heatrical training, but disclaimed that his training philosophy was merely eclectic. Asserting that his intention was not to teach a set of skills or "bag of tricks" to actors, he aimed instead for "an eradication of blocks" leading to the unity of the physical and psychical processes in the artist:
[T]he "ripening" of the actor [] is expressed by a tension towards the extreme, by a complete stripping down, by the laying bare of one's own intimity . . . . a technique of the "trance" and of the integration of all the actor's psychic and bodily powers which emerge from the most intimate layers of his being and his instinct, springing forth in a sort of "translumination" (Grotowski 22).
Grotowski did not totally ignore spectacle, as photographs of performances of the Laboratory Theatre show evocatively designed costumes, and competent attention to the details of the mise-en-scène must be inferred. The centrality of actor-audience interplay as theatre, however, was the original conception. That meant a high degree of technical expertise and
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