ABSTRACT
In the first chapter, I discussed what I identified as an artistic lineage connecting Stanislavsky’s and Grotowski’s respective conceptions of performance, and addressed the implications that acknowledging such a connection may have for contemporary performance practice and theory. I now turn to key principles within this lineage to provide the necessary context for my discussion of the creative practice of Rena Mirecka, Maja Komorowska, Elizabeth Albahaca, Ewa Benesz, Katharina Seyferth, and Iben Nagel Rasmussen. These artists constitute the first generation of women who share a direct connection to Grotowski’s investigation of performance processes.
