Eugenio Barba
Biographic Data
| ID | 1612902 |
|---|---|
| NAME | Eugenio Barba |
| GIVEN NAMES | Eugenio |
| FAMILY NAME | Barba |
| SIGNATURE | BARBA E |
| AFFILIATIONS | Craft Engineering Associates (United States) |
| ORCID | 0000-0001-7566-0319 |
| VERIFIED | Yes |
| TOTAL WORKS | 29 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 29 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1972 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Teatro É Política Com Outros Meios
O texto é a transcrição, revista pelo autor, da conferência proferida virtualmente na abertura dos Encontros sobre o Terceiro Teatro e Antropologia Teatral - uma homenagem a Eugenio Barba: 85 anos de vida, 60 anos de teatro, 34 anos de encontros no Brasil, no dia 23 de setembro de 2021
The Laboratory Instinct
June 01 2018 The Laboratory Instinct Eugenio Barba Eugenio Barba After working with Jerzy Grotowski for three years in Poland, Eugenio Barba (1936, Italy) created Odin Teatret in 1964 in Oslo and moved with it as a laboratory to Holstebro, Denmark, in 1966. He founded the International School of Theatre Anthropology (ISTA) in 1979. He has directed more than 70 productions with his theatre and the intercultural ensemble Theatrum Mundi. Author of a…
A Thousand Birds Flying
Odin Teatret’s founding director resumes his longstanding relationship with TDR and its editor; both have had an impact on his personal biography and on contemporary theatre
Is Performance Studies Imperialist? Part 3
December 01 2007 Is Performance Studies Imperialist? Part 3: A Forum Diana Raznovich, Diana Raznovich Diana Raznovich is an Argentine playwright and cartoonist whose work has been published, performed, and translated throughout the world. Search for other works by this author on: This Site Google Scholar Richard Schechner, Richard Schechner Richard Schechner, TDR's Editor, is University Professor at NYU's Performance Studies Department and the Fo…
Children of Silence
Meditating on Odin Teatret's longevity, Barba writes what he calls "a fairy tale" about two brothers-Error and Disorder-who travel the world shadowing each other. Disorder is the irruption of an energy that confronts us with the unknown. And Error is a liberating challenge to orthodox art. For Barba, the creative interaction of Error and Disorder is the energy source driving true Odin on its amazing 40-year-odyssey
The House of My Origins—and My Return
March 01 2004 The House of My Origins—and My Return Eugenio Barba Eugenio Barba Founder and director of Odin Teatret in Holstebro, Denmark, and of the International School of Theatre Anthropology, as well as a TDR Contributing Editor. His two most recent books are Theatre: Solitude, Craft, Revolt and Land of Ashes and Diamonds: My Apprenticeship in Poland followed by 26 Letters from Jerzy Growtowski to Eugenio Barba both published by Black Mounta…
The Paper Canoe
Nuestra investigación analiza las características definitorias de un formato teatral alternativo, surgido en Chile tras el término de la Guerra del Pacífico, paralelo al de los circuitos obreros y de sectores aristocráticos .Invisibilizado en su época, sin estar sujeto a presiones comerciales, o a la observancia de la crítica, su importancia debe dimensionarse tanto en su connotación testimonial, como por su aporte a la renovación de las artes es…
A Chosen Diaspora in the Guts of the Monster
A master practitioner-theorist, looking back at a lifetime of work, asks the question, “What is theatre?” He answers, “It is a particular way of moving”—an ethos, a behavior that reveals the incorporated knowledge of a craft, and at the same time, something we call values, our life's compass
The Essence of Theatre
What is theatre? How does theatre connect the past to the present to the future? What are its essential characteristics? Barba answers these questions in terms of his own life's journey and his nearly 40 years of work with Odin Teatret, a group of “theatrical Bedouins” always on the move literally and conceptually
The Deep Order Called Turbulence The Three Faces of Dramaturgy
In this very personal statement, Barba investigates three kinds of dramaturgy: organic, narrative, and that of “changing states.” The dramaturgy of changing states is the most elusive, the most difficult, the most intimate
Land of ashes and diamonds
An Amulet Made of Memory
The Actor's Way
The Steps on the River Bank
I signed this message of thanks on 29 September 1963, at the end of three weeks spent at the Kathakali Kalamandalam in Cheruthuruthy. It is a formal note about which I had forgotten until, 10 years ago, I had the surprise of finding it on page 147 of Richard Schechner's book Performative Circumstancesfrom the Avant Garde to Ramlila (I983), published in Calcutta by Seagull Books who, incidentally, have the same emblem as the Moscow Art Theatre. Sc…
The Secret of the Performer
Eftermaele
Work has its roots in the present, attentive to what happens in the expanses of history and in the arena of the theatre. It attempts to answer the questions, both professional and personal, which arise day by day. It tries to make dreams and desires come true, complying with the obligations of the moment. But what really matters is what will be said afterwards when we who worked at the task are gone
A Dictionary of Theatre Anthropology
Four Spectators
Eurasian Theatre
Eugenio Barba to Phillip Zarrilli
Here are my reactions to your article Whom Is the 'Invisible' Not Visible? (TDR 32, no. I:95-Io6) concerning the International School of Theatre Anthropology (ISTA) Congress on The Female Role as Represented on the Stage in Various Cultures, Holstebro, Denmark, 17-22 September 1986. In our culture, knowledge of the actor has often been blocked by the presumption of knowledge. Critics, theatrologists, theoreticians, and even philosophers such as H…
For Whom Is the "Invisible" Not Visible
From 17-22 September 1986 I attended the International School for Theatre Anthropology (ISTA) Congress on The Female Role As Represented on the Stage in Various Cultures organized by Eugenio Barba in Holstebro, Denmark. At this particular ISTA, a great deal of controversy arose among a number of participants. Erika Munk (1986) recently severely criticized the organizational and representational aspects of this ISTA. I will focus on larger issues …
Ingmar Bergman's King Lear
(One of the invited productions of the International Theatre Congress of Catalonia in Barcelona, May 19-26, 1985, was Ingmar Bergman's Swedish-language version of King Lear. Eugenio Barba, director of the International School of Theatre Anthropology, Holstebro, Denmark, and ATJ's editor were both in attendance. At the end of the congress they discussed the production in terms of Asian aesthetics and performance.) EB: Here at the congress the reac…
International School of Theater Anthropology (Ista)
Eugenio Barba, International School of Theater Anthropology (ISTA): Congress on the Female Role as Represented on the Stage in Various Cultures, The Drama Review: TDR, Vol. 30, No. 2 (Summer, 1986), pp. 171-172
Brecht's Ashes 2
Anthropology and Theatre
Theatre Anthropology
Words or Presence
Training does not teach how to act, how to be clever, does not prepare one for creation. Training is a process of self-definition, a process of self-discipline which manifests itself indissolubly through physical reactions. It is not the exercise in itself that counts—for example, bending or somersaults—but the individual's justification for his own work, a justification which although perhaps banal or difficult to explain through words, is physi…
Words or Presence
Training does not teach how to act, how to be clever, does not prepare one for creation. Training is a process of self-definition, a process of self-discipline which manifests itself indissolubly through physical reactions. It is not the exercise in itself that counts—for example, bending or somersaults—but the individual's justification for his own work, a justification which although perhaps banal or difficult to explain through words, is physi…
Letter from Barba
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A Note about Eugenio Barba
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Theatre Anthropology
Brecht's Ashes 2
Anthropology and Theatre
Ingmar Bergman's King Lear
(One of the invited productions of the International Theatre Congress of Catalonia in Barcelona, May 19-26, 1985, was Ingmar Bergman's Swedish-language version of King Lear. Eugenio Barba, director of the International School of Theatre Anthropology, Holstebro, Denmark, and ATJ's editor were both in attendance. At the end of the congress they discussed the production in terms of Asian aesthetics and performance.) EB: Here at the congress the reac…
International School of Theater Anthropology (Ista)
Eugenio Barba, International School of Theater Anthropology (ISTA): Congress on the Female Role as Represented on the Stage in Various Cultures, The Drama Review: TDR, Vol. 30, No. 2 (Summer, 1986), pp. 171-172
Eurasian Theatre
Eugenio Barba to Phillip Zarrilli
Here are my reactions to your article Whom Is the 'Invisible' Not Visible? (TDR 32, no. I:95-Io6) concerning the International School of Theatre Anthropology (ISTA) Congress on The Female Role as Represented on the Stage in Various Cultures, Holstebro, Denmark, 17-22 September 1986. In our culture, knowledge of the actor has often been blocked by the presumption of knowledge. Critics, theatrologists, theoreticians, and even philosophers such as H…
For Whom Is the "Invisible" Not Visible
From 17-22 September 1986 I attended the International School for Theatre Anthropology (ISTA) Congress on The Female Role As Represented on the Stage in Various Cultures organized by Eugenio Barba in Holstebro, Denmark. At this particular ISTA, a great deal of controversy arose among a number of participants. Erika Munk (1986) recently severely criticized the organizational and representational aspects of this ISTA. I will focus on larger issues …
Four Spectators
Eftermaele
Work has its roots in the present, attentive to what happens in the expanses of history and in the arena of the theatre. It attempts to answer the questions, both professional and personal, which arise day by day. It tries to make dreams and desires come true, complying with the obligations of the moment. But what really matters is what will be said afterwards when we who worked at the task are gone
A Dictionary of Theatre Anthropology
The Steps on the River Bank
I signed this message of thanks on 29 September 1963, at the end of three weeks spent at the Kathakali Kalamandalam in Cheruthuruthy. It is a formal note about which I had forgotten until, 10 years ago, I had the surprise of finding it on page 147 of Richard Schechner's book Performative Circumstancesfrom the Avant Garde to Ramlila (I983), published in Calcutta by Seagull Books who, incidentally, have the same emblem as the Moscow Art Theatre. Sc…
The Secret of the Performer
An Amulet Made of Memory
The Actor's Way
Land of ashes and diamonds
The Deep Order Called Turbulence The Three Faces of Dramaturgy
In this very personal statement, Barba investigates three kinds of dramaturgy: organic, narrative, and that of “changing states.” The dramaturgy of changing states is the most elusive, the most difficult, the most intimate
A Chosen Diaspora in the Guts of the Monster
A master practitioner-theorist, looking back at a lifetime of work, asks the question, “What is theatre?” He answers, “It is a particular way of moving”—an ethos, a behavior that reveals the incorporated knowledge of a craft, and at the same time, something we call values, our life's compass
The Essence of Theatre
What is theatre? How does theatre connect the past to the present to the future? What are its essential characteristics? Barba answers these questions in terms of his own life's journey and his nearly 40 years of work with Odin Teatret, a group of “theatrical Bedouins” always on the move literally and conceptually
The Paper Canoe
Nuestra investigación analiza las características definitorias de un formato teatral alternativo, surgido en Chile tras el término de la Guerra del Pacífico, paralelo al de los circuitos obreros y de sectores aristocráticos .Invisibilizado en su época, sin estar sujeto a presiones comerciales, o a la observancia de la crítica, su importancia debe dimensionarse tanto en su connotación testimonial, como por su aporte a la renovación de las artes es…
The House of My Origins—and My Return
March 01 2004 The House of My Origins—and My Return Eugenio Barba Eugenio Barba Founder and director of Odin Teatret in Holstebro, Denmark, and of the International School of Theatre Anthropology, as well as a TDR Contributing Editor. His two most recent books are Theatre: Solitude, Craft, Revolt and Land of Ashes and Diamonds: My Apprenticeship in Poland followed by 26 Letters from Jerzy Growtowski to Eugenio Barba both published by Black Mounta…
Children of Silence
Meditating on Odin Teatret's longevity, Barba writes what he calls "a fairy tale" about two brothers-Error and Disorder-who travel the world shadowing each other. Disorder is the irruption of an energy that confronts us with the unknown. And Error is a liberating challenge to orthodox art. For Barba, the creative interaction of Error and Disorder is the energy source driving true Odin on its amazing 40-year-odyssey
Art (21 works) · Theatre and Performance Studies (20 works) · History (17 works) · History (12 works) · Sociology (11 works) · Aesthetics (10 works) · Visual arts (10 works) · Psychology (8 works) · Computer Science (6 works) · Philosophy (6 works)