Sin embargo, copiar y pegar es una herramienta que hoy, pueden usar con cualquier página de traducción y librarme de una tarea extra. :) Pueden probar por ejemplo: www.elmundo.es/traductor
This text, on which I feel particularly interested today, was totally taken from Thomas Leabhart's book "Ettiene Decroux". (page 30)
Routledge performance practicioners series.
Editor: Franc Chamberlain
www.routledge.com
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Grotowski's view of Decroux work
In 1997 the College de France created the Chair of Theatre Anthropology for Grtowski. In lectures given in this capacity in Paris, Grotowski said that he had seen Decroux's work. It must have impressed Grotowski significantly because, in these lectures, he spoke of it on numerous occasions. In his inaugural lecture at Peter Brook's Bouffes du Nord, for example, he said of Decroux, that he looked for "laws of life which flow, and which finally, in an advanced phase of the work, became organized, structured, and perceptible by another". He compared this to things in nature which are expressive, but which don't try to be: the movement of the ocean, or a tree, for example. He contrasted Decroux's method with a more theatrical way of working, which had the audience in mind from the start (Grotowski 1997a). In a 1946 newspaper interview Decroux describes his way of working first for himself and not the audience:
[Beauty is like happiness, one must find by the by, without looking for it. I make mime pieces first for my own pleasure. I learn afterwards that they also interest my friends, some workers, my concierge and the fireman on duty] (Decroux 2001: 57)
In a later lecture, Grotowski said that even though Decroux's body was aged and infirm wh he saw it, Decroux radiated an inner power, something we might call spiritual strength. He saw an "illuminated purity in a ruined body" (Grotowski 1997b).
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