Editing Jerzy Grotowski (section)

==== Objective Drama ====
Unable (despite the best efforts of [[Richard Schechner]]) to secure resources for his projected research in Manhattan, in 1983 Grotowski received an invitation from [[Robert Cohen (playwright)|Robert Cohen]] to come to the [[University of California, Irvine]], where he began a course of work known<ref name=Schechner2013/><ref>{{cite book |vauthors=Osinski Z |veditors=Schechner R, Wolford L |title=The Grotowski sourcebook |date=1997 |publisher=Routledge |location=London |isbn=0415131111 |pages=385–403 |chapter=Grotowski blazes the trails: from objective drama to art as vehicle}}</ref> as "Objective Drama." This phase of his research focused on participants' [[psychophysiological]] responses to selected [[song]]s and other performative tools derived from [[traditional cultures]], focusing specifically on relatively simple techniques that could elicit discernible and predictable effects on the 'doers', regardless of their belief structures or culture of origin. [[Ritual]] songs and related performative elements linked to [[Music of Haiti|Haitian]] and other [[African diaspora]] traditions became a favoured tool of research. During this time Grotowski continued several collaborative relationships begun in earlier phases, and Maud Robart, Jairo Cuesta and Pablo Jimenez took on significant roles as performers and research leaders in the project. He also initiated a creative relationship with the American [[Keith Fowler]] and his student, James Slowiak. Another trusted collaborator was Thomas Richards, son of Canadian-American director [[Lloyd Richards]], to whom Grotowski would ultimately pass on responsibility for his lifelong research.<ref name=Schechner2013>{{cite book |vauthors=Schechner R |title=Performance studies: an introduction |date=2013 |publisher=Routledge |location=London |isbn=978-1136448720 |pages=300–303 |edition=3rd}}</ref>