Literatura académica sobre el tema "Eugenio Barba"
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Artículos de revistas sobre el tema "Eugenio Barba"
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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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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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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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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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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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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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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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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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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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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.
Tesis sobre el tema "Eugenio Barba"
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Bitney, Frances Elizabeth. "The work of Eugenio Barba, a post-modern feminist critique." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ40003.pdf.
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Lombi, Émily. "Le jeu de l’acteur. Le modèle meyerholdien et les pratiques d’Eugenio Barba." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA071.
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À l’aube du XXe siècle, le metteur en scène russe Vsevolod Meyerhold nourrit une réflexion féconde sur le théâtre et plus particulièrement sur le jeu de l’acteur. La traduction en Europe occidentale des écrits de ce réformateur donne la possibilité au metteur en scène contemporain Eugenio Barba d’en revisiter la pensée et d’en reconsidérer l’héritage. Ainsi, notre étude se propose de montrer dans quelle mesure l’approche du jeu meyerholdien peut servir de référence pour les pratiques actuelles d’Eugenio Barba. Malgré les années qui les séparent, une mise en confrontation nous permettra de relever les points communs et les différences de leur démarche. Hommes érudits en culture théâtrale, ils n’ont de cesse de réinterroger le jeu, notamment par l’intérêt qu’ils accordent à diverses traditions, telle la commedia dell’arte, les masques ou encore les sources asiatiques. Nous analyserons comment chacun en puise les principes nécessaires en vue d’un enrichissement du jeu (voix, diction, mouvement, gestuel, corps). Il sera intéressant de saisir la portée d’un tel renouveau du jeu de l’acteur, et de voir dans quelle perspective celui-ci contribue à donner une identité à leur théâtre<br>At the dawn of the 20th century, Russian stage director Vsevolod Meyerhold fruitfully reflected on theatre and particularly on acting. The translation of this reformer’s writings in Western Europe enabled contemporany stage director Eugenio Barba to revisit its depths and reconsider its heritage. Thus this thesis aims to show how the Meyerholdian approach to acting can be used as a reference for Eugenio Barba’s current practices. Despite the years that separate the two individuals, comparing them will allow us to identify the similarities and differences in their processes. These two theatre scholars have kept on questioning acting, especially through their interests in various traditions, such as commedia dell’arte, masks or other Asian sources. We will analyze how each of them used those sources to draw necessary principles to enrich acting (through movement, gesture, body, voice, diction). It will be interesting to understand the impact of such an acting revival and to see in which perspective it helps give an identity to their theatre
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Santos, Ariane Alves dos. "O corpo singular como dispositivo de comunicação: uma leitura biopolítica da metodologia de Eugenio Barba." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4726.
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Previous issue date: 2015-08-25<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The research analyzes the notion of pre-expressiveness of the body, prepared by
the theater director and researcher Eugenio Barba, proposing recognize it as a
communicative device that explicitly and triggers the singularities of the body.
This research part of trying to move its arts under the methodology for
communication (corpomidia theory) and biopolitics. Thus, rather than a crosscultural
theater actors to training, systematic proposed by Beard becomes a
breeding device for testing new body communication processes, significantly
increasing its importance as regards the life policy and their resistance networks.
The corpus of the survey consists of his books The Secret Art of the actor: a
theatrical anthropology dictionary and the paper canoe: treaty theatrical
anthropology. These works are analyzed from authors such as Gilles Deleuze and
Maurizio Lazzarato, to deepen the notion of uniqueness and individuation process;
and Katz and Greiner to clarify the procedural aspects of the relationship between
body and environment and culture as cognitive network. As a result, the
dissertation proposes a different reading Beard methodology, interpreting it as a
good example of what a communications professor Muniz Sodre has identified as
sensitive communication strategies, not restricted to discursive practices and
coded messages a priori<br>A pesquisa analisa a noção de pré-expressividade do corpo, elaborada pelo diretor
e pesquisador de teatro Eugenio Barba, propondo reconhecê-la como um
dispositivo comunicativo que explicita e aciona as singularidades do corpo. Esta
pesquisa parte da tentativa de deslocar a sua metodologia do âmbito das artes para
o da comunicação (teoria corpomídia) e da biopolítica. Desta forma, ao invés de
um treinamento teatral transcultural para atores, a sistematização proposta por
Barba torna-se um dispositivo de criação para testar novos processos de
comunicação do corpo, ampliando de maneira significativa a sua importância no
que se refere às políticas da vida e suas redes de resistência. O corpus da pesquisa
é composto por seus livros A arte secreta do ator: um dicionário de antropologia
teatral e A canoa de papel: tratado de antropologia teatral. Estas obras são
analisadas a partir de autores como Gilles Deleuze e Maurizio Lazzarato, para
aprofundar a noção de singularidade e de processo de individuação; e Katz e
Greiner para explicitar o aspecto processual das relações entre corpo e ambiente e
a cultura como rede cognitiva. Como resultado, a dissertação propõe uma leitura
diferenciada da metodologia de Barba, interpretando-a como um bom exemplo do
que o professor de comunicação Muniz Sodré tem identificado como estratégias
sensíveis de comunicação, não restritas às práticas discursivas e mensagens
codificadas a priori
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Arellano, Gálvez Felipe Andrés. "Los principios pre-expresivos de la antropología teatral de Eugenio Barba como criterio de gusto." Tesis, Universidad de Chile, 2011. http://www.repositorio.uchile.cl/handle/2250/113363.
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La presente investigación pretende establecer vínculos entre los criterios de Gusto
y otros conceptos extraídos de la sociología del Arte de Pierre Bourdieu y los principios
pre-expresivos desarrollados por la antropología teatral de Eugenio Barba a través de
los encuentros de la ISTA (International School of Theatre Anthropology). Para
realizar tal empresa, damos cuenta del aprendizaje de Eugenio Barba en Polonia con
Jerzy Grotowski, y la formación de su grupo Odin Teatret, para luego pasar a una
definición de cultura a partir de los estudios de Humberto Maturana y las relaciones
entre el lenguajear y la performatividad, entendida como “conducta restaurada”, así
como la explicación de los conceptos básicos de la sociología del arte de Bourdieu,
para así establecer un marco teórico común desde el cual comprender los conceptos
tratados y los puentes que posteriormente estableceremos como resultado de la
investigación.
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Rocha, Marília Zangrandi. "Definindo presença: "La Voix Humaine" de Poulenc através da antropologia teatral." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29831.
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Esta pesquisa tem por objetivo mapear o que é e como ocorre a presença do artista em performance, traçando tanto um panorama sobre como esta é historicamente tratada e pensada nos estudos vocais,como também a diferença de abordagens entre estes e os estudos dramáticos. A pesquisa tem como principal referência a obra e as considerações de Eugênio Barba e sua Antropologia Teatral.
A obra escolhida para performance e análise é La Voix Humaine, de F. Poulenc; Abstract:
This research is about performer's scenic presence, establishing a historical overview about this subject on vocal studies, as well the differences between musical and acting approaches. The main reference is Eugenio Barba and his Theater Anthropology. La Voix Humaine is the chosen work for analysis and performance.
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East, Carrasco Alejandro Alfredo. "Eros y Tánatos: energías para desarrollar un uso extracotidiano del cuerpo en la creación escénica." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/143279.
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Magíster en artes mención dirección teatral<br>En este trabajo de tesis se realizó una investigación para elaborar una metodología de construcción de la puesta en escena a partir del desarrollo de una dramaturgia corporal y espacial, empleando el principio de energías en oposición definido por Eugenio Barba para encontrar el trabajo extracotidiano del uso del cuerpo. Se trabajó en la composición escénica a partir de tensionar y problematizar la relación dialéctica de las energías (pulsiones) erótica y tanática como componentes fundacionales en el proceso de montaje de una obra de teatro. Dicha tensión fue puesta a prueba y problematizada, entonces, como elemento constituyente de la obra básicamente en dos niveles: En el cuerpo de los intérpretes y en la relación proxémica entre dichos cuerpos y su relación con el espacio y la dirección del movimiento.
La investigación realizada se mueve en el terreno de la “práctica como investigación”, donde, según Robin Nelson, “(…) la práctica artística es una metodología clave de indagación y donde, respecto de las artes, la creación artística (escritura creativa, danza, partitura musical, performance, teatro/performance, exposiciones de artes visuales, cine y otras creaciones culturales) es presentada como evidencia substancial en respuesta a la pregunta de investigación.” (Nelson: 2013)
Utilizar las energías erótica y tanática en su oposición y contradicción dialéctica, fue un acierto porque permitió desarrollar una dramaturgia corporal propia, con una visualidad sugerente, interesante e inquietante, lográndose potenciar además la presencia escénica de los actores y con ello la energía del montaje y el trabajo actoral desde el cuerpo presente, fenomenológico, a través de lo que se obtuvieron las herramientas para provocar emocional, sensorial y racionalmente al espectador.
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Doyon, Raphaëlle. "L'Odin Teatret : la complémentarité des contraires." Paris 8, 2008. http://www.theses.fr/2008PA083043.
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Cette thèse tente de répondre à une question jusque-là peu abordée par les théoriciens et commentateurs des activités de l'Odin Teatret : comment l'appareil théorique d'Eugenio Barba a-t-il généré un mythe et des malentendus quant à la réception de ses spectacles et aux réalités effectives des pratiques au sein du théâtre ? Les sources proviennent, en outre, de plusieurs séjours à l'Odin Teatret entre 2002 et 2006, d'entretiens réalisés avec les acteurs / actrices et avec des témoins de l'histoire de l'Odin Teatret. La thèse porte sur un sujet contemporain impliquant des personnes vivantes. Aussi, les sources et les méthodes de travail font partie de la thématique même de l'étude. Au rebours des théories monolithiques, cette thèse met au jour (et à jour) les représentations contradictoires et dynamiques de l'Odin Teatret, objet-sujet qui repose sur la complémentarité des contraires. Les aspérités inhérentes aux spectacles de l'Odin Teatret, à la théorie, à la personne d'Eugenio Barba et au fonctionnement du groupe sont la matière de ce travail. La thèse est divisée en quatre parties. 1- La méthode, c'est le chemin une fois qu'on l'a parcouru : étude du décalage de réception entre textes et spectacles d'Eugenio Barba. 2- Histoire de l'interrelation entre théorie et pratique de la mise en scène chez Eugenio Barba. 3- L'Anthropologie Théâtrale ou l'édifice théorique de l'Odin Teatret. Constitution de l'Anthropologie Théâtrale : examen des circonstances fortuites de sa création, de l'histoire de son théoricien, et de ses usages effectifs dans la formation de l'acteur. 4- Terrains / entretiens. Description / analyse de la topographie de l'Odin Teatret et de moments de vie quotidienne dans les années 2000. Introduction aux entretiens des acteurs et actrices. Je m'intéresse en particulier aux trois actrices du théâtre qui ont modifié le projet initial d'Eugenio Barba de construire un théâtre-laboratoire sur le modèle masculin de Jerzy Grotowski<br>This thesis responds to a question which has until now remained little addressed by theoricians and commentators about the Odin Teatret's activities: How has the theoretical apparatus of Eugenio Barba produced a mythology and misunderstandings when it comes to the reception of his performances and the effective praxis of his theater? The source material for this research includes, among other things, on-site field work at the Odin Teatret between 2002 and 2006, interviews carried out with actors and actresses as well as historical witnesses to the activities of Odin Teatret. This thesis addresses a contemporary subject concerning living persons: these sources and the research methods engaged are part of theme of study itself. In opposition to monolithic theories, this thesis brings to light and into the present, the contradictory and dynamic representations of the Odin Teatret, an object and a subject of study which reposes on the complementarity of opposites. The variances inherent in the Odin Teatret performances, the functionality of the group, and the theory and very person of Eugenio Barba provide the raw material for this research. The thesis is divided into four parts. 1. La méthode, c'est le chemin une fois qu’on l'a parcouru: Study of the disjuncture in the reception of the texts and performances produced by Eugenio Barba. 2. A history of the interrelationship between theory and practice in Eugenio Barba's directing. 3. Theatre Anthropology, or the theoretical edifice of Odin Teatret. The constitution of Theatre Anthropology: an examination of the fortuitous circumstances of its creation, the history of its theorist, and the application of this theory and method in actor training. 4. Fieldwork / interviews. Description / analysis of the topography of Odin Teatret and moments of everyday life at the theater during the present decade. An introduction to the interviews with actors and actresses of Odin Teatret. Interviews: I am particularly interested in three actresses of the theater who have modified the original project of Eugenio Barba to construct a theater-laboratory based on the masculine model of Jerzy Grotowski
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De, Sanctis Arianna Berenice. "L'Odin Teatret et l'Amérique latine : l'invention d'un réseau politique, esthétique et de compagnonnage." Paris 8, 2014. http://octaviana.fr/document/185475922#?c=0&m=0&s=0&cv=0.
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En 1964, se constitue le groupe international de théâtre nommé Odin Teatret qui commence ses activités d'abord en Norvège puis, à partir de 1966, s'installe au Danemark. Au fil de sa longue et riche existence, ce groupe a établi un réseau de contacts au niveau mondial et, à partir de la moitié des années 70, il a commencé à tisser des relations privilégiées avec l'Amérique latine. Celles-ci constituent une clé de voûte pour la compréhension de la démarche théorico-pratique du groupe. La rencontre avec l'Amérique latine a été déterminante pour les réflexions politiques et esthétiques d'Eugenio Barba pour lequel le théâtre a été le moyen privilégié d'explorer cette région du monde. En outre, la structure communautaire et familiale de l'Odin, son goût pour la cérémonie, sa dimension artisanale, l'obsession pour la « mémoire » et la « commémoration » ont rejoint les intérêts et les inquiétudes de plusieurs artistes latino-américains et ont assuré la survie de cet ensemble jusqu'à présent, cinquante ans après sa fondation (2014). Pendant ses nombreuses tournées sur le continent latino-américain, l'Odin a été connu davantage par ses activités méta-théâtrales que par ses spectacles. Il a organisé des conférences, des rencontres, des séminaires, des démonstrations de travail, des trocs, a montré des vidéos et développé une activité éditoriale importante. En considérant que ce réseau se fonde sur des relations à la fois anciennes et récentes, réelles et espérées, nées à des périodes et dans des endroits très différents, cette recherche s'est proposée de faire émerger la micro-histoire, dans le but d'éclairer davantage le sens et le dessein des choix et des activités menées par le groupe danois. L'étude de cas de ce phénomène unique dans le théâtre international du XXe siècle permet de mieux comprendre et situer l'évolution du spectacle vivant contemporain<br>Odin Teatret formed in 1964. This international theater group first began its activities in Norway and then moved to Denmark. In the course of its long and valuable existence, this group has established a network of contacts throughout the world and, from the 1970s onward began focusing on developing its contacts in Latin America. These particular relations provide the structural key to understanding the theory and praxis characteristic of Odin. The encounter with Latin America proved decisive in shaping the political and aesthetic thinking of Eugenio Barba, for whom the theater would remain the favored means of exploring this part of the world. Moreover, the communitarian and familial structure of the Odin, its predilection for the ceremonial, its artisanal dimension, its obsession with « memory » and « commemoration » align themselves with the interests and concerns of many Latin American artists and these have insured the survival of this ensemble through the present day (2014), half a century after its inception. Throughout its many tours on the Latin American continent, Odin Teatret has been more famous for its meta-theatrical activities than for its productions, organizing conferences, encounters, seminars, master classes, trocs, and video projections, while at the same time developing significantly its publishing activities. Given that this network is based both on former and current relationships, whether established or exploratory, born at very different times and places, this current study aims to provide a micro-history of these in order highlight the meaning and design in the choices and activities implemented by the Danish group. This case study of an exemplary phenomenon in international theater in the 20th century allows us to better understand and contextualize the evolution of contemporary live theater
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Santos, Andréa Paula Justino dos. "Um estudo sobre a influência de Eugenio Barba e o terceiro teatro na América Latina = limite, alteridade, invenção : Yuyachkani, Teatro de los Andes e Lume." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284412.
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Orientador: Matteo Bonfitto Júnior<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-19T14:56:05Z (GMT). No. of bitstreams: 1
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Previous issue date: 2011<br>Resumo: Esta dissertação tem como objetivo verificar a influência de Eugenio Barba e do Terceiro Teatro na América Latina. Com esse intuito, o estudo foca o trabalho de três grupos latinoamericanos que, em algum momento de suas trajetórias, entraram em contato com essas idéias: o Yuyachkani (Peru), o Teatro de los Andes (Bolívia) e o LUME (Brasil). A princípio, é realizado um levantamento histórico-crítico sobre o contato do Odin Teatret na América Latina, a partir da segunda metade da década de 70. Há uma reflexão sobre essa primeira fase, durante a década de 80, que se caracteriza como o período em que as primeiras polêmicas surgiram, e questões sobre colonialismo e imitação aparecem em textos e observações críticas. Durante este estudo houve a preocupação em considerar as diferenças existentes não em uma América Latina, mas nas muitas culturas latinoamericanas materializadas no trabalho dos grupos estudados. O segundo capítulo centrou-se no trabalho de cada grupo especificamente, considerando os diferentes contextos e dinâmicas nas quais esses encontros ocorreram. No último capítulo, partindo da junção dos textos teóricos com a experiência prática da pesquisa de campo realizada, os diferentes níveis de negociações que houve nesses encontros foram verificados. O objetivo deste trabalho foi de não apresentar respostas para as inúmeras perguntas que surgiram, mas realizar uma contribuição para as reflexões sobre esse período dentro da história do teatro latinoamericano<br>Abstract: This dissertation aims at verifying the influence of Eugenio Barba and the Third Theatre on Latin America. In order to achieve this goal, it was decided to focus on the work of three Latin American theatre groups: Yuyachkani (Peru), Teatro de los Andes (Bolivia) and LUME (Brazil). At first, on chapter one, a historical-critical gathering of facts was made about the contact between Odin Teatret and Latin America since the second half of the seventies. There is a reflection upon this first phase, which covers the decade of the eighties, because that was a period where the first polemic facts arose and words such as colonialism and imitation appeared in some articles about this relationship. This analysis was made by taking into consideration that there is not one Latin America, but many different cultures embodied in the work of these theatre groups. On the second chapter, the work and the different contexts and dynamics of each of the groups were taken into account in order to analyze this contact. On the last chapter, by the junction of theory and field research, the different levels of negotiation that occurred through this contact were verified. The aim of this work was not concerned with finding answers to the questions that came forth, but to contribute to the reflections about this specific period on Latin America Theatre history<br>Mestrado<br>Artes Cenicas<br>Mestre em Artes
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Robins, Gavin. "Moving the actor : towards an holistic approach to training and devising for performance." Thesis, Queensland University of Technology, 2002.
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The purpose of this study is to understand holistic, practical methods of training and devising for physical performance. The research conducted in this thesis is designed to uncover insights into the training and devising mechanisms of my substantial experience with leading physical theatre company Legs on the Wall. In order to understand the training and devising mechanisms of Legs on the Wall I have presented a selected history of the company from their formation in 1983 to 2000. This historical overview traces major influences on the group as well as the type of training and devising the company has incorporated into their work. The way in which the company's training and devising has impacted on the development of other theatre companies and performers has been critically evaluated by the analysis of three case studies. Findings from these case studies as well as insights gained from the analysis of relevant historical data has been collated in order to answer one of the key questions in this study:
What are the mechanisms by which the Legs on the Wall training and devising process extends the physical language of actors in other professional physical theatre companies - working with their own text, dramatic structure or scenario - without impeding the artistic vision of the company?
A theme running through this study is an inquiry into the notion of holism in training for the contemporary performer. Legs on the Wall's training and devising mechanisms are reviewed in light of the concept of holism and the thesis seeks to reveal reflections by several theatre authorities relating to this topic at relevant moments in the study. Findings gained from my field research in Southern India provide further examples of
holism and the notion of training for and creating a 'total theatre'. By referring to the three case studies based on the application of Legs on the Wall's training and devising
mechanisms along with the findings relating to the concept of holism I am seeking to answer the other key question of this research:
What constitutes holistic movement training for contemporary theatre practice?
Having addressed the above key questions I allude to future directions and recommendations for the embodied contemporary performer. This study aims to provide a practical analysis of my own praxis in the field of physical
performance in the hope that other practitioners may be able to apply the methods and recommendations outlined in this thesis to their own work in the performing arts industry.
Libros sobre el tema "Eugenio Barba"
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Kvamme, Elsa. Kjære Jens, kjære Eugenio: Om Jens Bjørneboe, Eugenio Barba og opprørernes teater. Oslo: Pax, 2004.
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1947-, Watson Ian, ed. Negotiating cultures: Eugenio Barba and the the intercultural debate. Manchester: Manchester University Press, 2002.
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Ian, Watson. Towards a third theatre: Eugenio Barba and the Odin Teatret. London: Routledge, 1993.
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1947-, D'Urso Tony, ed. Gli spettacoli di Odino: La storia di Eugenio Barba e dell'Odin teatret. Bari: Edizioni di Pagina, 2005.
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Eugenio, Barba, ed. Le livre des exercices à l'usage des acteurs: Suivi de Une amulette faite de mémoire: la signification des exercices dans la dramaturgie de l'acteur / par Eugenio Barba. 2nd ed. Saussan: Entretemps, 2002.
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Weiler, Christel. Kultureller Austausch im Theater: Theatrale Praktiken Robert Wilsons und Eugenio Barbas. Marburg: Tectum, 1994.
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Barba, Eugenio. Ziemia popiołu i diamentów: Moje terminowanie w Polsce : oraz 26 listów Jerzego Grotowskiego do Eugenia Barby. Wrocław: Ośrodek Badań Twórczości Jerzego Grotowskiego i Poszukiwań Teatralno-Kulturowych, 2001.
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Turner, Jane. Eugenio Barba. Routledge, 2018. http://dx.doi.org/10.4324/9780429485664.
Texto completoCapítulos de libros sobre el tema "Eugenio Barba"
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Schino, Mirella, and Eugenio Barba. "Fonds Eugenio Barba." In The Odin Teatret Archives, 209–316. First English-language edition. | Milton Park, Abingdon, Oxon ; New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315202914-4.
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Watson, Ian. "Eugenio Barba and the Odin Teatret." In Collective Creation in Contemporary Performance, 71–93. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137331274_5.
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Saha, Sharmistha. "From Communities of Belief to Artists in Performance: ‘Clear Enigma’ of Odin Teatret and the Pulluvas of Kerala, or Three Movements of Community Heritage." In Heritage Studies, 459–75. Cham: Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-72123-6_26.
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AbstractThis paper looks at the transformative nature of intangible cultural heritage and its co-relation to the evolution of a community. In order to do so the paper looks at the caste labour of *Naga Kalam Pulluvan Pattu* which is a form of *Kalamezhuth Pattu* where *Kala* means art or picture and *mezuth* is the act of making, and *pattu* is to sing i.e. it is *the song of making art*. It is performed primarily by the Pulluva caste community. Although different regions of Kerala, where this ritual art practice is found often sees other caste groups associated to this practice. Naga Kalam Pulluvan Pattu is a negotiation with snakes of the region where it is mediated through the Pulluvas—at least that is the belief—that the snakes would not destroy crops or bite small children and this ritual will bring prosperity. In 2014, I first saw a performance of Nagakalam Pattu as part of a narrative called *Clear Enigma*directed by Eugenio Barba. Clear Enigma was to have only one performance to celebrate the 50 years anniversary of Odin Teatret at a small village in Denmark called Holstebro where the theatre is located. From what is known, the village of Holstebro is not infested by snakes! Although both ritual and theatre have often been seen as embodied and transformative, this paper looks at what happens to caste labour that is entrenched in belief and a community’s social being, when there is a transference of it as theatre.
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Pfeifer, Anke. "Barbu, Eugen." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8998-1.
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Gabanyi, Anneli Ute. "Barbu, Eugen: Groapa." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8999-1.
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"Eugenio Barba." In Radical Street Performance, 207–9. Routledge, 2013. http://dx.doi.org/10.4324/9781315005140-75.
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"EUGENIO BARBA." In Twentieth Century Theatre: A Sourcebook, 363–68. Routledge, 2002. http://dx.doi.org/10.4324/9780203214671-97.
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Turner, Jane. "Building a ‘Small Tradition’." In Eugenio Barba, 1–40. Routledge, 2018. http://dx.doi.org/10.4324/9780429485664-1.
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Turner, Jane. "Journeys by Canoe." In Eugenio Barba, 41–74. Routledge, 2018. http://dx.doi.org/10.4324/9780429485664-2.
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Turner, Jane. "A Spectator’s View OF Ego Faust." In Eugenio Barba, 75–108. Routledge, 2018. http://dx.doi.org/10.4324/9780429485664-3.
Texto completoActas de conferencias sobre el tema "Eugenio Barba"
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Catereva, Irina. "Eugenio Barba: the movement to theater universality." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.20.
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Eugenio Barba is the founder and director of the Norwegian theater Odin, pedagogue, theorist of contemporary theater. She is part of the cohort of directors who have contributed to the creation of the modern lexicon of acting expressiveness. Revealing the cross-cultural aspects and based on contemporary research, Barba aims to reveal the universal acting components, the origins of which he finds in the unity of their spiritual and psychophysiological aspect. He tends to the expressiveness of the actor born of his full human potential. The formation of the language of acting expressiveness in Barba’s creation is indispensable for one of the brilliant tendencies of the development of European theatrical art in the second half of the twentieth century — the movement to theatrical universality.