Bibliografías temáticas / Eugenio Barba

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Literatura académica sobre el tema "Eugenio Barba"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 25 de julio de 2025

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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 bo
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Bassnett, Susan. "Perceptions of the Female Role: the ISTA Congress." New Theatre Quarterly 3, no. 11 (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 (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 (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 (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 (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 t
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Barba, Eugenio, and Ulrik Skeel. "Den dybtgående orden, der kaldes turbulens." Peripeti 4, no. 7 (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 (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 pol
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Barba, Eugenio. "The Paradox of the Sea." New Theatre Quarterly 22, no. 2 (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 resu
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Barba, Eugenio. "The Dilated Body: on the Energies of Acting." New Theatre Quarterly 1, no. 4 (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 th
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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 rele
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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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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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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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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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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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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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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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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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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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Libros sobre el tema "Eugenio Barba"

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Turner, Jane. Eugenio Barba. Routledge, 2004.

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Kvamme, Elsa. Kjære Jens, kjære Eugenio: Om Jens Bjørneboe, Eugenio Barba og opprørernes teater. Pax, 2004.

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1947-, Watson Ian, ed. Negotiating cultures: Eugenio Barba and the the intercultural debate. Manchester University Press, 2002.

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Ian, Watson. Towards a third theatre: Eugenio Barba and the Odin Teatret. Routledge, 1993.

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1947-, D'Urso Tony, ed. Gli spettacoli di Odino: La storia di Eugenio Barba e dell'Odin teatret. 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. Entretemps, 2002.

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Weiler, Christel. Kultureller Austausch im Theater: Theatrale Praktiken Robert Wilsons und Eugenio Barbas. Tectum, 1994.

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Barba, Eugenio. Ziemia popiołu i diamentów: Moje terminowanie w Polsce : oraz 26 listów Jerzego Grotowskiego do Eugenia Barby. Ośrodek Badań Twórczości Jerzego Grotowskiego i Poszukiwań Teatralno-Kulturowych, 2001.

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Turner, Jane. Eugenio Barba. Taylor & Francis Group, 2018.

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Turner, Jane. Eugenio Barba. Routledge, 2018. http://dx.doi.org/10.4324/9780429485664.

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Capítulos de libros sobre el tema "Eugenio Barba"

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Schino, Mirella, and Eugenio Barba. "Fonds Eugenio Barba." In The Odin Teatret Archives. 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. 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. 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 Pu
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Pfeifer, Anke. "Barbu, Eugen." In Kindlers Literatur Lexikon (KLL). 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). 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. Routledge, 2013. http://dx.doi.org/10.4324/9781315005140-75.

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"EUGENIO BARBA." In Twentieth Century Theatre: A Sourcebook. Routledge, 2002. http://dx.doi.org/10.4324/9780203214671-97.

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Turner, Jane. "Building a ‘Small Tradition’." In Eugenio Barba. Routledge, 2018. http://dx.doi.org/10.4324/9780429485664-1.

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Turner, Jane. "Journeys by Canoe." In Eugenio Barba. 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. Routledge, 2018. http://dx.doi.org/10.4324/9780429485664-3.

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Actas 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 B
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