By gradually eliminating whatever proved superfluous, we found that theatre can exist without make-up, without autonomic costume and scenography, without a separate performance area (stage), without lighting and sound effects, etc. It cannot exist without the actor-spectator relationship of perceptual, direct, “live” communion. This is an ancient theoretical truth, of course, but when rigorously tested in practice it undermines most of our usual ideas about theatre. It challenges the notion of theatre as a synthesis of disparate creative disciplines – literature, sculpture, painting, architecture, lighting, acting (under the direction of a metteur-en-scene).
(Jerzy Grotowski, Towards a Poor Theatre (Introduction by Peter Brook), 1968)