Grotowski p 142
“
Exercises in composition
…
1) blossoming and withering of the body. Walk rhythmically. As in a plant, the sap rises, starting from the feet and spread- ing upwards through the entire body, reaching the arms which burst into blossom as indeed does the whole body. In the second phase, the limbs-branches wither and die one by one. Finish the exercise on the same rhythmic step with which it began.
2) Animal image. This does not consist in the literal and realistic imitation of a four-legged animal. One does not "act" an animal but attacks one's subconscious, …
3) By means of association with people, situations, memories, metamorphose yourself into a tree. The muscles react, expressing the personal association. To begin with, one concentrates these associations on one particular part of the body. As the reactions increase in intensity, the rest of the body is included. The vitality of this tree, its tensions, relaxations, micro-movements are nourished by the association.
4) The flower. The feet are the roots, the body is the stem and the hands represent the corolla. The whole body lives, trembles, vibrates with the imperious process of bursting into flower, guided by one's associations. Give "the flower" a logical signification, one which is at the same time sad, tragic and dangerous. "The flower" is separated from the process which created it and that part of it expressed through the hands is used as a rhetorical gesture in a dialogue.
“
etc.
46. Theatre Laboratory. Here the producer always keeps in mind that he has two "ensembles" to direct: the actors and the spectators. The performance results from an Integration of these two "ensembles".
