multimodal animated scenes from film and drama scripts or screenplays. SceneMaker will highlight affective or emotional content in digital storytelling with particular focus on character body posture, facial expressions, speech, non-speech audio, scene composition, timing, lighting, music and cinematography. Applications of SceneMaker include ...
Giuliano Campo, The History of the international group L’Avventura (1982-1985) The international ... more Giuliano Campo, The History of the international group L’Avventura (1982-1985) The international group L’Avventura (GIA) which was born as an autonomous development of Grotowski’s paratheatre was one of the theatrical realities that Eugenio Barba calls "the underground theatre" of the 20th Century. The reconstruction of the project called Viae, with all its different initiatives, provides a significant testimonial of a work, the relevance of which cannot only be valued in terms of performance.
One of the original members of Jerzy Grotowski’s acting company, Zygmunt Molik’s Voice and Body W... more One of the original members of Jerzy Grotowski’s acting company, Zygmunt Molik’s Voice and Body Work explores the unique development of voice and body exercises throughout his career in actor training.This book, constructed from conversations between Molik and author Giuliano Campo, provides a fascinating insight into the methodology of this practitioner and teacher, and focuses on his ‘Body Alphabet’ system for actors, allowing them to combine both voice and body in their preparatory process.The book is accompanied by a DVD containing the films Dyrygent (2006), which illustrates Molik’s working methods, Acting Therapy (1976), exploring his role in the Theatre of Participation, and Zygmunt Molik's Body Alphabet (2009). It also includes an extensive photo gallery documenting Zygmunt Molik’s life and work.
This is a partial transcription, translated from Italian into Portuguese by Joice Aglae Brondani,... more This is a partial transcription, translated from Italian into Portuguese by Joice Aglae Brondani, of an interview I gave during a conference at the University 'La Sapienza' in Rome in 2009 on 'Influences of a Master's teaching', part of a larger event named 'Grotowski at the University of Rome', organised by Prof Luisa Tinti. In here I give an account of my collaboration with actor Zygmunt Molik.
This is the translation in Polish, by Ewa Molik, of the book I wrote with Zygmunt Molik 'Zygm... more This is the translation in Polish, by Ewa Molik, of the book I wrote with Zygmunt Molik 'Zygmunt Molik's Voice and Body, The Legacy of Jerzy Grotowski', London and New York: Routledge 2010.
Research-based voice coaching for former Drama at Magee graduate (BA/MARes) Emma Taylor, who acte... more Research-based voice coaching for former Drama at Magee graduate (BA/MARes) Emma Taylor, who acted as voice over in the film Tides, A History of Lives and Dreams Lost and Found (Some Broken) by Alessandro Negrini 2016, director of Photography OddGeir Saether (Inland Empire, David Lynch).Synopsys (by Alessandro Negrini)Is the story of a river able to reveal a sense of life imprisoned by history? Despite the end of the conflict, in Northern Ireland there is still a city with two different names: Derry, for Catholics, Londonderry for Protestants. In the middle of the city, flows the river Foyle, which separates them and at the same time act as their border: from 1969, when the most recent Northern Irish conflict started, most of the Protestants residents moved out of the area in fear of intimidation and sectarian violence.The film, narrated from the point of view of the river itself, through dreamlike sequences and archive material made by ordinary people in the 50’s, 60’s and 70’s – i...
This article provides an overview of the multifaceted role that Pirandello had at the time of the... more This article provides an overview of the multifaceted role that Pirandello had at the time of the birth of theatre directing in Italy, highlighting aspects that demonstrate his involvement in the world of theatre practitioners. I relate some features of this role to the relationship between Pirandello and acting and I provide some examples of how acting relates to the characters of some of Pirandello’s novels, providing a comparative analysis of aspects of Konstantin Stanislavski’s background, key theories and practices.
This study, translated into Portuguese by the editor, stems from my specific interest in trance a... more This study, translated into Portuguese by the editor, stems from my specific interest in trance and altered states of consciousness. I am concerned with their use in theatre through what Jerzy Grotowski called "personal techniques", a set of principles and tools of practical knowledge which the performer, conceived in a non-strictly theatrical sense, uses for the harmonic development and discovery of the self. The text is organised in three different parts. Firstly, I introduce the research method. Here, before delving into a detailed analysis and definition of the state of possession, the altered states and their correlation with the art of the actor, I illustrate the reasons why a study on this topic can be considered useful today. The second part is devoted to a detailed analysis of the phenomenon, which uses historical, psychiatric and anthropological sources, yet filtered through a rigorous theatre studies approach. Here I propose a scale of trance, which sees possess...
In the Introduction to this collection of essays that marks the 100th anniversary of the making o... more In the Introduction to this collection of essays that marks the 100th anniversary of the making of the film Cenere, Maria Pia Pagani and Paul Fryer write: 'The practice of filming great actors in representative roles is almost as old as the moving picture industry itself. In the case of the iconic Italian actress Eleonora Duse, we have no audio evidence of her voice... Our evidence survives in a single film, Cenere (Ashes)... It offers us the best possible proof of Duse's spiritual meditation as an actress: on the screen she remembered all the "mother roles" that she had created for the theatre, and used them to crete a new performance for a new medium... Giuliano Campo places Duse's work within the historical context of Italian theatre, as the "last symbol" of the tradition of the Grande Attore'. The main subject of this chapter is the rise and fall of the system of Roles and Parts in Italy, peculiar to European theatre in the nineteenth century....
Abstract In recent years, prominent scholars and Stanislavski experts such as Anatoli Smeliansky ... more Abstract In recent years, prominent scholars and Stanislavski experts such as Anatoli Smeliansky and Franco Ruffini, among others, have stressed the continuity of the inner principles of Stanislavski’s work in Grotowskian practices, with specific reference to pedagogy and laboratory theatre modality. In this essay, I intend to analyse the links between the research undertaken by Stanislavski and Grotowski focussing on the essential differences as well as the contiguities, and notably the work on the character, the work on impulses, the individual and group work within a pedagogical context and the so called “work on the self”.
... Katzu and Ioshita Ono in Paris in 1990 187 29 At work in Wrocław 188 30 With Eugenio Barba du... more ... Katzu and Ioshita Ono in Paris in 1990 187 29 At work in Wrocław 188 30 With Eugenio Barba during a session of the ISTA (International School of Theatre Anthropology) in Wrocław in 2005 188 31 Giuliano Campo with Ferdinando Taviani, Eugenio Barba and Mirella Schino in ...
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