Tesi sul 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.
Testo completoLombi, 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.
Testo completoAt 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
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.
Testo completoCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
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
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
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.
Testo completoRocha, 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.
Testo completoEast, 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.
Testo completoEn 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.
Doyon, Raphaëlle. "L'Odin Teatret : la complémentarité des contraires". Paris 8, 2008. http://www.theses.fr/2008PA083043.
Testo completoThis 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
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.
Testo completoOdin 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
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.
Testo completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T14:56:05Z (GMT). No. of bitstreams: 1 Santos_AndreaPaulaJustinodos_M.pdf: 7621941 bytes, checksum: 76d51270c2813b9ad4902e1c4efff5e0 (MD5) Previous issue date: 2011
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
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
Mestrado
Artes Cenicas
Mestre em Artes
Robins, Gavin. "Moving the actor : towards an holistic approach to training and devising for performance". Thesis, Queensland University of Technology, 2002.
Cerca il testo completoPeslin, Daniela. "Le Théâtre des Nations : (1957-1968) : Premier Festival International de Théâtre après la deuxième guerre mondiale". Paris 3, 2008. https://faraway.parisnanterre.fr/login?url=https://www.vlebooks.com/vleweb/product/openreader?id=UPN&accId=9224405&isbn=9782296214781&uid=^u.
Testo completoThe Theatre of Nations - Théâtre des Nations - was the unique place of confrontation of international theatrical, lyric and choreographic creations from 1957 till 1968. The biggest festival of theatre in the world concentrated forces able to perpetuate the values of theatre and to change the structures of theatre directory in depth. After the traumatism of World War II, this Festival contributed to launch in Europe a will of opening to the world. By welcoming authors challenging their visions on the Parisian stages, it confirmed the actuality of an international community of theatre. Barely known at the time, most of these authors are today the grand masters of the XXth and XXIst century. By receiving also revolutionary creators, the festival blew a wind of youth and freedom forecasting May 68 events. The analysis of previous similar attempts helps to understand the context of its emergence and the definition of its three missions which allowed exploring in eleven years an endless field of culture for the benefit of the professionals, the artists and the audience: the discovery of the major traditions coming from four continents, the research of new forms of scenic arts, and the consecration of the most prestigious theatre companies. A sociological and historical approach helps also to analyze this phenomenon which was involved in the biggest questions of its time, among them the after war resumption of political and diplomatic relationships, and the recognition of the rights of artists born in totalitarian countries or ancient colonies. The most international of all international festivals remains what it always was, a challenge to the world
Vatulíková, Andrea. "Performance art jako hraniční forma uměleckého projevu". Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2018. http://www.nusl.cz/ntk/nusl-387735.
Testo completoChang, Yu-Chia, e 張育嘉. "The Secret Art of the Performer:A Study of Eugenio Barba and His Theatre Anthropology". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/8gq4aa.
Testo completo國立臺北藝術大學
戲劇學系碩士班
95
Italian born, Eugenio Barba is a theater director, an actor trainer, and a writer. In addition, at the age of twenty-seven, Barba founded the Odin Teatret in Oslo in 1964, which he later moved to Holstebro in 1966. The original members of Odin Teatret were comprised of aspiring actors who had failed to attain a position in the Oslo Theatre School. Furthermore in 1980, Barba founded the International School of Theatre Anthropology (ISTA), where the craft of being an actor is examined and explored from different cultures. The thesis not only focuses on Barba’s Theatre Anthropology and his conception of theater, but it also discusses how an actor must be “true” on stage. Moreover, it shows Jerzy Grotowski’s influence on Barba when they met in Poland. it probes into the concept of Third Theatre, which is the source of Barba’s Theatre Anthropology. Lastly, in the final chapter, it touches upon the concepts of Eurasian Theatre, Bartering and ISTA’s works. An actor’s “presence” makes up the major framework behind the school of thought of Theatre Anthropology. Moreover, Barba emphasizes being “pre-expressive” as the main element of “presence”. Being “pre-expressive” is comprised of three principles: the principle of alternation in balance, the principle of opposition, and the principle of consistent in consistency. On top of those, it also includes the principle of equivalence and the principle of the “decided body”. All of these principles were implemented by Roberta Carreri, who is a member of Odin Teatret.
Kayim, Gülgün Hayati. "Culture and the body an examination of intercultural elements in the work of Eugenio Barba and Tadashi Suzuki /". 1991. http://catalog.hathitrust.org/api/volumes/oclc/24442222.html.
Testo completoLéger, Annick. "Les principes de l'énergie de l'acteur de Barba expliqués par la théorie du processus créateur d'Anzieu et appliqués aux différentes composantes du Testament du couturier". Mémoire, 2008. http://www.archipel.uqam.ca/1008/1/M10386.pdf.
Testo completoArrighi, Gillian Anne. "The Neutral Mask: its position in Western actor training, and its application to the creative processes of the actor". Thesis, 2003. http://hdl.handle.net/1959.13/24925.
Testo completoMasters Thesis
Arrighi, Gillian Anne. "The Neutral Mask: its position in Western actor training, and its application to the creative processes of the actor". 2003. http://hdl.handle.net/1959.13/24925.
Testo completoMasters Thesis