piątek, 25 lipca 2014

Thomas Liszkai i Maria Punk, refleksje

Wywiad z księdzem katolickim dr Thomasem Liszkai 
o jego odniesieniach do Grotowskiego, z 2009 r.

Na niwie badań artystycznych Thomas współpracuje twórczo z pedagożką  - Marią Punk http://hu.wikipedia.org/wiki/Punk_M%C3%A1ria  Powyższe video to krótki wgląd w ich pracę w PARASTUDIO - Fabula rata, z 2010 r. 

Thomas pracował na stażu także z Z. Molikiem w XI.2005. Pisałam o ówczesnych stażystach 17.02.2012 i 6.03.2012. Teraz oboje pracowali z Jorge Parente (24 - 29.06.2014) w Studio Na Grobli we Wrocławiu. 

Oto kilka po-stażowych refleksji Thomasa, które przysłał mi dzisiaj. 

Dear Ewa,
Excuse me for the late reaction, because of some travels I was far.
First of all I want to thank you for the photos; we received them and read the blog-website too. Also in the name of Maria I can say that the workshop of Jorge Parente was very valuable and impulsive for us. It gave us a new force to our work, inquiry and conception about the theatre, “paratheatre”, rites, pedagogy of theatre and so on, although the system of Zygmunt Molik was not unknown. But in the practice all is other; one can feel the limits and the additions in the own body, and this process is a special way, that is a real vehicle.
I read already more the talk-book Zygmunt Molik’s voice and body work, and I believe that it is really a legacy of Grotowski’s poor theatre, because the poor theatre is totally the human self-expressing with the body and voice, and as Mr. Molik declared it, it specified the trainings in the Teatr Laboratorium from the first. And it makes possible the active culture for all opened men in a workshop and over in the society too, what was a paratheatrical notion, as Prof. Dariusz Kosiński said in a lecture.
Yeah, I felt that one or two workshops are not enough for the optimal work and development. It will be good more possibility to work with Mr. Parente and in this method. It was just an overture, but the tradition is a permanent working to form the organic “Life”. I see on the dates of this workshop and hope that I can take part on further trainings.
Thank you very much for the organization, the chance to the participation, for the trust and regard all along. And we do not want to lost the contact, because this experience and the method “body alphabet” of Zygmunt Molik is too great and authentic; we want to go shares in that it be more known in the theatrical/paratheatrical pedagogy and over.
All best, nice sommer!
With love and greetings:
Thomas Liszkai and Maria Punk, Hungary 

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