ABSTRACT
And in order to create, contrary to what is believed, there are no established and infallible rules which permit the transformation from actor to creator, the making of a great actor. There is but one given objective: each actor is the victim of a certain blockage, of psychic or physical origin, which contradicts the creative process. And for each the blockages are different. The method of work consists in discovering and surpassing these difficulties in order to give oneself a liberating technique. And if someone arrives at the point of eliminating the blockages, and the destiny of such an actor is truly to create, then he will be radiant, at centre. [150/25o-251]
Few would disagree that all of Grotowski's theatrical work and research can be described as messianic. Throughout his work he has held to the conviction that theatre (including the post-and pre-theatrical forms he has researched) can be a means of changing people-actors and audience. It can improve the quality of life and contribute in some way to the overall development and evolution of the human race. In an interview in 1958 Grotowski described theatre as 'a moral and social mission - built on a core of intellectual values, committed to progress, proposing a new secular and rational ethic'. [9] Such a messianic belief breathes through every word he speaks, and is perhaps not such a strange outcome of his formative years, with the combination of Marxism and a personal fascination with the spirituallydeveloping philosophies of the East.
