ABSTRACT
By examining the activities of other European theatre practitioners, one can assess Gardzienice’s practice in a broader geographical and historical context. The Romantic vision of working creatively in a natural environment for a new audience away from the deprivation of urban society has been pursued by many before Gardzienice. One can trace this desire through the work of Stanislavski, Jacques Copeau, Peter Brook, Eugenio Barba, Tadashi Suzuki and of course Grotowski, most noticeably during his paratheatrical explorations. I will touch briefly on the work of these practitioners, some only in passing, with the exception of Grotowski who has already been discussed. None have pursued this quest to such an extent and as consistently as Staniewski, with the exception perhaps of Jacques Copeau. These examples reveal Gardzienice’s unique approach and suggest possible models of development for their future.
