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Published: 4 June 2021
Last updated: 31 January 2023

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1

Rafolt, Leo. "Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli." Colloquia Humanistica, no. 4 (December 31, 2015): 95–121. http://dx.doi.org/10.11649/ch.2015.006.

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Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. ZarrilliThis paper is mainly focused on the concept of transcultural bodily knowledge elaborated by Eugenio Barba and Nicola Savarese in their concept of theatre anthropology. Their research on pre-existent and pre-expressive values of the human movement, especially considering Asian theatre and performative practices, will be reexamined in the context of over-imposed interculturalism in Humanities and Social Studies. The focus will be thus put on the modifications of the bodily knowledge in this sense (Yuasa), as well as on the (re)appropriations of the Asian philosophical/theoretical embodiment schemes in the Western thought, not only from the standpoint of performative research made by Eugenio Barba and Phillip B. Zarrilli, but also from the standpoint of Shusterman’s pragmatic reinterpretations of Merleau-Ponty’s legacy, Schechner/Turner’s anthropology of human performativity, etc. In this context, the key idea of unique transcultural background of the human kinesis, employed mainly by Barba, will be put in an overall context of contemporary (trans)cultural utopism. The key element for interpretation will thus be an overall context of Asian martial arts practice, especially the significance of ‘iemoto principle’ (hereditary bodily technique) for the establishment of Grotowski’s, Barba’s and Zarrilli’s psychology and physiology of performance tactics. Transkulturowi i transcieleśni sąsiedzi: japońskie utopie performatywne u Jerzego Grotowskiego, Eugenia Barby i Philipa B. ZarrilliegoArtykuł skupia się głównie na pojęciu transkulturowej wiedzy cielesności, wypracowanym przez Eugenia Barbę i Nicolę Savaresego w ich ujęciu antropologii widowiska. Ich badania nad uprzednimi i przedekspresywnymi wartościami ruchu ludzkiego, zwłaszcza w kontekście teatru azjatyckiego i praktyk performatywnych, zostają wpisane w kontekst nadreprezentowanego w humanistyce i naukach społecznych interkulturalizmu. Uwaga autora skupia się na zmianach w wiedzy cielesnej w tym kierunku (Yuasa), jak też recepcji azjatyckich filozoficznych/teoretycznych schematów wcielania w myśli Zachodu, nie tylko z punktu widzenia badań performatywnych Barby i Zarrilliego, lecz również w Shustermanowych pragmatycznych reinterpretacjach myśli antropologii performatywności Merleau-Pontiego, Schechnera i Turnera itd. W tym kontekście kluczowa idea jednego transkulturowego podłoża ludzkiej kinesis, wykorzystywana głównie przez Barbę, jest wpisana w nowy kontekst współczesnego (trans)kulturowego utopizmu. Zasadniczym elementem interpretacji stają się azjatyckie sztuki walki, zwłaszcza znaczenie zadasy iemoto (dziedzicznej techniki cielesności) w ustanowieniu psychologii i fizjologii taktyk performatywnych u Grotowskiego, Barby i Zarrilliego.
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2

Bassnett, Susan. "Perceptions of the Female Role: the ISTA Congress." New Theatre Quarterly 3, no. 11 (August 1987): 234–36. http://dx.doi.org/10.1017/s0266464x00015219.

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HOLSTEBRO in Northern Denmark has become famous as the home of the Nordisk Theaterlaboratorium and the Odin Theatre Company, led by Eugenio Barba. In September 1986 an international congress organized by ISTA, the International School of Theatre Anthropology, also directed by Eugenio Barba, was held in Holstebro on the subject of ‘The Female Role as Represented on the Stage’ in various cultures.
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3

Barba, Eugenio. "The Sky of the Theatre." New Theatre Quarterly 26, no. 2 (May 2010): 99–101. http://dx.doi.org/10.1017/s0266464x10000230.

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Eugenio Barba founded Odin Teatret in 1964, since when it has become one of the most widely known non-official theatre collectives of the past half-century, and Eugenio Barba one of the most influential figures in world theatre. The following is his speech of thanks to the members of the Academy of Music and Theatre of Estonia for bestowing the title of Doctor Honoris Causa. It was delivered in Tallinn on 27 September 2009.
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4

Watson, Ian. "Eugenio Barba: the Latin American Connection." New Theatre Quarterly 5, no. 17 (February 1989): 67–72. http://dx.doi.org/10.1017/s0266464x00015347.

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The theoretical writings of Eugenio Barba on the nature and disciplines of acting have been a feature of NTQ since its first issue. These writings emerge, of course, from Barba's work with Odin Teatret, which recently celebrated its twentieth anniversary from its base in Holstebro, Denmark – and also from his formative association with ISTA. the International School of Theatre Anthropology. Accordingly, when a leading authority recently described Barba, along with Brecht and Grotowski, as one of the three major European influences on contemporary Latin American theatre, he was paying tribute to active participation and cross-fertilization, rather than to textbook discipleship. In the following article, Ian Watson, whose study of ‘Catharsis and the Actor’ appeared in NTQ 16 (1988), looks in detail at the nature and the consequences of Barba's ‘Latin American connection’.
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5

Barba, Eugenio. "Evig genkomst." Peripeti 6, S2 (January 1, 2009): 25–26. http://dx.doi.org/10.7146/peri.v6is2.110568.

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6

Barba, Eugenio, and Ulrik Skeel. "Den dybtgående orden, der kaldes turbulens." Peripeti 4, S1 (January 1, 2007): 35–44. http://dx.doi.org/10.7146/peri.v4is1.110530.

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7

Barba, Eugenio, and Ulrik Skeel. "Den dybtgående orden, der kaldes turbulens." Peripeti 4, no. 7 (January 1, 2007): 100–109. http://dx.doi.org/10.7146/peri.v4i7.107633.

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8

Watson, Ian. "Letter to an Editor: the Yesterday and Today of Poland's Teatr Ósmego Dnia." New Theatre Quarterly 21, no. 1 (January 26, 2005): 52–60. http://dx.doi.org/10.1017/s0266464x04000338.

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Teatro Ósmego Dnia, the Theatre of the Eighth Day, has for forty years flourished in Poland, never as part of the established theatre, but as one of what Eugenio Barba calls the ‘floating islands’ – those companies which live as much as make theatre, and form part of an informal international circuit of like-minded though distinct and individual groups. Ian Watson here shapes his own memories of the group in the form of a letter to one of NTQ's co-editors, with whom he has shared experiences of Polish theatre, and in particular the work of Eighth Day, relating their history to the changing political and economic environment in Poland, and the company's relationship with the outside world. Ian Watson, who is a Contributing Editor of New Theatre Quarterly, teaches at Rutgers University, Newark, where he is the Acting Chair of the Department of Visual and Performing Arts. He is author of Towards a Third Theatre: Eugenio Barba and the Odin Teatret (Routledge, 1993) and of Negotiating Cultures: Eugenio Barba and the Intercultural Debate (Manchester University Press, 2002). He edited Performer Training across Cultures (Routledge, 2001), and has published numerous articles on theatre in scholarly journals.
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9

Barba, Eugenio. "The Paradox of the Sea." New Theatre Quarterly 22, no. 2 (April 19, 2006): 107–12. http://dx.doi.org/10.1017/s0266464x06000340.

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Eugenio Barba delivered this address when he received the title of Doctor Honoris Causa from the University of Plymouth on 27 October 2005. Eugenio Barba founded the Odin Teatret in Oslo in 1964, taking it to Holstebro in Denmark in 1966 where, ever since, he and his collaborators have explored and reinvented the vocal and corporeal possibilities of performance. In the speech which follows, he explores anew several images for the theatre that recur in his writings, notably Beyond the Floating Islands (1986, a new version of The Floating Islands, 1979) and The Paper Canoe (1994). Here they resurface in the all-embracing trope of the sea, accompanied by Barba’s reflections on multiculturalism and diversity in the theatre. Other familiar concerns of Barba’s writings and the Odin’s work such as exile and the search for community are crystallized in this speech in Barba’s lapidary ‘The country in which I dwell is the theatre.’ During Odin Teatret’s UK tour in the autumn of 2005, documented in the ‘Reports and Announcements’ section of this issue, Eugenio Barba opened the new Library at Rose Bruford College, named in memory of former NTQ Co-Editor, Clive Barker.
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10

Barba, Eugenio. "The Dilated Body: on the Energies of Acting." New Theatre Quarterly 1, no. 4 (November 1985): 369–82. http://dx.doi.org/10.1017/s0266464x00001792.

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All too many teachers and theorists treat acting as if it were a sort of puzzle to be solved, a role as a sort of summit to be conquered. Eugenio Barba sees it rather as a process, involving the use of trained energies which often work intuitively, even contradictorily, in search of new relationships between actions and ideas. Using examples as diverse as the legend of the Flying Dutchman and his own company's work on a story by Jorge Luis Borges. Barba explores the way in which the mutation of a narrative line can interweave with the presence of the actor to create that ‘sudden dilation of the senses’ which he sees as the essence of the theatrical experience. Eugenio Barba has just celebrated the twentieth anniversary of his formation of Odin Teatret, now based in Holstebro, and is an Advisory Editor of New Theatre Quarterly.
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11

Copeliovitch, Andrea. "Eugenio Barba: memória e resistência no teatro." POIÉSIS 17, no. 28 (September 25, 2018): 71. http://dx.doi.org/10.22409/poiesis.1728.71-84.

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Este texto é uma introdução ao pensamento de Eugenio Barba acercade seu fazer teatral, um teatro criativo e auto-criador. Mas é também um agradecimento à generosidade desse mestre; generosidade que pude vivenciar em alguns encontros e que está na base de seu projeto de um teatro que prevê comunhão e trocas; um teatro efêmero como a vida, mas tão vivo e intenso como ela pode ser.
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12

Milosevic, Dijana. "‘Big dreams’: An interview with Eugenio Barba." Contemporary Theatre Review 16, no. 3 (August 2006): 291–95. http://dx.doi.org/10.1080/10486800600818657.

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13

Christoffersen, Erik Exe, and Kathrine Winkelhorn. "Den kreative proces på Odin Teatret." Peripeti 8, no. 16 (December 13, 2011): 88–99. http://dx.doi.org/10.7146/peri.v8i16.8251.

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14

Barba, Eugenio, and Iben Nagel Rasmussen. "Stilhedens sønner." Peripeti 4, S1 (January 1, 2007): 45–53. http://dx.doi.org/10.7146/peri.v4is1.110531.

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15

Barba, Eugenio. "The Way of Refusal: the Theatre's Body-in-Life." New Theatre Quarterly 4, no. 16 (November 1988): 291–99. http://dx.doi.org/10.1017/s0266464x00002852.

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Both in his practical work with Odin Teatret, and his close involvement with ISTA, the International School of Theatre Anthropology. Eugenio Barba has developed an approach to theatre which is highly personal in expression, yet far-sightedly comparative in its concern with the nature of the actor's work and the ways in which it crosses cultural and other divides. An Advisory Editor of NTQ, Eugenio Barba contributed earlier pieces on the nature of the actor's energies to NTQ 4 and NTQ 11, and now further develops his thinking, in a consideration of what he calls ‘the body-in-life’, and the balance between its ‘three vital organs’ which is essential if the actor is to realize his full potential.
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16

Masgrau, Lluís. "Cuatro preguntas y tres diálogos: La obra escrita de Eugenio Barba." POIÉSIS 17, no. 28 (September 25, 2018): 43. http://dx.doi.org/10.22409/poiesis.1728.43-56.

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O artigo de Lluis Masgrau visa demarcar as principais áreas de interesse do diretor teatral Eugenio Barba em sete de seus livros, de modo a abarcar sua vi­são sobre o teatro. Esses escritos derivam das experiências profissionais de Barba marcadas pelo diálogo com três grandes vertentes da cultura teatral do séc. XX – a Grande Reforma (Stanislavski, Grotowisk, Living Theater etc), o teatro clássico asiá­tico e o teatro de grupo latinoamericano –, balizadas por suas quatro perguntas fundamentais: “onde”, “por que”, “como” e “para quem” atuar; donde os quatro níveis do ofício: a aprendizagem, a busca de um sentido pessoal, a construção da técnica e o “valor”, o qual resulta, grosso modo, do compartilhamento com o espectador do sentido pessoal expresso pelo ator. Concluindo que a identidade profissional de Barba adquirida ao longo de seu caminho é a “conquista da diferença”
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17

Copeliovitch, Andrea. "Poiésis, v. 17, n. 28 (2016): Eugenio Barba." POIÉSIS 17, no. 28 (September 25, 2018): 1. http://dx.doi.org/10.22409/poiesis.1728.1-240.

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18

Cremona, Vicki Ann. "Bali and Beyond: Eugenio Barba's Ur-Hamlet." New Theatre Quarterly 27, no. 4 (November 2011): 341–57. http://dx.doi.org/10.1017/s0266464x11000662.

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In this article Vicki Ann Cremona traces the development of the complex process of montage used by Eugenio Barba for Ur-Hamlet, based on the oral tale Amleth, which Saxo Grammaticus included in his history of the Danes (circa 1216). Besides Odin Teatret, the project involved a large number of actors and musicians from Bali, Brazil, and Japan, and other participants and trainees with whom Barba had worked at the International School of Theatre Anthropology (ISTA). The author here recounts how the work was developed from different cultural perspectives, describing how the actors' physical scores were combined without their cultural specificity being modified in any way. Vicki Ann Cremona is an Associate Professor at the University of Malta, currently serving as Malta's Ambassador to Tunisia. Her co-edited texts include Costume in Malta: a History of Fabric, Form, and Fashion (1998) and Theatrical Events: Borders, Dynamics, Frames (2004). She updated, revised and edited Nicola Savarese's Eurasian Theatre: Drama and Performance between East and West from Classical Antiquity to the Present, translated from the Italian by Richard Fowler (Holstebro, Malta, Wrocław: Icarus Publishing, 2010).
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19

Barba, Eugenio. "Methodological Note Concerning the Symposium "Why a Theatre Laboratory?"." Peripeti 1, no. 2 (December 2, 2021): 21. http://dx.doi.org/10.7146/peri.v1i2.107481.

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Eugenio Barba Why a Theatre Laboratory? It includes the programme of a three days’ international symposium from October 4th through 6th 2004. This is the first initiative taken by the Centre for Theatre Laboratory Studies (CTLS), a newly inaugurated centre under Aarhus University in cooperation with Nordisk Teaterlaboratorium. Peripeti include articles on Stanislavski, Meyerhold, Copeau, Decroux, Grotowski, Peter Brook, Théâtre du Soleil, and Odin Teatret and the theatre laboratory praxis of these masters and inventors, including, of course, reflections on their function and effect. In the last article, Eugenio Barba reflects on the creative process of Odin Teatret over the last 40 years. In addition, we also include the curriculum vitae on those participating in the symposium. The occasion of the symposium is to celebrate the 40th anniversary in October 2004 of Nordisk Teaterlaboratorium/Odin Teatret. Congratulations.
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20

Jiménez Draguicevic, Pamela, and Diego Carrasco Espinoza. "Por amor al teatro. Una entrevista a Eugenio Barba y a Julia Varley." Revista Anales, no. 60 (December 17, 2021): 73–80. http://dx.doi.org/10.18537/auc.60.07.

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Tenemos el honor de entrevistar a Eugenio Barba ha marcado la cultura teatral de la segunda mitad del siglo XX. Se formó con Jerzy Grotowski, en el “Teatro de las 13 filas” y viajó por India para estudiar el teatro Kathakali. En 1964 fundó el Odin Teatret, con sede en Holstebro (Dinamarca), un laboratorio escuela, y una de las compañías más influyentes en la evolución del teatro europeo de finales del siglo XX. En 1979 fundó la Escuela Internacional de Antropología Teatral, la cual abrió un nuevo campo de estudio: la Antropología teatral. Autor de obras de referencia, como “El arte secreto del actor” o “La Canoa de Papel. Tratado de Antropología Teatral” le han sido concedido numerosos premios y reconocimientos, y doce Doctorados honoris causa. Eugenio Barba es una personalidad central del teatro contemporáneo, y ha sido definido como uno de los últimos grandes maestros vivos del teatro occidental.
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21

Salonna-Rogozińska, Ilaria. "The idea of Burning the House by Eugenio Barba." Załącznik Kulturoznawczy, no. 6 (2019): 285–98. http://dx.doi.org/10.21697/zk.2019.6.14.

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Burning the House is the title of Barba’s book on directing and dramaturgy. This expression has a symbolic meaning, although this meaning doesn’t find an explicative description in Barba’s words. In the paper, we are attempting an explanation of the idea of Burning the House in relation with theatre while also exploring the use of various images of fire present in the last book by Barba (and Savarese): The Five Continents of Theatre: Facts and Legends about the Material Culture of the Actor. In this work, the idea of Burning the house is the hidden leitmotiv in the whole composition of the book.
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22

Noguera, Hector. "The Parallel Chile: an Open Letter to Eugenio Barba." New Theatre Quarterly 6, no. 23 (August 1990): 261–65. http://dx.doi.org/10.1017/s0266464x00004565.

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On 11 September 1973 the Chilean armed forces, led by General Augusto Pinochet, overthrew the democratically elected Socialist–Communist coalition government of President Salvador Allende Gossens. The coup marked the beginning of severe repression against leftists, trade unionists, journalists, and artists, many of whom were exiled, killed, or merely ‘disappeared’ after being arrested. This letter focuses on the years following the coup: it was written almost one year before the plebiscite on 5 October 1988 when Chileans voted against Pinochet continuing in power as president for another eight years, preparing the way for the elections of December 1989. Despite these hopeful developments – and previous coverage of theatre under the dictatorship, by Catherine Boyle in NTQ 15 (1988) and Enzo Cozzi in NTQ 22 (1989) – we felt it important to publish this moving account by a Chilean actively involved in the struggle, written to Eugenio Barba following the UNESCO-sponsored meeting on Latin American theatre they both attended in Lima, Peru, in April 1987. Its author, Hector Noguera, is a professor in the Theatre Department of Santiago's Catholic University as well as director of the university's professional theatre company, a founding member of several independent groups where he continues to direct and act, and president of the International Theatre Institute in Chile.
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23

Barba, Eugenio, and James R. Brandon. "Ingmar Bergman's King Lear: A Discussion with Eugenio Barba." Asian Theatre Journal 3, no. 2 (1986): 261. http://dx.doi.org/10.2307/1124403.

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24

Prazeres, Manoel. "Dramaturgias articuladas em Eugenio Barba: ator, encenador e espectador." Sinais de Cena 3ª série, no. 1 (2022): 279–86. http://dx.doi.org/10.51427/cet.sdc.2022.0015.

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25

Shevtsova, Maria. "Reinventing Theatre." New Theatre Quarterly 23, no. 2 (May 2007): 99–114. http://dx.doi.org/10.1017/s0266464x07000012.

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Eugenio Barba here discusses the desires and ideas driving his early years as a practitioner, some of the creative, social, and ethical principles underlying the work of the Odin Teatret, which he founded in 1964, and the group's most recent, new-style ‘barter’ events with and within local communities. His public dialogue with NTQ co-editor Maria Shevtsova and members of the audience provides fresh insight into the workings of one of the most influential figures, and one of the most widely known non-official theatre collectives, of the late twentieth century. The conversation took place on 31 October 2005 at Goldsmiths College, University of London, during the Odin's UK tour (as documented in the ‘Reports and Announcements’ section of NTQ 86), and included questions from the audience and concluding words from Odin performer Iben Nagel Rasmussen, who had performed White as Jasmin earlier in the evening. The transcript of this conversation, inaugurating a series of such public conversations at the Department of Drama and Theatre Arts at Goldsmiths, was edited for publication with the full and warm collaboration of Eugenio Barba.
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26

Barba, Eugenio. "Incompreensibilidade e Esperança." Revista Brasileira de Estudos da Presença 2, no. 1 (June 2012): 198–204. http://dx.doi.org/10.1590/2237-266025710.

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RESUMO Este texto foi escrito pelo diretor italiano, radicado na Dinamarca, Eugenio Barba, como apresentação do mais recente espetáculo do seu grupo de teatro, o Odin Teatret. Discute-se a função do espetáculo teatral e o problema da comunicação e decodificação do espetáculo como experiência viva. O diretor aduz suas intenções estéticas e suas expectativas de recepção do espetáculo.
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27

Pavićević, Jovana. "Artoovo pozorište surovosti i njegovo nasleđe." Issues in Ethnology and Anthropology 11, no. 4 (January 2, 2017): 1153. http://dx.doi.org/10.21301/eap.v11i4.11.

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Antonin Artaud (1896–1948) is considered to be one of the most influential theatre practitioners in the 20th century although his theory has been deemed too abstruse. The aim of this paper is to offer a systematic account of Antonin Artaud’s concepts for his Theatre of Cruelty and the ways it influenced subsequent theatre practitioners, namely Peter Brook, Jerzy Grotowski and Eugenio Barba.
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28

Mastrominico, Bianca. "Odin in the UK." New Theatre Quarterly 22, no. 2 (April 19, 2006): 200–202. http://dx.doi.org/10.1017/s0266464x06220402.

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From 21 October to 6 November 2005, Odin Teatret, comprising director Eugenio Barba, actors Augusto Omolù, Julia Varley, Iben Nagel Rasmussen, Roberta Carreri, Torgeir Wethal, Tage Larsen, Jan Ferslev, Kai Bredholt, Frans Winther, and administrator Patricia Braga Alves, toured the UK with their ensemble performance Inside the Skeleton of the Whale. The company also presented performance demonstrations, workshops, masterclasses, conferences, seminars, and lectures.
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29

Taviani, Ferdinando. "A Theatre of Ice and Warmth: on the Thirtieth Anniversary of Odin." New Theatre Quarterly 11, no. 42 (May 1995): 158–65. http://dx.doi.org/10.1017/s0266464x00001172.

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From Eugenio Barba's article in the inaugural edition of New Theatre Quarterly to Julia Varley's in the current issue, we have traced the progress of Odin Teatret both through the thinking of its members and – as in the following article – through the commentary of its friends and observers. Odin remains one of the most influential of contemporary experimental companies, as does Eugenio Barba one of the most widely-respected directors – having more recently extended his activities into the foundation and continuing work of ISTA, the International School of Theatre Anthropology. But Odin is also one of the longest-surviving of post-war companies, recently completing thirty years of work, largely at its home base of Hoistebro in Denmark. In the following article Ferdinando Taviani celebrates the occasion with a view of Odin which attempts to capture the essence of its style and approach, and to define the paradox of the image of the ‘empty ritual’ which Barba has himself recently used to describe it. Ferdinando Taviani, a specialist in commedia dell'arte and the craft of the actor, is a professor at Aquila University in Italy. He published The Book of Odin in 1972.
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30

Santos, Andrea Paula J. "Reflexões sobre o Terceiro Teatro na América Latina." Conceição/Conception 2, no. 1 (July 10, 2013): 41. http://dx.doi.org/10.20396/conce.v2i1.8647711.

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A ideia de Terceiro Teatro, preconizada por Eugenio Barba, chegou à América Latina no final da década de 1970, suscitando uma série de questionamentos que ultrapassaram problemas relacionados à técnica ou à estética e permitiram abordar questões relativas à alteridade, aos níveis de negociação e à imitação. Este artigo tem o propósito de refletirsobre esse assunto, a partir das leituras de Peter Pál Pelbart e Homi Bhabha.
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31

Barba, Eugenio, and Mónica C. Vestergaard. "Om Saxo, Hamlet og forestillingen." Peripeti 6, S2 (January 1, 2009): 41–45. http://dx.doi.org/10.7146/peri.v6is2.110570.

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Eugenio Barba skriver om Saxo, Hamlet og forestillingen Ur-Hamlet i lyset af teaterhistoriens figurer som Hamlet, Don Juan, Doktor Faustus og Harlekin, som er bastard-arketyper af ukendte mødre og utallige fædre. De trådte ind i vores moderne kultur med de første professionelle kompagnier, som specialiserede sig i at sælge underholdning, da det europæiske teaters dukkede op i »Guldalderen« mellem 1550 og 1650.
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32

Shoemaker, David. "Report from Holstebro: Odin Teatret's ‘Talabot’." New Theatre Quarterly 6, no. 24 (November 1990): 307–17. http://dx.doi.org/10.1017/s0266464x00004875.

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In previous issues, NTQ has paid close attention to the theoretical work of Odin Teatret founder and director Eugenio Barba, publishing several of his articles relating to the actor's scenic presence and the manipulation of his or her performing energies. Indeed, as a result of his work with ISTA, the International School of Theatre Anthropology, Barba is perhaps better known today as a theatre scholar than as a director: but he insists that virtually all of his research originates in his work with the actors of Odin Teatret. Here, David Shoemaker, who is completing a doctoral dissertation at the University of California, Berkeley, on the relationship between Barba's work as theoretician and practitioner, describes his encounter with the Odin's most recent performance piece, entitled Talabot.
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Watson, Ian. "Culture, Memory, and American Performer Training." New Theatre Quarterly 19, no. 1 (January 10, 2003): 33–40. http://dx.doi.org/10.1017/s0266464x02000040.

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In today's technologically complex and racially hybrid society, what is the meaning of ‘cultural memory’? Like performance, Ian Watson argues, culture ‘exists only in the doing’ – yet if our formative experiences are in that sense ‘rehearsals’ for life, the subsequent ‘performance’ is in a constant state of flux and renewal. Here, Ian Watson looks at the interface between theatrical and cultural training in American society, from the old apprenticeship system of the stock companies, through the Delsarte-based approach of the earliest conservatoires and the pervasiveness of Americanized Stanislavsky in the post-war period, towards a renewed concern with the techniques of voice and movement to meet the demands of both the classical and the contemporary experimental repertoires. In contrast to the deep cultural roots of much eastern theatrical training, perceptions of actor training in America are, he argues, as eclectic and diffuse as American society itself, and so (using Eugenio Barba's distinction) lean strongly towards creating a ‘professional’ rather than a ‘personal’ identity for the performer – one which ‘bears the signature of the hybrid narrative it springs from’. Ian Watson, who is an Advisory Editor of New Theatre Quarterly, teaches at Rutgers University–Newark, where he is the Acting Chair of the Department of Visual and Performing Arts. He is author of Towards a Third Theatre: Eugenio Barba and the Odin Teatret (Routledge, 1993) and of Negotiating Cultures: Eugenio Barba and the Intercultural Debate (Manchester University Press, 2002). He edited Performer Training across Cultures (Routledge, 2001), and has also published numerous articles on theatre in scholarly journals.
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Pollastrelli, Carla. "‘Art as Vehicle’: Grotowski in Pontedera." New Theatre Quarterly 25, no. 4 (November 2009): 333–35. http://dx.doi.org/10.1017/s0266464x09000621.

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In this testimony, Carla Pollastrelli charts the main stages leading to Grotowski's settlement in Pontedera in Italy and to the creation of the Workcenter of Jerzy Grotowski. As the Year of Grotowski, supported by UNESCO, draws to a close, her words provide a fitting tribute to a man whose influence has surpassed all geographical boundaries, whether those of his native Poland, adoptive Italy, or place of temporary refuge, the United States. Carla Pollastrelli is the co-director of the Fondazione Pontedera Teatro. Pontedera Teatro. From 1986 to 2000 she was an executive of the Workcenter of Jerzy Grotowski, which in 1996 was renamed the Workcenter of Jerzy Grotowski and Thomas Richards. She has edited translations of Grotowski's texts in Polish into Italian since 1978, and is the co-editor with Ludwig Flaszen of Il Teatr Laboratorium di Jerzy Grotowski, 1959–1969: testi e materiali di Jerzy Grotowski e Ludwik Flaszen con uno scritto di Eugenio Barba (Jerzy Grotowski's Laboratory Theatre, 1959–1969: Jerzy Grotowski and Ludwig Flaszen's Texts and Materials and a Text by Eugenio Barba (Fondazione Pontedera Teatro, 2001; second edition, La Casa Usher, 2007) and the collection of Grotowski's texts, Holiday e teatro delle fonti (Holiday and the Theatre of Sources, La Casa Usher, 2006).
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Nascimento, Juliana, and Hebe Alves da Silva. "Da trama ao ato: por uma dramaturgia do ator." Pitágoras 500 5, no. 1 (December 31, 2015): 111–34. http://dx.doi.org/10.20396/pita.v5i1.8641809.

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Este trabalho propõe uma abordagem crítica da noção de dramaturgia do ator, sua origem na teatrologia ocidental, seus signi- cados e usos correntes, tendo como ponto de partida as reexões de Eugenio Barba. Para tanto, propõe-se inicialmente uma reexão sobre a noção de dramaturgia e sobre as modicações de sentido e de utilização que o termo sofreu a partir do século XX, em sua interação com as transformações desencadeadas pelos encenadores.
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Watson, Ian. "The Social Physics of Festuge: Odin Teatret at Home." New Theatre Quarterly 31, no. 2 (April 28, 2015): 179–96. http://dx.doi.org/10.1017/s0266464x15000275.

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The Holstebro Festuge (festival week), which marked its twenty-fifth anniversary in 2014, is a huge undertaking organized by Odin Teatret every three years that involves the participation of many local people and a significant number of town and regional organizations as well as numerous international artists in a cultural extravaganza of performances, screenings, art exhibits, and barters that takes place over nine days in the city and surrounding region. In this article, Ian Watson examines the implications of the Festuge for Odin’s connection to and relationship with the city it has called home for a little under fifty years. As Watson points out, the tacitly accepted narrative, embedded in much of Eugenio Barba’s considerable body of writings, Odin’s performances and workshops as well as much of the material written about Barba and/or his company by scholars, is that the pursuit of an aesthetic is Barba’s primary if not sole preoccupation. Watson challenges this limited reading as he draws upon the sociologist Marcel Mauss’s study of ‘gifting’ in particular traditional societies, and the political scientist Robert Putnam’s parsing of social capital in Bowling Alone to examine the Festuge. Ian Watson is Professor of Theatre and Chair of the Department of Arts, Culture and Media at Rutgers University-Newark. Among other publications, he is author of Towards a Third Theatre and Negotiating Culture: Eugenio Barba and the Intercultural Debate.
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Stewart, Nigel. "Actor as Refusenik: Semiotics, Theatre Anthropology, and the Work of the Body." New Theatre Quarterly 9, no. 36 (November 1993): 379–86. http://dx.doi.org/10.1017/s0266464x00008277.

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‘Theatre’, Eugenio Barba has said, ‘is a possibility of shaping revolt’. Barba touched upon this belief in NTQ16 (1988), and he professed it again with considerable passion at the conclusion of the seventh public session of the International School of Theatre Anthropology (ISTA) in April 1992. Directed by Barba and hosted by the Centre for Performance Research (CPR), the ‘Brecon ISTA’ was held in two parts – Working on Performances East and West, a practical exploration at Christ College, Brecon, from 4 to 10 April, being followed by a conference on 10 and 11 April at Chapter Arts Centre, Cardiff, on Fictive Bodies, Dilated Minds, Hidden Dances. In the following exploration of the particular possibilities which theatre anthropology creates for revolt, Nigel Stewart, Lecturer in Theatre Studies at Lancaster University, considers Barba's direction of work in progress at the Brecon ISTA in terms of Derrida's and Kristeva's theories of the sign. Integral to this is an analysis of the relation between bios and logos – the ‘pre-expressive’ work of the body and the meanings which that work can produce – which is relevant to body-based performance theory and practice in general.
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Carlson, Marvin. "O Entrelaçamento dos Estudos Modernos da Performance e as Correntes Atuais em Antropologia." Revista Brasileira de Estudos da Presença 1, no. 1 (June 2011): 164–88. http://dx.doi.org/10.1590/2237-266021512.

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RESUMO Este texto propõe uma discussão da relação entre a Performance, o Teatro e a Antropologia. Apresentam-se as origens das relações entre performance e antropologia, elencando as principais ideias dos pioneiros norte-americanos e franceses. Comparam-se os relacionamentos entre artistas e antropólogos como Richard Schechner e Victor Turner, Eugenio Barba e Kirsten Hastrup. Por fim, problematiza-se os movimentos e as diferentes compreensões de performance e a forma produtiva como a relação entre performance e antropologia foi sendo construída nos últimos anos.
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Camilleri, Frank. "Collective Improvisation: The Practice and Vision of Ingemar Lindh." TDR/The Drama Review 52, no. 4 (December 2008): 82–97. http://dx.doi.org/10.1162/dram.2008.52.4.82.

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Ingemar Lindh's research on the principles of collective improvisation and performance conceived as process announce an important development in the 20th-century tradition of the actor's work. After early studies with Étienne Decroux and working collaborations with Jerzy Grotowski, Eugenio Barba, and Yves Lebreton, Lindh founded the first laboratory theatre in Sweden in 1971, the Institutet för Scenkonst. His practice of collective improvisation is viewed in light of postdramatic concerns such as its resistance to fixed scores, directorial montage, and choreography as an organizing principle.
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Ruffini, Franco. "De Volta à Sala Fechada: o meu diálogo com Jerzy Grotowski." Revista Brasileira de Estudos da Presença 1, no. 1 (June 2011): 235–59. http://dx.doi.org/10.1590/2237-266020958.

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RESUMO A partir da leitura de cartas e textos de Jerzy Grotowski, Eugenio Barba e Constantin Stanislavski, este texto discute as diferentes compreensões do autor acerca da obra de Grotowski. Ao comparar diferentes passagens de escritos de Grotowski e Stanislavski, este texto elucida e problematiza, do ponto de vista histórico, alguns elementos na genealogia da obra desses autores, incluindo a filiação de Grotowski em relação a Stanislavski. Por fim, apresenta-se o trabalho do ator no panorama de conceitos como memória e corpo-energia, próprios da herança desses diretores-pedagogos.
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Senelick, Laurence. "Early Photographic Attempts to Record Performance Sequence." Theatre Research International 22, no. 3 (1997): 255–64. http://dx.doi.org/10.1017/s0307883300017041.

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In a recent issue of New Theatre Quarterly an article on the visual documentation of performance notes that theatre has proved to be resistant to ‘mechanical reproduction’ and that theatre practitioners are unconvinced of its value. The author goes on, however, to argue for the ‘urgent need’ for full archives of video recordings of performances. She even quotes Eugenio Barba to the effect that what really matters in performance is not the immediate effect on the spectators, but a kind of afterglow and the impression to be made on future generations.
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Watson, Ian. "Theatre and the Presidential Debates: the Role of Performance in Voter Choice." New Theatre Quarterly 22, no. 4 (October 20, 2006): 336–51. http://dx.doi.org/10.1017/s0266464x06000522.

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The fictionalized account in the recent film The Queen of Tony Blair's coaching of Her Majesty into a more voter-friendly response to the death of Princess Diana, largely through the medium of television, is a pertinent reminder of how the presentation of self on television subtly modifies the presentation of self in everyday life. In this article, Ian Watson considers how the now-ritualized debates between the main contenders in American presidential elections are stage-managed to enhance what their supporters suppose to be their candidate's most sympathetic features – supposedly learning the lessons of the first such debate, between John F. Kennedy and Richard Nixon, which displayed Nixon in such an unappealing light. However, what are ostensibly strengths or weaknesses may be read as quite other by an audience attuned to reading signifiers in film or television drama – or simply empathic towards what others perceive as failings, as in the case of reactions to George W. Bush's inarticulacies, awkward mannerisms, and failed jokes, which some read not as signs of ineptness but of an endearing humanity. Ian Watson, who is a Contributing Editor of New Theatre Quarterly, teaches at Rutgers University, Newark, where he is the Acting Chair of the Department of Visual and Performing Arts. He is author of Towards a Third Theatre: Eugenio Barba and the Odin Teatret (Routledge, 1993) and of Negotiating Cultures: Eugenio Barba and the Intercultural Debate (Manchester University Press, 2002). He edited Performer Training across Cultures (Routledge, 2001), and has published numerous articles on theatre in scholarly journals.
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Naranjo Velásquez, Sergio. "Meyerhold, entre la técnica extracotidiana de inculturación y aculturación. Estudio desde la antropología teatral." Investigación Teatral. Revista de artes escénicas y performatividad 10, no. 15 (April 10, 2019): 103–21. http://dx.doi.org/10.25009/it.v10i15.2589.

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Este artículo estudia, desde la antropología teatral de Eugenio Barba, si la biomecánica de Meyerhold se basa en una técnica extracotidiana de inculturación o en una técnica extracotidiana de aculturación. Esta investigación permite enlazar concepciones que, a priori, se presentan separadas, demostrando que la técnica extracotidiana inculturada y la técnica extracotidiana aculturada tienen elementos que se relacionan. Aunque parezca paradójico encontrar símiles entre estos conceptos, que tradicionalmente se han considerado “opuestos”, se constatan y contrastan de forma indirecta los principios técnicos inculturados y aculturados, que hoy se trabajan desde el punto de vista de la antropología teatral. AbstractBased on Eugenio Barba’s Theater Anthropology, this article examines whether Meyerhold’s Biomechanics is based on either of the extra-quotidian techniques of enculturation or acculturation. The purpose is to link these two hitherto separated and even opposite concepts, and to demonstrate that both techniques, as understood in Theater Anthropology, have elements in common.Recibido: 23 de noviembre de 2018Aceptado: 15 de febrero de 2019
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44

Redaktion, Peripeti. "Redaktionelt forord." Peripeti 6, S2 (January 1, 2009): 3. http://dx.doi.org/10.7146/peri.v6is2.110565.

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Dette særnummer af Peripeti omhandler Odin Teatrets dramaturgi med udgangspunkt i forestillingerne Ur-Hamlet (2006) og Medeas bryllup (2008). Franco Perrelli skriver om grundlæggelsen af »Det danske hus« og Odin Teatrets rødder og forgreninger. Erik Exe Christoffersen skriver om dramaturgier i relation til Ur-Hamlet (2006) og Medeas bryllup (2008) og instruktøren Eugenio Barba reflekterer over den kreative proces som en form for dramaturgisk proces. Artiklerne kan med fordel læses i sammenhæng med Peripeti nr. 2 om teaterlaboratorietraditionen og nr. 10 om dramaturgi samt med særnummeret fra 2007 om serendipitet som organiserende greb i den kunstneriske proces.
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Siqueira, Elton Soares. "Ombela: uma cena ancorada no imaginário africano." Revista Aspas 7, no. 1 (September 7, 2017): 126. http://dx.doi.org/10.11606/issn.2238-3999.v7i1p126-137.

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Este trabalho tem como objetivo central investigar os procedimentos estéticos e metodológicos que, no espetáculo Ombela, do grupo pernambucano O Poste Soluções Luminosas, contribuíram para expressar na cena a ancestralidade africana. Considerando que o grupo em foco pesquisa as contribuições de Mikhail Chekhov e de Eugenio Barba para a realização de um teatro físico, tomaremos os dois autores como referências teóricas de nosso trabalho, a fim de compreender em que medida o teatro físico é, em Ombela, um recurso teórico-metodológico eficaz para a construção de uma cena de matriz africana. A pesquisa contou com anotações feitas a cada apresentação do espetáculo assistida, além de entrevistas com o grupo.
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Ribeiro, Martha. "Estética do performativo ou o fim do teatro de pesquisa dos grandes mestres pedagogos? Eugenio Barba, Presente!" POIÉSIS 17, no. 28 (September 25, 2018): 57. http://dx.doi.org/10.22409/poiesis.1728.57-70.

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Neste estudo coloca-se em questão se o teatro de pesquisa dos grandes mestres pedagogos do século XX, no qual Barba é herdeiro, seria o último baluarte de um teatro que se investe, de forma artesanal, contra a doxa institucionalizada pelas práticas pós-dramáticas ou da estética do performativo, que em sua consagração mundial vem sistematicamente sacrificando e esvaziando de significado ou importância aquilo que na essência se constitui a base de pesquisa dos mestres pedagogos, de toda uma geração: a busca pela arte secreta do ator.
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Alcântara, Celina Nunes de. "O Trabalho do Ator e a Arte de Ficcionar a Si Mesmo." Revista Brasileira de Estudos da Presença 3, no. 3 (December 2013): 902–22. http://dx.doi.org/10.1590/2237-266041986.

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RESUMO Este artigo trata sobre o trabalho do ator como possibilidade de criação, de invenção de si. Relaciona-se essa ideia a modos de ficcionar a si mesmo, ou seja, a maneiras de pensar o trabalho do ator sobre si como uma formação possível de projetar-se para além da criação artística, chegando a reverberar no prosaico da vida cotidiana. Para sustentar tal discussão, foram abordados os conceitos de ética, verdade e cuidado de si, além de outros, conforme tratados na obra de Michel Foucault. Além disso, do campo teatral tomam-se as noções de segunda natureza e corpo fictício, problematizadas a partir de Constantin Stanislavski, Franco Ruffini, Eugenio Barba e Nicola Savarese.
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BOLDEA, Sorin-Dan. "The actor's dramaturgy: identity, freedom, and discipline." Theatrical Colloquia 12, no. 2 (December 1, 2022): 173–80. http://dx.doi.org/10.35218/tco.2022.12.2.18.

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The present article aims to analyze the relationship between freedom and discipline from the perspective of the actor's condition as a creative partner and the actor's dramaturgy. The delineations of the actor's identity and the actor's identity in the process of artistic creation are at the basis of this work, which attempts to define the actor's dramaturgy and the way in which an actor becomes a dramaturg in the creative process. This article addresses the main challenges facing the modern actor and discusses the necessary mechanisms that help the actor to adapt to different new forms of theatre making and, above all, how an actor can work on what Eugenio Barba calls the actor's dramaturgy
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Drozdowska, Karolina. "Fra Ornitofilene til Fugleelskerne. En analyse av tekstutvikling (Notater fra et forskningsbesøk i Holstebro)." Studia Scandinavica, no. 1 (21) (December 17, 2017): 40–54. http://dx.doi.org/10.26881/ss.2017.21.03.

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The aim of this text is to conduct a comparative analysis of two versions of the same text: The Bird Lovers by Jens Bjørneboe. During my stay at Odin Teatret in August and September 2016, I came across a version of the play’s manuscript from 1964, which I have compared to the play’s final version printed two years later. Jens Bjørneboe’s collaboration with Eugenio Barba and the history of Ornitofilene, the first play staged by the theatre, play a very significant role in the article. I try to place the changes made to the text in a historical context, showing how a Grotowski-inspired play can influence a Brecht-inspired play and also how and why the text developed over time.
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Ward, Nigel. "The transcultural body: Kolkata re-membered." Studies in South Asian Film & Media 4, no. 2 (October 1, 2012): 227–37. http://dx.doi.org/10.1386/safm.4.2.227_1.

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This article explores the tensions that surround the effort to make intercultural performance. In particular it draws on the author’s experience of making a cross-cultural devised theatre project for the British Council in India, working with Indian performers and largely western devising techniques. This is contextualized by a discussion of the work of some key practitioners in this area, such as Eugenio Barba, Jerzy Grotowski and Tatsumi Hijikata. Barba’s notion of ‘travellers of speed’ is discussed, as is the critique of such ideas by Phiip Zarilli, among others. The attempt to make a performance space that transcends culture is contrasted with the experience of making performance in a context where cultural specificity is written through every aspect of the work and expresses itself within the bodies of the performers themselves.
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