English students




21.10.THE ORIGINS OF PERFORMING ARTS: anthropological report
Books recommended
· SCIENCE 326, October 2, 2009, special edition on ARDIPITHECUS RAMIDUS free on-line access at:
· Robbins Burling, The Talking Ape: How Language Evolved, Oxford UP 2005
· Colin Renfrew and Iain Molrey (eds), Becoming Human: Innovation in Prehistoric Material and Spiritual Culture, Cambridge UP 2009.
· Steven Mithen, The Singing Neanderthals: The Origins of Music, Language, Mind, and Body, Harvard UP, Cambridge, Massachusetts 2006.
· Jean Clottes (ed.), Return to Chauvet Cave: Excavating the Birthplace of Art (The First Full report), Thames & Hudson, London 2003.
· David Lewis-Williams, The Mind in the Cave: Consciousness and the Origins of Art, Thames & Hudson, London 2002.
· Kirkpatrick Sale, After Eden: The Evolution of Human Domination, Duke, Durham 2006.
· Michael C. Corballis, From Hand to Mouth: The Origins of Language, Princeton 2002.
The Cave of CHAUVET

28.10. THE ORIGINS OF PERFORMING ARTS: Göbekli Tepe , Çatalhöyük

Readings recommended
Göbekli Tepe report from The Guardian, Wednesday April 23 2008
Çatalhöyük report from SCIENCE 20 November 1998: vol. 282. no. 5393, p. 1442
Upper Mesopotamia (SE Turkey, N Syria and N Iraq)14C databases: 11th – 6th millennia cal BC

Books recommended
· Klaus Schmidt, Sie bauten die ersten Tempel – das rätselhafte Heiligtum der Steinzeitjäger – die archäologische Entdeckung am Göbekli Tepe, C.H. Beck Verlag, München2006.
· Ian Hodder, The Leopard’s Tale: Revealing the Mysteries of Çatalhöyük, Thames & Hudson, London 2006.
· Takeshi Inomata, Lawrence S. Coben (eds), Archeology of Performance. Theatres of Power, Community, and Politics, Altamira Press, New York 2006.
· David Lewis-Williams and David Pearce, Inside the Neolithic Mind: Consciousness, Cosmos and the Realm of the Gods, Thames & Hudson, London 2005.

. PERFORMANCES OF WRITING: Mesopotamia and Egypt

Books recommended
· Jean-Jacques Glassner, The Invention of Cuneiform. Writing in Summer, John Hopkins UP 2003.
· Peter T. Daniels, William Bright (eds), The World’s Writing Systems, Oxford UP 1996.
· Florian Coulmas, The Writing Systems of the World, Blackwell 1989.
· Jean Bottero, Mesopotamia. Writing, Reasoning, and the Gods, University of Chicago 1992.
· Jan Assmann, Death and Salvation in Ancient Egypt, Cornell UP, Ithaca 2005.


Books recommended
· David W. Anthony, The Horse, the Wheel, and Language: How Bronze-Age Riders from the Eurasian Steppes Shaped the Modern World, Princeton UP 2007. NYT BOOK REVIEW

· Barry B. Powell, Writing and the Origins of Greek Literature, Cambridge UP 2002.
· Martin Bernal, Black Athena: The Afroasiatic Roots of Classical Civilization, vol. 1: The Fabrication of Ancient Greece 1785-1985, Rutgers UP, New Brunswick, New Jersey 1987. BOOK REVIEW, BLACK ATHENA ON-LINE
· George G.M. James, Stolen Legacy: The Greeks were not the authors of Greek Philosophy, but the people of North Africa, commonly called the Egyptians, Philosophical Library, New York 1954 (repr. Julian Richardson Ass., San Francisco 1988).
· M.L. West, The East Face of Helicon: West Asiatic Elements in Greek Poetry and Myth, Oxford UP 1997.
· A.P. David, The Dance of the Muses: Choral Theoryand Ancient Greek Poetics, Oxford UP 2006.
Interview with MARTIN BERNAL

.GREEK CULTURE: alphabet, money, Mysteries of Eleusis, Dionysus

Books recommended
· Richard Seaford, Money and the Early Greek Mind: Homer, Philosophy, Tragedy, Cambridge UP 2004.
· Richard Seaford, Reciprocity and Ritual. Homer and the Tragedy in theDeveloping City-State, Oxford UP 1994.
· Robert Parker. Miasma: Pollution and Purification in Early Greek Religion, Oxford UP 1983 (repr. 2003).
· Robert Parker, Athenian Religion: A History, Oxford UP 1996.
· Robert Parker, Polytheism and Society at Athens, Oxford UP 2005.
· Walther Burkert, Greek Religion, Blackwell, Oxford 1985.

. GREEK CULTURE: athletis, theatre

Books recommended
· Donald G. Kyle, Sport and Spectacle in the Ancient World, Blackwell,, Oxford 2007.
· Stephen Miller, Ancient Greek Athletics, Yale UP 2004.
· Susanne Moraw, Eckerhart Nölle (Hrsg.), Die Geburt des Theaters in der Griechischen Antike, Philipp von Zabern, Mainz am Rhein 2002.
· Eric Csapo and Margaret C. Miller (eds), The Origins of Theatre in Ancient Greece and Beyond: From Ritual to Drama, Cambridge UP 2007.


Books recommended
· Oliver Taplin, Pots and Plays: Interactions between Tragedy and Greek Vase-painting of the Fourth Century B.C., The J. Paul Getty Museum, Los Angeles 2007.
· Richard Green, Eric Handley, Images of the Greek Theatre, British Museum Press, London 1955.

. THE RECEPTION OF ANCIENT DRAMA: DIONYSUS IN 69 by The Performance Group, dir. Richard Schechner
Website for the Archive of Performances of Greek and Roman Drama (APGRD):
Books recommended
· Fiona Macintosh, Pantelis Michelakis, Edith Hall, Oliver Taplin (eds), Agamemnon in Performance 458 BC to AD 2004, Oxford UP 2005.
· Edith Hall, Fiona Macintosh, Amanda Wrigley (eds), Dionysus Since 69: Greek Tragedy at the Dawn of the Third Millenium, Oxford UP 2004.
· Edith Hall, Fiona Macintosh, Oliver Taplin (eds), Medea in Performance 1500-2000, Oxford UP 2000.
· Hellmut Flashar, Inszenierung der Antike: Das griechische Drama auf der Bühne der Neuzeit, C.H. Beck, München 1991.

.Tibetan YOGIS
Watch the film Tibetan Buddhism: The Great Masters of Samadhi

. Environmental theater


Books recommended
· Stephan Steingräber, Abundance of Life: Etruscan Wall Painting, The J. Paul Getty Museum, Los Angeles 2006.
· Jean-Rene Jannot, Religion in Ancient Etruria (Wisconsin Studies in Classics), University of Wisconsin Press 2005.


Books recommended
· Marianne McDonald, J. Michael Walton (eds), The Cambridge Companion to Greek and Roman Theatre, Cambridge UP 2007.
· Bettina Bergmann, Christine Kondelone (eds), The Art of Ancient Spectacle, National Gallery of Art, Washington, Yale UP, New Haven 1999.
· Karl-Wilhelm Weeber, Panem et circenses. Massenunterhaltung als Politik im antiken Rom, Philipp von Zaubern, Mainz am Rein 1994 (1999).


Books recommended
· W. Tydeman (ed.), The Medieval European Stage 500-1550 (Theatre in Europe: a documentary history), Cambridge UP 2001.
· C. Symes, A Common Stage: Theater and Public Life in Medieval Arras, Cornell UP, Ithaca 2007.
· M. Kobialka, This Is My Body: Representational Practices in the Early Middle Ages, University of Michigan Press, Ann Arbor 1999.

Books recommended
· J. Dillon, The Cambridge Introduction to Early English Theatre, Cambridge UP 2006.
· J. Milling, P. Thomson (eds), The Cambridge History of British Theatre, Volume 1: Origins to 1660, Cambridge UP 2004.
· J.D. Cox, D.S. Kastan (eds), A New History of Early English Drama, Columbia UP, New York 1997.
· R. Beadle (ed.), The Cambridge Companion to Medieval English Theatre, Cambridge UP 1994.
Books recommended
· T. Kantor, A Journey Through Other Spaces: Essays and Manifestos, 1944-1990, University of California Press, Berkeley 1993.
· T. Kantor, D. Bablet, The Theatre of Tadeusz Kantor, DVD 1991.
· S. Folie, J. Suchan, H. Wróblewska, T. Kantor, K. Kozyra, R. Kumirowski, P. Althamer, A. ¯mijewski, The Impossible Theater: Performativity in the Works of Pawel Althamer, Tadeusz Kantor, Katarzyna Kozyra, Robert Kusmirowski and Artur Zmijewski, Verlag Fur Moderne Kunst Nurnberg; Bilingual edition, Nurnberg 2006.
· K. Miklaszewski, Encounters with Tadeusz Kantor, Routledge, London 2005.


03.03.2010 PERFORMING BODY 1
SISTERS AND BROTHERS, Pomoja Dance Group, dir. Miriam Rother, recorded in Nairobi, Kenya National Theatre

10.03.2010 PERFORMING BODY 3
Jiøí Kylián , choreografies for Nederlands Dans Theater
SIX DANCES W.A. Mozart 1986 (recorded in 1997)
SWEET DREAMS Anton Webern 1990 (rec. 1997)
SARABANDE J.S. Bach 1990 (rec. 1995)
NO MORE PLAY Anton Webern 1988 (rec. 1996)
PETITE MORT W.A. Mozart 1991 (rec. 1996)
FALLING ANGELS Steve Reich 1989 (rec. 1996)

17.03. 2010 PERFORMING BODY 2
ACROPOLIS based on scenes from the play by Stanisław Wyspiański, 13 Rows Laboratory Theatre, dir. Jerzy Grotowski, [film] directed by James MacTaggert for the PBL. The original performance recorded between 27th October and 2nd November 1968 at Twickenham studios in London. Introduction by Peter Brook. Acropolis was first broadcast on New York cable TV in 1969.

24.03.2010 PERFORMING BODY 4


KUTIYATTAM the classical Indian (Sanskrit) theatre, acknowledged to be at least 15 centuries old
“A Master-piece of the Oral and Intangible Heritage of Humanity” UNESCO

In the context of presenting Koodiyattom before an international jury of the UNESCO, a video documentation with English subtitles, in digi Betamode, was done in November,2000 by Margi under a project sponsored by the Heritage Wing of the UNESCO.

The documentation was directed by noted film maker Adoor Gopalakrishnan; a keen enthussiast of the Kerala theatre Sri. Rama Iyer, Smt. Sudha Gopalakrishnan and Guru P.K.Narayanan Nambiar helped with the script and selection of themes for videography. The filming was done in the special theatre structures, known as Koothambalams, forming part of important temple complexes in Kerala. These structures about 20 in number, date back to several centuries and have exquisite carvings, and paintings besides excellent acoustics and viewing facilities. The documentation was done in the Kidangoor and Haripad Koothambalams. (For more details on Koothambalam, refer Margi publications 1971, 1976 in Malayalam and Sangeet Natak special issue Kutiyattom 1995 in English – Editor Shri. Ayyappa Paniker).
The 11 hour documentation covers performances, training sessions etc., and features most of the current practioners of the art. Episodes recorded in this documentary are as follows:

Performances with subtitles in English

Preliminaries like ‘Arangutali, ‘Ghoshti’, sounding of Mizhavu –
Artistes: Guru P.K.Narayanan Nambiar, Vasanthi, Rukmini.
Entry of Soothradharan Bhasa’s play Balacharitha, Act Mallaankom –
Artiste: Guru Moozhikulam Kochukuttan Chakiar.

Entry of Kapali (Mendicant) in Mahendra Vikraman’s play Mathavilasa –
Artiste: Mani Damodara Chakiar.

Entry of Vidhushaka (clown) and hero Arjuna in the play Subhadra Dhananjayam, ActI –
Artistes: P.K.G.Nambiar and Pothiyil Narayana Chakiar.

Famous sequence ‘Kailasodharanam’ from Act III, Thoranayudhom of Bhasa’s play Abhishekom-
Artiste: Kalamandalam Sivan Namboodiri.

(Refer Chapter5 of Book “New sites for Shakespeare Theatre, the audience and Asia” by Shakespeare scholar Mr. John Russel Brown, for impressions on the aesthetics of this sequence in Koodiyattom)

Sequence ‘Himakaram’from Act V, Ashokavanikankom of Sakthibhadra’s Ascharyachoodamani –
Artiste: Margi Madhu

Entry of Kalpalathikan Act II of Kulasekhara’s Subhadradhananjayam (otherwise known as Nangiarkoothu)-
Artiste: Margi Sathi

Garden scene from Bhagavajjugam of Bodayana –
Artistes: Kalamandalam Girija and Shailaja.
Sequence ‘Gopastreevastrapaharanam’from Sreekrishna Charitham Nangiarkoothu-
Artiste: Margi Sathi.

Act II Soorpanakankam from Sakthi Bhadra’s Ascharyachoodamani:
Artistes: Kalamandalam Rama Chakiar and Girija,Margi Madhu, Naryanan,Usha.

Act I Balivadhankam from Bhasa’s Abhisheka Nataka-
Artistes: Kalamandalam Sivan Namboodiri,Kalamandalam Prasanna / MargiMadhu, Sajeev Narayana Chakiar, Pothiyil Narayanan

Rituals in Koodiyattom –
Artiste: Margi Madhu.
Training Sessions

Uzhichil (body massage); body kinetics; eye movement training; ‘Navarasa’ (nine sentiments or moods registering on the face); (control of facial muscles; peacock dance; recitation of slokas (quatrains from Sanskrit poems) standing in a characteristic posture; Stances/postures of (i) demoness (ii) bird (iii) monkey; battle sequences; exercises in the main percussion instrument in Koodiyattom, the Mizhavu.Artistes who figured in the training sessions were Kalamandalam Rama Chakiar, Girija, Shailaja Prasanna, Anjali; Margi Madhu, Narayanan, Sathi

Artistes who provided percussion support
Mizhavu – Guru PanivadaTilaka P.K.Narayanan Nambiar
KalamandalamEaswaran Unni
KalamandalamUnnikrishnan Nambiar (Margi)
KalamandalamRaman Unni (Margi)
Lakkidi UnnikishnanNambiar (Margi)

Edakka – Margi SubramanianPotti

Thimila – Margi Mohanan

Kuzhithalam – All femaleartistes, in turns

Make up, costumes and stage arrangements were provided by Margi Somadas, Ravindran Pillai, Kalamandalam Sivaraman

Costumes, headgears and other accoutrements and percussion instruments were provided by Margi and Kerala Kalamandalam.

The object of this high tech, 11 hr Video Documentation is to preserve for posterity the current performance norms, modes etc of this highly structured theatre art which have remained aesthetically valid for over 15 centuries. This is also the first ever extensive documentation filmed in the Koothambalams (specialised theatre structures of yore) where this art was kept alive & vibrant through all these centuries.

Three DVDs of one hour duration each are now available for sale at a price of US$50 each. Our patrons are requested to bear this relatively high cost as a promotional effort also of this invaluable performing art. Those interested may kindly contact

Books (English)
“Kathakali,the art of the non worldly” (1994)
Editors: D. Appukuttan Nair and K.Ayyappa Panikker (MARG publications, Mumbai)

“SangeetNatak-Special Issue Kutiyattam” (1995)
Editor:K.Ayyappa Panikker. Published by the Sangeet Natak Akademi, New Delhi

Unnayi Varier’s Nalacaritam with performance manual based on Kalamandalam Krishnan Nair’s stage version – English translation by Smt.Sudha Gopalakrishnan
Published by Sahitya Akademi

“SreeRamacharitham Nangiarkoothu” (Stage presentation Manual)
by Margi Sathi – Published by D.C.Books, Kottayam, Kerala (1999) in Malayalam with an appendix on ‘Nangiar Koothu’ in English by Ayyappa Panikker. (English translation of thus book is under way)
Books (Malayalam)
Publications in Malayalam are for limited circulation. These include compilations of articles by experts, providing short but in depth insights into several aspects of the essential Kerala theatre arts; as also stage performance manuals collected/compiled in Margi with the object of revitalising the arts concerned)

1. Margi Souvenir 1971 (Koodiyattom) edited by D. Appukkuttan Nair

2. Margi Souvenir 1972 (Kathakali and Music)

3. Margi Souvenir 1974 (Kerala percurssion ensembles)

4. Margi Souvenir 1975 (Kathakali)

5. Margi Souvenir 1976 (Koodiyattom)

6. Nalacharitha Section-I Kathakali Dramatic Text and performance manual ie., choreographic supplements. vide Section, ‘Performance repertoire’ also D. AppukkuttanNair

7. NalacharithaSection-II

8. NalacharithaSection-III

9. Banayudham

10 Vischinnabhishekom

11. KharaVadhom

12. Act I ‘Parnasalankam’ of Ascharyachoodamani Stageperformance manuals scripted by Guru AmmannoorMadhava Chakiar, for revivalsof the concerned sections of Koodiyattomin the Margi stagevide Section – ‘Performance Repertoire’

13. Act. III ‘Maya Seethankam’ of Ascharyachoodamani

14. Act. VII ‘Agnipravesankom’ of Ascharyachoodamani

15. Act. II of Subhadradhananjayam

Milón Méla European Tour

After having participated in the group of Theater of Sources directed by Jerzy Grotowski, Abani Biswas has continued to work in India.
His research team has gradually expanded, as a number of traditional artists representing diverse disciplines and regions of India were invited to join in the workshops.
Over a period of several years the performing activity of Milón Méla has evolved into a stable part of the Source’s Research project. Today 15 to 20 traditional artists participate in residential workshops in India and in Italy, and in annual tours in Europe.
The group of Milón Méla includes:
· 4 Baul musicians
· 7 Chhau dancers
· 2 Kalaripayattu martial art masters
· 5 members of the Source’s Research team.

Milón Méla was presented at theater festivals in Italy, Switzerland, Poland and Austria.
It has been performing in city squares and streets, open arenas and theaters.
The group conducted workshops in schools and universities, worked with various theatre groups, cultural associations, psychotherapy groups and people from different walks of life interested in our work.

21.04.2010 JAPAN traditional performing art 1: THE NOH THEATREIntroduction to NOH and Kyogen ENGLISH Presented by Japan Arts Council. Includes directories on history, stage, masks, costumes, analysis of plays and literary structure, videoclips.IZUTSU (The Well-Cradle or The Well-Curb): a woman play by ZeamiThe text of the play is publicly-accessible at: Mask Homepage EnglishShows process of making NOH masks and has gallery of masks. Online purchase available. 28.04.2010 JAPAN traditional performing arts 2: KABUKI and BUNRAKUwatch at YOU TUBE:ONNAGATA Tamasaburo “Sagi Musume”ONNAGATA Tamasaburo “Wisteria Maiden” part 1ONNAGATA Tamasaburo “Wisteria Maiden” part 2Teatro de BUNRAKU (in Spanish!)Teatro de Bunraku Segunda Parte (in Spanish)Teatro de Bunraku Tercera Parte (in Spanish)5.05.2010 JAPAN performing gender: TAKARAZUKA REVUEDark Brown Eyes based on a novel THE CAPTAIN’S DAUGHTER by Alexander Pushkin ENGLISH RUSSIAN12.05.2010 JAPAN performing body: BUTOHwatch at YOU TUBE:HIJIKATATatsumi Hijikata, Hosotan (1972)Tatsumi Hijikata, A GIRL19.05.2010 NAKED BODY IN ART: BUTOH & GROTOWSKITIBETAN OPERAOpera Festival of Tibet to begin from 4[Saturday, March 01, 2008 13:27] Dharamsala: His Holiness the Dalai Lama will open the 14th Shoton Festival, an annual celebration of Tibetan Opera (Lhamo) to be held at Tibetan Institute of Performing Arts (TIPA) in Dharamsala, beginning 4 March. The Tibetan Institute of Performing Arts is organising the festival. During the festival, TIPA and opera associations from Tibetan communities from all over India, including Tibetan Homes Foundation Mussoorie, Norgyeling Tibetan settlement, Bhandara, Doeguling, Mundgod, Bylakuppee settlement, will stage different opera performances. This year’s opera attractions will be Chungpo Dhonyoe Dhondup, Prince Drimeh Kunden, Nangsa Woebum, Jowo Je Palden Atisha, and Prince Norsang. The 14th Tibetan opera festival will conclude on 9 March. As envisioned by His Holiness the Dalai Lama, the Tibetan Institute of Performing Arts has been playing an important role in the preservation and development of all aspects of culture and traditions of Tibet, including, traditional Tibetan opera. Following is “The origins of Shoton festival” posted on the official website of TIPA Origins of Shoton FestivalTracing the historical account of Tibet, there exists two theories, which explain the origins of Shoton festival. According to the first – in India, Lord Buddha initiated the practice of monks going on a summer retreat. When Buddhism flourished in Tibet, this practice was believed to have adopted by many monasteries in Tibet. The monks of Drepung monasteries in Tibet go into summer retreat on the 15th day of the sixth month of the Tibetan calendar. These ‘Disciplinary Monks’ were replaced on the 30th day of the same month. This particular occasion is known as Drepung Shoton. The other origin of the Shoton is concerned with Jamyang Choje Tashi Palden, the main disciple of Je Tsongkhapa, who was born on the 6th day of the sixth month of the Tibetan calendar (Earth-Sheep year) at Samye. In Wood-Sheep year, 1415, Jamyang Choje saw many auspicious signs in dreams when he lived in Ne’u. Later Je Tsongkhapa met Jamyang Choje personally and advised him to build a religious institution for the propagation of his own traditional Sutra Tantra and for the benefits of others. Moreover, Je Tsongkhapa laid the foundation stone for the institution.Je Tsongkhapa gave an auspicious conch shell taken from Gokpari Hill and prophesied that the institution would become extremely famous. In the year 1416, Namkha Sangpo, the District commissionaire of Ne’u Dzong gave a generous contribution and Drepung monastery was thus constructed. The opening ceremony of Drepung monastery was held at same time as the summer retreat and it was the time when all the nomadic people have plentiful stocks of dairy products. The curd, being white in color, represents auspiciousness (in Tibetan, curd is sho and festival is ton). During the Drepung ceremony, they served the sho to all the monks. Therefore, this particular day is called Shoton. It can be seen then, that the evolution of the name Shoton is derived from these two historical events surrounding the Drepung monastery; the first surviving through the network of oral history, the second more factual and supported by written accounts. However, both explanations of the word Shoton are equally accepted. The reason for changing the Drepung Shoton into the Tibetan Shoton stems from the occurance of instability resulting from events in 1959, when the Chinese destroyed not only Drepung Shoton, but most other aspects of the Tibetan culture and tradition as well. The name “Tibetan Shoton” reflects the fact that Shoton is a part of the entire Tibetan Culture not just a feature of a single monastery.
26.05.2010 GROTOWSKI – ANTHROPOLOGY OF THEATREACROPOLIS by Wyspianski (1962)DOCTOR FAUSTUS by Marlowe (1963)THE CONSTANT PRINCE by Calderon/S³owacki (1965)APOCALYPSIS CUM FIGURIS (1969)2.06.2010 KANTOR – THEATRE OF DEATHCRICOTECA Centre for the Documentation of the Art of Tadeusz KantorWatch at YOU TUBETHE DEAD CLASS (1975)part 1part 2part 3LOVELIES AND DOWDIES (Nadobnisie i koczkodany, 1974)9.06.2009 DRAG KINGS – PERFORMING GENDER16.06.2010 RICHARD SCHECHNER – PERFORMANCE STUDIESDIONYSUS IN 69 a film by Brian de PalmaPerformance Studies at TISCH SCHOOL OF ART , New York Richard Schechner University Professor; Professor, Performance Studies Email: Office: 721 Broadway 6FL
EducationPh.D., 1962; Theatre, Tulane UniversityM.A., 1958; English, University of IowaB.A., 1956; English, Cornell UniversityBiographyMajor Interests: comparative performance; performance theory; experimental theatre; theories and practice of directing for the stage. Affiliations: Editor, The Drama Review, The Journal of Performance Studies; General Editor, “Worlds of Performance” series; Advisory Editor, Asian Performance Journal and Journal of Ritual Studies; Artistic Director, East Coast Artists of New York; Honorary Professor, Shanghai Theatre Academy; Honorary Professor, Institute of the Arts, Havana; Emmens Professor, Ball State University, 1991-1992; Whitney Halstead Visiting Scholar, Art Institute of Chicago, 1989; Hoffman Eminent Scholar, Florida State University, 1987. Fellowships/Honors: 2002 Jay Dorff Lifetime Achievement Award of Performance Studies International; American Institute of Indian Studies Senior Research Fellow, 1997; Old Dominion Fellow, Princeton University, 1993; Special Recognition Award, New England Theatre Conference, 1991; Special Award for Contribution to Theatre, Towson State University, 1991; Asian Cultural Council Fellow, 1988-1995; National Endowment for the Humanities Senior Research Fellow, 1988; Wenner-Gren Foundation for Anthropological Research, 1987; Mondello Prize, Italy, 1985; Social Science Research Council, 1982; Fulbright Senior Research Fellow, 1976; Guggenheim Fellow, 1976.


MATS EK Appartment (2000, recorded in March 2003)
The ballet was created for the dancers of the Opéra National de Paris and is here danced by star names including Nicolas Le Riche and Marie-Agnès Gillot
Original music played on stage by the Swedish rock band Fleshquartet
1. Opening
2. The bathroom
3. Television
4. The pedestrian crossing
5. Kitchen
6. Sets of children
7. Waltz
8. Go of the vacuum cleaners
9. Duet of the embryos
10 Great step of two
11 Barriers of protection
12 Finale

Website for the Centre for Theatre Practices “Gardzienice”:

Books recommended
· P. Allain, Gardzienice, Polish Theatre in Transition, Harwood Academic Publishers. London 1997.
· W. Staniewski with A. Hodge, Gardzienice and the naturalistic actor, in: A. Hodge (ed.), Twenty Century Actor Training, Routledge, London 2000, 224-244.
· W. Staniewski with A. Hodge, Hidden Territories: The Theatre of Gardzienice, Routledge, London 2003.


Books recommended
· Maciej Karpiñski, The Theater of Andrzej Wajda (Directors in Perspective), Cambridge University Press 1989.
· Krystyna Czerny, Nowosielski, Znak, Kraków 2006 (text in Polish).


Website for the Orange Alternative:
Books and papers recommended
· Richard Kempton, Provo: Amsterdam’s Anarchist Revolt, New Autonomy 2007.
· Padraic Kennedy, A Carnival of Revolution: Central Europe 1989, Princeton University Press 2002.
· Juliusz Tyszka, The Orange Alternative: Street happenings as social performance in Poland under Martial Law, “New Theatre Quarterly”, Vol. XIV (56), Part 4, Cambridge 1998.
Books recommended
· K. Górski, W. Kuraszkiewicz (eds), Rozmylania dominikañskie, Ossolineum, Wroc³aw 1965.
· J. Grotowski, Towards a Poor Theatre, London 1968.
· R. Schechner (ed.), The Grotowski Sourcebook (Worlds of Performance), Routledge, London 2001.

Books recommended
· J. Slowiak, Ch. Questa, Jerzy Grotowski (Routledge Performance Practitioners), Routledge 2007.
· Z. Osiñski, Grotowski and His Laboratory, PAJ, New York 1986.
· J. Kumiega, The Theater of Grotowski, Methuen, New York 1985 (repr. 2007).
· Lisa Wolford, Grotowski’s Objective Drama Research (Performance Studies Series), University Press of Mississippi, Jackson 1996.

WITKACY (Stanisław Ignacy Witkiewicz)

Books recommended
· S.I. Witkiewicz, The Mother and Other Unsavory Plays: Including The Shoemakers and They, ed. by D. Gerould, C.S. Durer, Applause Books 2000.
· S.I. Witkiewicz, Seven Plays (The Pragmatists, Tumor Brainiowicz, Gyubal Wahazar, The Anonymous Work, The Cuttlefish, Dainty Shapes and Hairy Apes, and The Beelzebub Sonata. Also included is “A Few Words about the Role of the Actor in the Theatre of Pure Form,” a key section of his major theoretical treatise), ed. and transl. by D. Gerould, Martin E. Segal Theatre Center Publications 2004.
· D. Gerould , The Witkiewicz Reader, Northwestern University Press 1992.
· S.I. Witkiewicz, Tropical madness (four plays), translated by Daniel and Eleanor Gerould, introd. by Martin Esslin, Winter House 1972.
· Daniel Gerould, Witkacy: Stanislaw Ignacy Witkiewicz As an Imaginative Writer, University of Washington Press, Washington 1980.
· Anna Miciñska, Witkacy-Stanislaw Ignacy Witkiewicz: Life and work, Interpress, Warszawa 1990.