Although numerous theatre artists emphasize linkages to Grotowski to legitimize their work, Grotowski himself abandoned theatre at a relatively early stage. Wolford Wylam reflects on Grotowski's efforts to clarify that he entrusted responsibility for continuing his research to Thomas Richards, highlighting Richards's apprenticeship in relation to what Grotowski articulated as “transmission in the traditional sense.” Wolford Wylam considers the importance of the Workcenter's current practice as a step forward in what Grotowski described as the “reopened tradition” of Art as vehicle.

Revised and elaborated from responses to questions during the final two days of a seminar at the University of Rome La Sapienza, Biagini's talk traces the early stages of his 13 years of work alongside Grotowski and Thomas Richards, evoking both the importance of craft in the practice of Art as vehicle and its subtle interior processes, as well as the unique process of transmission from Grotowski to Richards. Biagini reflects on the application of Stanislavsky's method of physical actions, the construction of an actor's score, the central importance of traditional song in the Workcenter's ongoing practice, and on the work initiated in 1998 with four actresses from Singapore.

Learn about “Pocha Nostra,” the company founded by GÓmez-Peña and Roberto Sifuentes, in a far-ranging conversation about how to make a performance group in the 21st century.