ABSTRACT
Prior to my meetings with Grotowski’s foremost women collaborators, I wondered how working with these artists and learning about their experiences might inform and transform my perspective of and relationship to a type of performance training that had been important to me for a number of reasons. What I felt was most valuable about the experience I had with my Paris-based group led by students of Flaszen and Molik were the ways in which this work stretched in a literal and figurative sense the boundaries of what was defined as theatre in my culture. For the creative process activated by this work was intensely engaging: although the training was quite challenging, it provided me with a deep sense of psychophysical fulfillment, a feeling of being fully alive which I had never experienced in my previous theatre training. It also gave me an insight into the potentialities that could be harnessed through the cultivation of a dynamic and fluid energetic balance between the imagination, the body, and, importantly, the voice, which I will address in this chapter.
