Gardzienice: Polish Theatre in Transition
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A01=Paul Allain
anthropological fieldwork methods
Apocalypsis Cum Figuris
Author_Paul Allain
burana
carmina
Carmina Burana
Category=ATD
Common Language
eastern
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experimental performance studies
Filipowicz
Follow
Forefather's Eve
Forefather’s Eve
Gardzienice Theatre Association
Gardzienice's Practice
Gardzienice's Work
gardzienices
Gardzienice’s Practice
Gardzienice’s Work
Hold
intercultural theatre research
international
International Theatre Institute
Jacques Copeau
lA Lla
minority cultural traditions
Odin Actors
ormers
Paratheatrical Activities
perf
physical actor training
poland
Polish Artists
Polish Theatre
post-communist performing arts
Post-war
Pr Om
practice
Royal Shakespeare Company Actors
Rural Poland
rural Polish theatre methodologies
Staniewski
Ta Ge
Touring
Wandering
work
Product details
- ISBN 9789057021053
- Weight: 596g
- Dimensions: 174 x 246mm
- Publication Date: 25 Feb 1998
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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In 1977, the Gardzienice Theatre Association, an experimental theatre company was founded in a tiny Polish village. By 1992 The Observer was hailing "Brilliant Gardzienice...and orgy of joy, anguish, prayer and lamentation performed in candlelight with hurtling energy and at breakneck speed...Physically reckless, thrillingly well sung...On no account to be missed. " Today the Gardzienice Theatre Association is hailed as Poland's leading theatre group, training Royal Shakespeare Company actors and touring the world. Paul Allain describes and analyses their sung performances, strenuous physical and vocal training, and anthropological fieldwork amongst marginalized European minorities.
This is one of the first detailed attempts to assess developments in Polish experimental theatres since 1989. The author questions whether those artists can maintain their vision in the face of Poland's economic difficulties and increased commercialization of the arts.
Paul Allain is a lecturer in Drama and Theatre Arts at Goldsmiths College, University of London. As a movement director he has collaborated with Katie Mitchell for many years and has trained actors at the Royal Shakespeare and Royal National Theatre companies for productions including The Dybbuk, Ghosts, Rutherford and Sons, The Machine-Wreckers and Henry IV Part 3. His own company, Bodywork, had its première at Sadler's Wells' Mosaics Festival in 1996. Dr Allain is co-editor with Professor Vera Gottlieb of the forthcoming Cambridge Companion to Chekhov.
