In 1956, Jerzy enrolled in the directing program at Karkow's Theatre school. His extra-curricular activities included an anti-Stalinist youth movement. He also chose Mahatma Gandhi as his new role model. Later on, he became an instructor at the school, from 1957 through 1959. During which period he produced several theatre and art philosophical oriented articles. His professional directing debut was the co staging of Eugene Ionesco's The Chairs in 1957. Grotowski's master's degree project was an unconventional staging (including masks) of The woman is a devil also in 1957. This was the 1st Grotowski production to radically adapt a drama to suit his own purposes- in this case to make a statement about the younger generations investigation for a meaning of existence, by rearranging the text and interpolating material from ot

Grotowski also had the notion that creative acts of a high quality were preformed as a group, so your creative ego should be restrained. The actor has no right to mold her partner to provide greater possibilities for the production. Nor has he the right to correct his partner, unless authorized by the instructor. We are obliged to open oursevelves up to everyone, even toward our enemy. Order and harmony among actors is curtail, and consistency is demanded. The participants are also urged to try the extreme, a challenge seeking out the total response of the group.

Grotowski also strongly believed in the idea that art cannot be bound by the laws of common morality or any catechism, the actor should be the creator, model, and creation, packed into one. He must be brave, but not shameless so that he brings him self to exhibitionism, he need's a passive courage, you might say, the courage of the defenseless.

Grotowski then, perhaps, made his most influential move ever. In 1959, he joined the Laboratory Theatre, the year it was founded. This was a fiercely dedicated acting ensemble, sought to cut through the strong bonds of the polite literary tradition, to rediscover human drives and conflicts. The actors in the Laboratory theatre undergo grueling exercises to breakdown the layers of superficial technique and repressions. Every production is considered an original entity and calls for its own playing area and actor audience relationship: the rectangular hall-the

Some common words found in the essay are:
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