Gardzienice: Polish Theatre in Transition

Nonfiction, Entertainment, Theatre, Performing Arts
Cover of the book Gardzienice: Polish Theatre in Transition by Paul Allain, Taylor and Francis
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Author: Paul Allain ISBN: 9781135299262
Publisher: Taylor and Francis Publication: June 28, 2005
Imprint: Routledge Language: English
Author: Paul Allain
ISBN: 9781135299262
Publisher: Taylor and Francis
Publication: June 28, 2005
Imprint: Routledge
Language: English

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.

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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.

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