What is a physical approach to acting?

Konstantin Stanislavski's early research into acting technique led him to develop many inner, psychological and memory-centered exercises. But later in his career, Stanislavski concentrated much more on physical action. In the book Creating a Role he wrote:

...with faith in your physical actions you will feel emotions, akin to the external life of your part, which possess a logical bond with your soul.... Your body is biddable; feelings are capricious.

In the 1960's Jerzy Grotowski built upon this late work of Stanislavski's. At the Polish Laboratory Theater, Grotowski experimented with mime, with Meyerhold's biomechanics and with Asian theater exercises. But he felt that these practices tended to impose an "artificial system of signs" upon the actor, so Grotowski sought to develop a more organic approach. He searched for exercises to help actors overcome their own individual acting limitations. The working methods he developed were not "techniques" but rather forms designed to help an actor to uncover the emotional truths locked within his or her own muscular memory and physical impulses.

Since studying with Grotowski in 1967, I have been working to make this physical approach to acting practical and accessible for American actors. An Acrobat of the Heart combines a study of Grotwoski's plastique and corporel exercises with work drawn from Kristin Linklater, Spolin Theater Games, and other sources to lead acting students on a journey from basic physical training exercises to scene and character work.