The actors are not emotionally involved in the performance.
In the first phase of their existence they nearly belong to
the r e a l i t y o f t h e a u d i e n c e
(simply speaking, they are almost the spectators).
Since then they begin to gain more and more independence,
Slowly the reach a higher or lower
degree of the stage-figure i l l u s i o n,
still remaining only constructed forms,
working with movement and voice.
The actor’s body and movement
ought to j u s t i f y each and every surface,
every form and shape of the stage construction.
Movement melts into movement gradually, passing
from one character onto another. Thus an abstract
arrangement of movement is created.
There is no need to fear m o n o t o n y or a u t o m a t i c action as
the opposites of expression and spontaneity (…)”
Pleśniarowicz, Krzysztof (chosen and ed. by). Metamorfozy. Teksty o latach 1938-1974. [Metamorphosis. Texts about the years 1928 – 1974] Kraków: Centre for the Documentation of the Art of Tadeusz Kantor Cricoteka, Księgarnia Akademicka, Kraków 2000, p. 67.