ABSTRACT

This chapter discusses the historical circumstances in which Grotowski coined the term. He first used it in reference to the role of The Prince played by Ryszard Cieślak in the Laboratory Theatre’s production of The Constant Prince. I point out as significant that the term comes two decades after the production had closed, the Laboratory Theatre dissolved, and Grotowski settled at his Workcenter in Pontedera. Therefore, the concept of carnal prayer, even if present as a phenomenon from the early days in Grotowski’s work, becomes particularly important during his last phase of work, and should be considered as an overlooked essential element of his legacy.