SUMMER INTENSIVE: Physical theatre performer training with master teacher Stephen Wangh

 8th-12 January
COST: $860 ($760 e/b special before November 30th)

# The workshop is open to students who are new to this work as well as those with prior experience.

Join Glorious Thing Theatre Co. for this unmissable physical theatre intensive and jumpstart your New Year with this weeklong course for Performers, Actors and Directors. Be challenged, expand your skill set, and nourish your ongoing practice.

Immerse yourself in a holistic approach to acting with the body as a source of creation, initiated by Jerzy Grotowski in the 1960’s and further developed by Stephen Wangh, author of An Acrobat of the Heart. An Acrobat of the Heart is a collection of exercises designed to unlock and navigate a physical approach to acting and performance making inspired by Wanghs work with legendary theatre maker Jerzy Grotowski.

Stephen will be leading a compact version of his American program based around the exercises collected in his book.


The workshop will include:
Physical work (cat, corporels, plastiques)
Image work, voice work, presence work, and application of the training to text
Applying the physical work to scenes


Praise for Stephens Teaching:
“Wonderful… Stephen Wangh walks you through his remarkable grasp of Grotowski’s teaching and thoughtfully places it in the context of Delsarte, Stanislavski, Meyerhold, and the American tradition. Best of all, the book is a useful guide for an actor’s daily work in the studio.”
— Anne Bogart, director


Where: the Old 505 Theatre 5 Eliza St Newtown
When: Monday 8th to Friday 12th of Jan 2018 9:30-5:30
9:30 am – 12:30 Morning class
2:30pm – 5:30 Afternoon class
Email for enquires and to book your spot.




About Stephen.
STEPHEN WANGH studied acting with Polish director Jerzy Grotowski in 1967. He has taught physically-based acting for forty years, and his book, An Acrobat of the Heart, a physical approach to acting inspired by the work of Jerzy Grotowski, has become widely used by acting teachers in the United States, Asia and Europe. For twenty years, he taught at New York University where he is now Arts Professor Emeritus. He also taught at Naropa University, and has led acting and pedagogy workshops at many schools in the United States and in Asia, including the Lasalle College of the Arts, Singapore and at Mahidol University and Thammasat University, in Bangkok.
Stephen’s recent book, The Heart of Teaching: Empowering Students in the Performing Arts, has become the basis of teacher-training workshops he has been leading across the United States, in Asia and the Middle East.
Stephen is also a theater director and a playwright. He is the author of 15 plays, was Associate Writer for The Laramie Project (Emmy nomination 2002), and was one of the writers of The People’s Temple (Glickman award: Best play in the Bay Area, 2005). (

A Short Introduction To Physical Acting Work Of Stephen Wangh
The development of our civilization and culture, has pushed us in the direction of taming everything… animals, trees… and ourselves… [and] we have lost something, something “untamed.” – Jerzy Grotowski
Polish theatre director Jerzy Grotowski, with whom I studied in 1967, encouraged his actors to “untame” their work with these words:
Continue searching and asking questions because answers are not fruitful, only questions are. Once you find an answer you’ve reached the point stopping and must begin again.
This training begins with our bodies, but the physicality of this work is not about athleticism. For to Grotowski, the physical exercises were but “jumping-off place for an actor’s own creativity, for his own exploration of himself and his own experience.” In fact, what is most essential in the work is not its physicality, but the attitude of questioning that it engenders, the idea that the body offers actors an effective tool for engaging in that questioning process.
The physical exercises serve an actor in several ways. First of all they become a catapult that can project the actor into deep emotional waters. But at the same time, they are also a life-preserver, or rather they are a relationship to the water itself, a relationship that can allow the actor to survive below the surface. For they provide the actor with the safety she needs to take exciting risks and explore her inner landscape, even while she engages her partner the text.
This work offers actors a new source of energy in their work … and a strange kind of joy: a joy which lies within uncertainty itself.
A master teacher who understands the most important discoveries of the twentieth century about the art of acting, Stephen Wangh takes the powerful work of Jerzy Grotowski and makes it accessable to American actors. An indespensable book for anyone studying modern theater.”
— Moisés Kaufman, playwright
“Wangh bridges the gap between Grotowski’s teaching methods and the world of rehearsing and performing, so that actors may put what they’ve learned to the test.”
— Publisher’s Weekly, August, 28, 2000
“Wangh never preaches, but gently guides his students to reach heights they never thought possible…. Every actor, director and teacher will learn something from An Acrobat of the Heart.”
— The Bloomsbury Review, Nov/Dec 2000
“Certainly this season’s finest text for actors, this important work is for all acting collections.”
— Library Journal, October 1, 2000
More about Stephen’s Book ‘An Acrobat of The Heart’ (…/…/0375706720)


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