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Artículos de revistas sobre el tema "Eugenio Barba"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

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

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Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. ZarrilliThis paper is mainly focused on the concept of transcultural bodily knowledge elaborated by Eugenio Barba and Nicola Savarese in their concept of theatre anthropology. Their research on pre-existent and pre-expressive values of the human movement, especially considering Asian theatre and performative practices, will be reexamined in the context of over-imposed interculturalism in Humanities and Social Studies. The focus will be thus put on the modifications of the bo

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2

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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3

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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4

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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6

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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7

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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8

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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9

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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10

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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11

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

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12

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

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13

Citron, Paula. "Calgary Richard Fowler and the Barba Connection." Canadian Theatre Review 44 (September 1985): 119–25. http://dx.doi.org/10.3138/ctr.44.014.

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When Calgary played host to the International Theatre Symposium in June this year, 10 Western Canadian performing groups had the opportunity to work directly with renowned European director and theorist Eugenio Barba. The conference marked the emergence of a “Barba family” in Canada – a network of performing artists creating original experimental work who wish to share their training and performances with each other.

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14

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

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

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15

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

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

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16

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

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17

Leonardo, Mancini. "The Shadow of the Myth. El Romancero de Edipo with Toni Cots Directed by Eugenio Barba (1984-1990)." Skenè. Journal of Theatre and Drama Studies 7, no. 2 (2022): 251–70. https://doi.org/10.13136/sjtds.v7i2.332.

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The article focuses on the solo performance "El Romancero de Edipo", created by Eugenio Barba together with the Spanish actor Toni Cots, and staged in several countries between 1984 to 1990. The performance was the very first monologue directed by Barba in his long-standing career. For Barba, it was also the first direct approach to the tragic myth, following an interest already cultivated around the figure of Antigone from the early Eighties onwards, in a moment of crisis and need for renewal for the groups of the “Third Theatre” movement, defined by Barba in 1976. For C

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18

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

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O artigo de Lluis Masgrau visa demarcar as principais áreas de interesse do diretor teatral Eugenio Barba em sete de seus livros, de modo a abarcar sua visão sobre o teatro. Esses escritos derivam das experiências profissionais de Barba marcadas pelo diálogo com três grandes vertentes da cultura teatral do séc. XX – a Grande Reforma (Stanislavski, Grotowisk, Living Theater etc), o teatro clássico asiático e o teatro de grupo latinoamericano –, balizadas por suas quatro perguntas fundamentais: “onde”, “por que”, “como” e “para quem” atuar; donde os quatro níveis do ofício: a aprendizagem, a b

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19

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

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Eugenio Barba Why a Theatre Laboratory? It includes the programme of a three days’ international symposium from October 4th through 6th 2004. This is the first initiative taken by the Centre for Theatre Laboratory Studies (CTLS), a newly inaugurated centre under Aarhus University in cooperation with Nordisk Teaterlaboratorium. Peripeti include articles on Stanislavski, Meyerhold, Copeau, Decroux, Grotowski, Peter Brook, Théâtre du Soleil, and Odin Teatret and the theatre laboratory praxis of these masters and inventors, including, of course, reflections on their function and effect. In the l

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20

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

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In this article Vicki Ann Cremona traces the development of the complex process of montage used by Eugenio Barba for Ur-Hamlet, based on the oral tale Amleth, which Saxo Grammaticus included in his history of the Danes (circa 1216). Besides Odin Teatret, the project involved a large number of actors and musicians from Bali, Brazil, and Japan, and other participants and trainees with whom Barba had worked at the International School of Theatre Anthropology (ISTA). The author here recounts how the work was developed from different cultural perspectives, describing how the actors' physical scores

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21

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

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22

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

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Tenemos el honor de entrevistar a Eugenio Barba ha marcado la cultura teatral de la segunda mitad del siglo XX. Se formó con Jerzy Grotowski, en el “Teatro de las 13 filas” y viajó por India para estudiar el teatro Kathakali. En 1964 fundó el Odin Teatret, con sede en Holstebro (Dinamarca), un laboratorio escuela, y una de las compañías más influyentes en la evolución del teatro europeo de finales del siglo XX. En 1979 fundó la Escuela Internacional de Antropología Teatral, la cual abrió un nuevo campo de estudio: la Antropología teatral. Autor de obras de referencia, como “El arte secreto del

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23

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

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

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24

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

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On 11 September 1973 the Chilean armed forces, led by General Augusto Pinochet, overthrew the democratically elected Socialist–Communist coalition government of President Salvador Allende Gossens. The coup marked the beginning of severe repression against leftists, trade unionists, journalists, and artists, many of whom were exiled, killed, or merely ‘disappeared’ after being arrested. This letter focuses on the years following the coup: it was written almost one year before the plebiscite on 5 October 1988 when Chileans voted against Pinochet continuing in power as president for another eight

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25

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

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26

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

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27

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

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Eugenio Barba here discusses the desires and ideas driving his early years as a practitioner, some of the creative, social, and ethical principles underlying the work of the Odin Teatret, which he founded in 1964, and the group's most recent, new-style ‘barter’ events with and within local communities. His public dialogue with NTQ co-editor Maria Shevtsova and members of the audience provides fresh insight into the workings of one of the most influential figures, and one of the most widely known non-official theatre collectives, of the late twentieth century. The conversation took place on 31

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Kavouras, Pavlos. "Between and Betwixt the Other Theatre and the Theatre of the Other:." Conatus 8, no. 1 (2023): 201–32. http://dx.doi.org/10.12681/cjp.32387.

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This article deals with the legendary figure of Eugenio Barba as a paradigmatic case to demonstrate the difference between the other theatre and the theatre of the other. Its main objective is to discuss the juxtaposition of performativity as (re)presenting, showing, and self-awareness by narrating the myth of Barba. The argument is presented through six interconnected caveats: the legend and its myth; The Moon rises from the Ganges: the story inside the myth; the critique of western civilization: an insider's story of self-reflexivity; the other theatre is not the theatre of the other; the li

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29

Christoffersen, Erik Exe. "Theben på den gule febers tid, instrueret af Eugenio Barba, Odin Teatret." Peripeti 19, no. 37 (2022): 230–35. http://dx.doi.org/10.7146/peri.v19i37.135209.

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Theben på den gule febers tid spillede 12.09 til 16.09 i Holstebro og turnerer i Frankrig, Polen og Italien. Forestillingen er Odin Teatrets sidste ensembleforestilling instrueret af Eugenio Barba. Odin Teatret fortsætter med forskellige soloforestillinger, arbejdsdemonstrationer og workshops i forskellige lande.Tekst og instruktion: Eugenio BarbaSkuespillere: Kai Bredholt, Roberta Carreri, Donald Kitt, Iben Nagel Rasmussen, Julia VarleyScenisk rum: Odin TeatretKostumer og rekvisitter: Lena Bjerregaard, Antonella Diana, Odin TeatretMusikalsk ledelse: Elena FlorisLysdesign: Fausto ProSupervisor

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

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

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31

Török, Katalin. "A preexpresszív állapot drámája : Theodórosz Terzopulosz Godot-ra várva című előadása színház-antropológiai megközelítésben." Uránia 4, no. 2 (2024): 5–16. https://doi.org/10.56044/ua.2024.2.1.

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A tanulmány Theodórosz Terzopulosz Godot-ra várva című, a Nemzeti Színházban színre vitt rendezését elemzi a színház-antropológia szempontjait felhasználva, arra fókuszálva, hogy miként tekinthető a mű a várakozás performanszának. A dolgozat kitér a rítus, a kulturális performanszok, a performativitás meghatározására, valamint Eugenio Barba fogalomrendszerét ismertetve mutatja be a preexpresszív állapotot, összehasonlítva azt az előadás eszközrendszerével.

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

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

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

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

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

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From Eugenio Barba's article in the inaugural edition of New Theatre Quarterly to Julia Varley's in the current issue, we have traced the progress of Odin Teatret both through the thinking of its members and – as in the following article – through the commentary of its friends and observers. Odin remains one of the most influential of contemporary experimental companies, as does Eugenio Barba one of the most widely-respected directors – having more recently extended his activities into the foundation and continuing work of ISTA, the International School of Theatre Anthropology. But Odin is als

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Moraru, Iuliana. "4. The Inner Mechanism of the Actor in the Vision of Eugenio Barba." Review of Artistic Education 25, no. 1 (2023): 126–31. http://dx.doi.org/10.2478/rae-2023-0018.

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Abstract The discoveries he makes in his journey around the world, the admiration for the way Grotowski thinks and for Brecht’s theories, but also the history of the years 1960-1978 stir up Eugenio Barba, causing him to look for new meanings related to this art. After going through a period of disorientation and hearing around him from many people the question: what is the meaning of doing theater today?, he finds the answer: “theatre is an empty and ineffective ritual that we fill with our own why, with our personal necessity”. Barba praises the modesty and strength of the actor who considers

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

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

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

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

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38

Gough, Richard. "Utópikus képzés: Edward Gordon Craig és Eugenio Barba titkai, „iskolái” és kontinensei." Uránia 2, no. 2 (2022): 34–71. http://dx.doi.org/10.56044/ua.2022.2.2.

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A tanulmány Edward Gordon Craig és Eugenio Barba hatását vizsgálja a globális előadóművészeti színtéren. Életművük, filozófiájuk és pedagógiai megközelítéseik alapos vizsgálata révén feltárja művészeti örökségük rejtett kincseit. Az általuk alapított „iskolák” mint átalakító felfedezés és kreativitás birodalmai megközelítését tanulmányozva kiemeli utópikus vízióikat, melyek kultúrális határokon és kontinenseken átnyúlóak voltak. Az ő titkaik, ‚iskoláik,’ és világméretű hatásuk megismerése által hozzájárul a színház fejlődésének mélyebb megértéséhez, valamint örökségéhez.

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

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In previous issues, NTQ has paid close attention to the theoretical work of Odin Teatret founder and director Eugenio Barba, publishing several of his articles relating to the actor's scenic presence and the manipulation of his or her performing energies. Indeed, as a result of his work with ISTA, the International School of Theatre Anthropology, Barba is perhaps better known today as a theatre scholar than as a director: but he insists that virtually all of his research originates in his work with the actors of Odin Teatret. Here, David Shoemaker, who is completing a doctoral dissertation at

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Watson, Ian. "Denmark Presenting the Female Role." Canadian Theatre Review 51 (June 1987): 82–85. http://dx.doi.org/10.3138/ctr.51.013.

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From 17-22 September last year the International School of Theatre Anthropology (ISTA) conducted its fifth international congress in Holstebro, Denmark, entitled “The Female Role as Represented on the Stage in Different Cultures. “ ISTA, which was founded by Eugenio Barba in 1980, is an organization devoted to researching the fundamentals of performance through a comparative study of Eastern and Western acting techniques. This research is conducted by Barba himself, along with a group of master performers from the Orient and Occident, and a team of scholars including biologists, psychologists,

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Watson, Ian. "Culture, Memory, and American Performer Training." New Theatre Quarterly 19, no. 1 (2003): 33–40. http://dx.doi.org/10.1017/s0266464x02000040.

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In today's technologically complex and racially hybrid society, what is the meaning of ‘cultural memory’? Like performance, Ian Watson argues, culture ‘exists only in the doing’ – yet if our formative experiences are in that sense ‘rehearsals’ for life, the subsequent ‘performance’ is in a constant state of flux and renewal. Here, Ian Watson looks at the interface between theatrical and cultural training in American society, from the old apprenticeship system of the stock companies, through the Delsarte-based approach of the earliest conservatoires and the pervasiveness of Americanized Stanisl

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Pollastrelli, Carla. "‘Art as Vehicle’: Grotowski in Pontedera." New Theatre Quarterly 25, no. 4 (2009): 333–35. http://dx.doi.org/10.1017/s0266464x09000621.

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In this testimony, Carla Pollastrelli charts the main stages leading to Grotowski's settlement in Pontedera in Italy and to the creation of the Workcenter of Jerzy Grotowski. As the Year of Grotowski, supported by UNESCO, draws to a close, her words provide a fitting tribute to a man whose influence has surpassed all geographical boundaries, whether those of his native Poland, adoptive Italy, or place of temporary refuge, the United States. Carla Pollastrelli is the co-director of the Fondazione Pontedera Teatro. Pontedera Teatro. From 1986 to 2000 she was an executive of the Workcenter of Jer

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Nascimento, Juliana, and Hebe Alves da Silva. "Da trama ao ato: por uma dramaturgia do ator." Pitágoras 500 5, no. 1 (2015): 111–34. http://dx.doi.org/10.20396/pita.v5i1.8641809.

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Este trabalho propõe uma abordagem crítica da noção de dramaturgia do ator, sua origem na teatrologia ocidental, seus signi- cados e usos correntes, tendo como ponto de partida as reexões de Eugenio Barba. Para tanto, propõe-se inicialmente uma reexão sobre a noção de dramaturgia e sobre as modicações de sentido e de utilização que o termo sofreu a partir do século XX, em sua interação com as transformações desencadeadas pelos encenadores.

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Gough, Richard. "Utopian Training: The secrets, ‘schools’ and continents of Edward Gordon Craig and Eugenio Barba." Uránia 2, no. 2 (2022): 34–69. http://dx.doi.org/10.56044/ua.2022.2.2.eng.

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This academic article explores the profound impact of theatre visionaries Edward Gordon Craig and Eugenio Barba on the global performing arts landscape. Through a comprehensive examination of their life’s work, philosophies, and pedagogical approaches, it uncovers the hidden treasures of their artistic legacies. It explores the ‚schools’ they established as transformative realms of exploration and creativity; the article highlights their utopian visions that transcended cultural boundaries and continents. By delving into their secrets, ‚schools,’ and worldwide influence, this article contribut

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Watson, Ian. "The Social Physics of Festuge: Odin Teatret at Home." New Theatre Quarterly 31, no. 2 (2015): 179–96. http://dx.doi.org/10.1017/s0266464x15000275.

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The Holstebro Festuge (festival week), which marked its twenty-fifth anniversary in 2014, is a huge undertaking organized by Odin Teatret every three years that involves the participation of many local people and a significant number of town and regional organizations as well as numerous international artists in a cultural extravaganza of performances, screenings, art exhibits, and barters that takes place over nine days in the city and surrounding region. In this article, Ian Watson examines the implications of the Festuge for Odin’s connection to and relationship with the city it has called

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Varley, Julia. "What is ISTA (International School of Theatre Anthropology)?" New Theatre Quarterly 40, no. 2 (2024): 103–24. http://dx.doi.org/10.1017/s0266464x24000022.

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Eugenio Barba first defined ‘theatre anthropology’ as the study of the human being in an organized performance situation in a lecture in Warsaw in May 1980. The first session of ISTA (International School of Theatre Anthropology) was held in October 1980 and the last to date in 2023. This article gives a personal account of ISTA’s history from its origins, rooted in Eugenio Barba’s interest in Asian classical theatre techniques and the founding of Odin Teatret in Denmark, to the most recent experiences, which include the intercultural production of Anastasis/Resurrection at the 2023 Theatre Ol

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Stewart, Nigel. "Actor as Refusenik: Semiotics, Theatre Anthropology, and the Work of the Body." New Theatre Quarterly 9, no. 36 (1993): 379–86. http://dx.doi.org/10.1017/s0266464x00008277.

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‘Theatre’, Eugenio Barba has said, ‘is a possibility of shaping revolt’. Barba touched upon this belief in NTQ16 (1988), and he professed it again with considerable passion at the conclusion of the seventh public session of the International School of Theatre Anthropology (ISTA) in April 1992. Directed by Barba and hosted by the Centre for Performance Research (CPR), the ‘Brecon ISTA’ was held in two parts – Working on Performances East and West, a practical exploration at Christ College, Brecon, from 4 to 10 April, being followed by a conference on 10 and 11 April at Chapter Arts Centre, Card

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Carlson, Marvin. "O Entrelaçamento dos Estudos Modernos da Performance e as Correntes Atuais em Antropologia." Revista Brasileira de Estudos da Presença 1, no. 1 (2011): 164–88. http://dx.doi.org/10.1590/2237-266021512.

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RESUMO Este texto propõe uma discussão da relação entre a Performance, o Teatro e a Antropologia. Apresentam-se as origens das relações entre performance e antropologia, elencando as principais ideias dos pioneiros norte-americanos e franceses. Comparam-se os relacionamentos entre artistas e antropólogos como Richard Schechner e Victor Turner, Eugenio Barba e Kirsten Hastrup. Por fim, problematiza-se os movimentos e as diferentes compreensões de performance e a forma produtiva como a relação entre performance e antropologia foi sendo construída nos últimos anos.

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Barba, Eugenio. "A essência do teatro." Ephemera: Revista do Programa de Pós-Graduação em Artes Cênicas da Universidade Federal de Ouro Preto 1, no. 1 (2018): 7–22. http://dx.doi.org/10.70446/ephemera.v1i1.1659.

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Neste artigo, Eugenio Barba analisa a “história subterrânea” da tradição teatral do século XX e sua própria trajetória artística, ressaltando o “caminho da recusa” como o seu ethos profissional e o de seus antepassados — os protagonistas da Grande Reforma teatral do início do século XX —, dos quais se define como “nada mais que um epígono”. Partindo da pergunta “o que resta do teatro?”, traça as linhas que definem a essência da tradição teatral que, junto com seus companheiros e companheiras do Odin Teatret, inventou.

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Camilleri, Frank. "Collective Improvisation: The Practice and Vision of Ingemar Lindh." TDR/The Drama Review 52, no. 4 (2008): 82–97. http://dx.doi.org/10.1162/dram.2008.52.4.82.

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Ingemar Lindh's research on the principles of collective improvisation and performance conceived as process announce an important development in the 20th-century tradition of the actor's work. After early studies with Étienne Decroux and working collaborations with Jerzy Grotowski, Eugenio Barba, and Yves Lebreton, Lindh founded the first laboratory theatre in Sweden in 1971, the Institutet för Scenkonst. His practice of collective improvisation is viewed in light of postdramatic concerns such as its resistance to fixed scores, directorial montage, and choreography as an organizing principle.

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