Chapter 2 - Native Son: Grotowski in Poland

Summary

By 1969, Grotowski “[enjoyed] a god-like status among the experimental troupes of the West.” Following his 1968 Edinburgh success, where he was referred to as “the Edinburgh Festival's biggest theatrical catch,” his position in Western European and American avant-garde circles was well-established. Even before arriving on American soil, Grotowski's troupe was “preceded by its reputation for being one of the most important experimental companies in the world,” and “perhaps the most celebrated acting troupe in the world.” Grotowski was called “an unquestioned genius of modern dramatic innovation” “one of the greatest artists in the theatre that has ever lived” and “the third great original theater mind of the century [after Stanislavsky and Artaud].” Writing for the New York Times, Clive Barnes rhetorically asked and answered: “Is Grotowski one of the great theatrical innovators of our time? Yes.” The accolades, some sincere, some ridiculously pretentious, seemed to come from every direction, prompting Ronald Bryden to sardonically note, “Grotowski: such is the theatre's newest name of God. He is the magis’ mage, guru of the gurus: the ultimate to which Living Theatre, Peter Brook and the Tulane Drama Review bow down.”

However, while Grotowski was acclaimed abroad, particularly in America, his position in Poland was ambiguous to say the least. Both Polish theatre professionals and audiences treated him with suspicion, mostly ignoring his work and his group.