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Dissertations / Theses on the topic 'Eugenio Barba'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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 rele

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3

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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Made available in DSpace on 2016-04-26T18:15:18Z (GMT). No. of bitstreams: 1 Ariane Alves dos Santos.pdf: 1217539 bytes, checksum: 24a2e3b87a20bb61fe3d35a05fd5fca8 (MD5) 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 (cor

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4

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

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5

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 w

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6

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

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7

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. Au

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8

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

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9

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 Santos_AndreaPaulaJustinodos_M.pdf: 7621941 bytes, checksum: 76d51270c2813b9ad4902e1c4efff5e0 (MD5) 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 i

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10

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 c

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11

Peslin, 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.

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Le Théâtre des Nations fut le lieu unique de confrontation des créations théâtrales, lyriques et chorégraphiques internationales de 1957 à 1968. Ce plus grand festival de théâtre du monde concentra les forces capables de perpétuer les valeurs du théâtre et de bouleverser les structures traditionnelles du répertoire. Après le traumatisme de la seconde guerre mondiale, il contribua à l’émergence en France et en Europe d’une volonté d’ouverture sur le monde. Il accueillit de grands auteurs qui, par la confrontation de leurs projets sur la scène parisienne, confirmèrent l’existence d’une communaut

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12

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.

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While taking into account the field of study of performing arts, I assume that the category called „performing arts“ underwent many reforms in the 20th century, making it almost impossible to set clear boundaries between theatre, dance and performance art. Therefore I deal with their common ground that I call the zero point and that allows me to explore means of expression of human body and also time – space dimension of live action. The zero point is located in the pelvic region of the body and it is the center of stability, balance and life enegry. In my dissertation I focus on the analysis

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13

Chang, Yu-Chia, and 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.

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碩士<br>國立臺北藝術大學<br>戲劇學系碩士班<br>95<br>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 Ba

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14

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.

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15

Léger, 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.

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Attendue du public et recherchée par les comédiens, la présence de l'acteur sur scène demeure difficile à cerner. L'étude abondante d'Eugenio Barba sur l'énergie de l'acteur a permis d'identifier plusieurs de ses composantes. Ses six principes contribuent à structurer le travail de l'acteur dans sa construction de personnage et participent du même coup à rendre l'acteur plus présent sur scène. Toutefois, ils n'isolent que les résultats de cette énergie sans en préciser l'origine. Expliqués à l'aide des cinq phases de la théorie du processus créateur de Didier Anzieu, les principes d'Eugenio B

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16

Arrighi, 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.

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This dissertation begins with a discussion of the rediscovery and rehabilitation of masks as tools of performance and pedagogy in Western theatre over the past century, considering the work of various theorists, directors, teachers and performers in whose work the mask occupies a significant position. Discussion then focuses on the development of the neutral mask as an object and as a paradigm of pedagogy for the actor over the past eighty years and undertakes a comparative investigation of the concept of neutrality as a performant state. The discussion takes in the teaching of Jacques Copeau,

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17

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.

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This dissertation begins with a discussion of the rediscovery and rehabilitation of masks as tools of performance and pedagogy in Western theatre over the past century, considering the work of various theorists, directors, teachers and performers in whose work the mask occupies a significant position. Discussion then focuses on the development of the neutral mask as an object and as a paradigm of pedagogy for the actor over the past eighty years and undertakes a comparative investigation of the concept of neutrality as a performant state. The discussion takes in the teaching of Jacques Copeau,

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