He dreamed.

I was assigned to be an intern with Gurawski, a young stage designer with Grotowski. The Theatre of 13 Rows company was in transition moving from Opole to Wrocław and about to be relabeled "Teatr Laboratorium". This I knew but still relished this opportunity to be in the old Opole workspace.

As field work Gurawski had taken me to an old castle outside of Cracow leaving me stranded on the roof stripping away plaster to reveal rotten beams. Rain had caused significant damage and it was my job to expose all the potential structural damage. It was dangerous work. Often found myself in precarious positions barely hanging on. The building was deep in a forest and at one point I thought this was some kind of prototype for Brezinka.

Returning to Opole I set about sanding the raked stage for an early production which I identified would later become Apocalysis Cum Figuris. Discussing the show with Gurawski he took me through a visualization of the actors. A scene of the actors in the desert with Cieslak sprawled in the center. Hi description reminded me of a moment from The Constant Prince. Gurawski disappeared and an assistant sent me to his office. It was cluttered but on the desk I viewed complicated set designs and again quite puzzled I thought he hadn't read Towards a Poor Theater yet. The office had two desks and I wondered if the other belonged to dramaturg Ludwik Faszen, Carefully locking the door behind me am amazed that everything at this early date was already conceptualized.

He awoke.

- See: Dream

:: note :: ... kept waking and wanting to go back to sleep to keep dreaming ...

"Inspection and interviews. Close personal observation and talking with long term residents. It's a hard thing, really, to erase a trail. A lot of information can be recovered if you stay at it."

"Of course, but nobody has the time for this kind of field-work anymore. That's unfortunate, because this information is what we need, you know. This shows history and how people fit the places they occupy It's about what gets erased and what comes to replace it. These maps reveal the foundations beneath the ephemera." (from The Mappists in Light Action in the Caribbean by Barry Lopez)

- See: 3Life

:: note :: ... maps & time ...

sent the question: Imagination is .... out to the twitterverse

received this answer: imagination is ... copy left not right! ;-)

- See: 3Life

:: note :: ... openness is the beginning ...

"These two concepts, practice and play, taken at their most serious and most spiritual, was what Grotowski gave his life to. "

"Grotowski's effects on theatre flow from three ideas that he identified, explored, and attempted to systematize. First, that powerful acting occurs at a meeting place between the personal and the archetypal-in this he continued and deepened the work of Stanislavsky. Second, that the most effective theatre is the "poor theatre" - one with a minimum of accoutrements beyond the presence of the actors. Third, that theatre is intercultural, differentiating and relating performance "truths" in and from many cultures. He explored these ideas over a lifetime of scrupulous work with people, work that was precise, detailed, systematic, physical; a set of practices more than a colloquium of ideas or beliefs. His writings can appear inspirational or opaque. But working with him was another matter altogether. "(TDR/ Drama Review / Vol. 43, No. 2, Summer, 1999 / http://www.mitpressjournals.org/loi/dram ISSN:10542043)

- See: 3Life

:: note :: ... last day of classes ... these are the links between the worlds: personal to archetype/poor/intercultural ... a serious playful practice ...

"We all lead three lives, an actual one, an imaginary one, and the one we are not aware of."(- Thomas Berhard. On the Mountain. p 8)

My question is how do all these lives entwine and practices which encourage awareness of these lives. Tagged 3life

- See: 3Life

:: note :: ... responding to Chris: "I'm going to be thinking and reflecting over the next 30 days on this question and I invite you to choose a question and engage in a research project as well." ...

"The other departure from contemporary English is my use of 'irreal' and 'irreality', which are not English words at all. They are my rendering of the French adjective and noun 'irréel' usually translated as 'unreal' and 'unreality'. but these would be misleading here. Sartre's use of 'irréel' here seems to follow one sense of Husserl's 'irreal' . Since Husserl's term is usually rendered into English as 'irreal', my rendering of Sartre's term preserves the connection. Further, Sartre's 'irréel' does not denote, as 'unreal' seems to, the class of objects that could exist but do not. Rather, an irreal object in this work is an object as imagined by consciousness. This object may be real: the irreal Pierre may be the real Pierre as imaged. Conversely, unreal objects that are never imaged will never be irreal. Finally, Sartre employs the verb 'to irrealize', even opening the work by describing the imagination as 'the great "irrealizing' function of consciousness". To translate 'irrealize' here as 'unrealize' might be taken to imply that Sartre considered the imagination to be the function of removing items from reality, or considering real items as unreal. Although from about the middle of the work Sartre contrasts this use of 'irrealizing' with the 'realizing' function of perception, it is by this point abundantly clear that contrast is between the kind of consciousness that constitutes an object as 'irreal' and the kind that constitutes an object as 'real'. "(from The Imaginary by Jean-Paul Sartre/ Notes on the translation xxviii)

- See: Terms

:: note :: ... wanted to add something about irreal consciousness to the value of theater ... theater is active irreal consciousness ... the living action ...