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 to come to the University of California, Irvine, where he began a course of work known as Objective Drama. This phase of his research focused on participants' psychophysiological responses to selected songs 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 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.
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 to come to the University of California, Irvine, where he began a course of work known as Objective Drama. This phase of his research focused on participants' psychophysiological responses to selected songs 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 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.