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253The Importance of Sufi Traditions to Jerzy Grotowskis Practice.Pdf Kent Academic Repository Full text document (pdf) Citation for published version Al-Tawil, Muhannad (2017) The Importance of Sufi Traditions to Jerzy Grotowski's Practice. Doctor of Philosophy (PhD) thesis, University of Kent,. DOI Link to record in KAR http://kar.kent.ac.uk/67459/ Document Version UNSPECIFIED Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html The Importance of Sufi Traditions to Jerzy Grotowski‘s Practice Muhannad Al-Tawil Submitted in fulfilment of the degree of Doctor of Philosophy by Research in Drama School of Arts University of Kent October 2017 Word Count: 77,343 258 Pages Acknowledgements Thank you to my advisor, Professor Paul Allain, and to the School of Arts, for their wise guidance and abundance of patience. A special thanks to my friends and family for their support, especially my dad, my mom, my wife, and my children, Sami and Zayna, and everyone else who has helped me through this. Funding for this undertaking has been received in large part from the US Department of Education, as well as private sources including the generous support of my family. Abstract Considerable research has emerged on the influences of the late Jerzy Grotowski, the eminent Polish theatre reformer who is famous for his ideas on the Poor Theatre. Among his many contributions to the theatre, his early focus on the primary importance of the actor – as opposed to the trappings of stage design – led him on a path of systematic transcultural experimentation and concentrated actor training using ―source techniques‖ from ancient rituals to achieve ―organicity‖ in his ―Holy Actor‖ and his ―Total Act‖. There has been some disagreement surrounding the extent of the inspiration he drew from particular traditions, including some Sufi orders, the form of esoteric Islamic mysticism practised in many of the regions he visited in Central Asia, India and Iran. This study provides a number of the Sufi-like elements of Grotowski‘s Productions and Post- Productions career phases, in parallel with a thorough examination of primary and secondary sources indicating both direct (Sufi) and indirect (Sufi-inspired) influences from his practices, studies, collaborators, and travels. A number of inferences are made based on historical and geographical clues, due to several factors underlying the incomplete records of his experiences. Findings include a number of robust similarities with Sufism and clear connections with both Sufi and Sufi-inspired people. This thesis contributes to studies on the broad range of cultural and ritual influences Grotowski drew from for his practices by compiling and highlighting their numerous references to Sufism, and it credits Sufism as one of his major sources of inspiration. Keywords: Grotowski, Sufism, rituals, psychophysical, psycho-physical Contents Introduction and Literature Review ....................................................................................................... 6 Theatre of Productions (Theatre) (1957-1969) ................................................................................ 12 Archetypes and myths .................................................................................................................. 14 Post-Productions (Post-Theatre) (1969- ) ........................................................................................ 15 Paratheatre (1969-1978) ............................................................................................................... 15 Theatre of Sources (1976-1982) .................................................................................................. 16 Objective Drama (1983-1986) ..................................................................................................... 19 Art as Vehicle (1986- ) ................................................................................................................ 21 List of Key Concepts in the Discussion on the Parallels between Sufism and Grotowski .............. 25 Gurdjieff ....................................................................................................................................... 25 Transformation ............................................................................................................................. 27 Verticality .................................................................................................................................... 27 Trance/ ―organicity‖/ ―inner action‖/ ―spontaneous impulses‖ / ―psycho- physical/psychoenergetic‖ ........................................................................................................... 28 Vocalisation ................................................................................................................................. 28 Dance ........................................................................................................................................... 29 Music/traditional songs ................................................................................................................ 29 Mantra .......................................................................................................................................... 30 Chapter One: Biographical Information and Rebirth of Theatre Rituals ............................................. 39 Section 1: Biography ........................................................................................................................ 42 Family life and early influences ................................................................................................... 42 Higher education and early travels .............................................................................................. 51 Political climate and activities ..................................................................................................... 65 Artistic and cultural climate ......................................................................................................... 74 Section 2: The Ritual and Aesthetic Dimensions of Grotowski‘s Theatre of Productions .............. 81 Ritual and myth in Grotowski‘s theatre ....................................................................................... 81 The aesthetics of Grotowski‘s theatre .......................................................................................... 88 Section 3: From Theatre of Thirteen Rows to Laboratory Theatre, and Environmental Theatre .... 96 Grotowski‘s spectators ................................................................................................................. 99 Eastern ritual influences ............................................................................................................. 104 Chapter Two: Ancient Traditional Ritual and Thought in Grotowski‘s Theatre ............................... 107 Grotowski and Hindu Practices ..................................................................................................... 112 Grotowski and Balinese Dance ...................................................................................................... 114 Grotowski‘s Holy Actor and the Total Act .................................................................................... 116 Chapter Three: Sufi Roots in Grotowski‘s Art as Vehicle ................................................................ 134 Chapter Four: Sufism ......................................................................................................................... 162 Part One: Theological Basis for Sufi Beliefs and Traditions. The Foundations of Tasawwuf (Islamic Mysticism) ....................................................................................................................... 165 ―The night journey‖ ................................................................................................................... 165 The mystical path to the ultimate Reality .................................................................................. 167 The journey‘s end: Al-tawahud (union with God) ..................................................................... 172 Part Two: From Doctrine to Practice. Aspects of Sufi rituals in particular, with emphasis placed on the psycho-physical dimensions of Sufi practices ......................................................................... 175 The psycho-physical nature of Rumi‘s poetry ........................................................................... 175 The sama and the heart .............................................................................................................. 182 Chapter Five: Grotowski and Gurdjieff ............................................................................................
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