ODIN TEATRET ARCHIVES (OTA) - Documents

All the materials deposited at Odin Teatret Archives can be consulted at any time and by any person, on agreement with the person responsible for the archives. The personal letters, i.e. those not addressed to the Odin ensemble, cannot be consulted and/or quoted (not even partially, and not even if mentioned in this inventory) for a period of sixty years from the time they were written. The letters older than sixty years can be consulted and quoted only with written permission of the author or the Odin Teatret Archives. The person authorized to read or quote the correspondence is still expected to respect the private nature of the information.

FONDS EUGENIO BARBA Inventory

* Series Grotowski * Series Odin Teatret * Series ISTA * Series Letters * Letters * Lett-A * Series Awards * Awards * Awards-A *Series Publications * Publications * Publications-A * Series Miscellaneous

(compiled by Mirella Schino in collaboration with Francesca Romana Rietti. The work started in March 2008 and numerous additions and revisions were made during the following years. The information that could not be inferred from the documents, or from books and articles, was provided by Eugenio Barba, and it is here included as a source of oral testimony in support of the documents. The general considerations on the theatrical or historical situations are by Mirella Schino.)

Eugenio Barba, born in 1936 in Brindisi, Italy, the second son of an officer. When ten years old, just after the Second World War, he watched his father die from illness contracted during the war. He grew up in the home of his father’s mother in the village of Gallipoli. Together with his older brother Ernesto, he attended high school at the military college of La Nunziatella in Napoli where education was free for war orphans. After this, he hitch-hiked throughout Europe, specially in Scandinavia. He settled in Oslo in 1964 where he earned his living as a welder in the sheet-metal workshop of Eigil Winnje whom he would later often remember as his first master. He became a sailor on a Norwegian cargo ship to Asia for eighteen months. Back in Norway in 1967, he returned to welding while studying at the University where he joins joined the left-wing student intelligentsia. He became a friend of the writer Jens Bjørneboe who gave him the text of Odin Teatret’s first production The Bird Lovers, which Barba renamed Ornitofilene. From July 1960 to January 1961 he lived in Israel, travelling and working in several kibbutz. From there he traveled to Warsaw on a scholarship for the Theatre School to study directing. This was his first real contact with theatre. He left the School in January 1962 to join the small experimental Teatr 13 Rzedów (Theatre of 13 Rows) which was led by the young and then unknown director Jerzy Grotowski and by Ludwik Flaszen, a renowned essayist and theatre critic He remained there until April 1964, alternating theatrical work with travels in Europe to spread information about Grotowski’s activity. In 1963, from July to December he traveled by car to India. In Churuthuruthy, in Kerala, he studied Kathakali and wrote about this theatre form which at that time was unknown in the West. In April 1964, while abroad, the Polish authorities denied him a visa to return to Poland. Back in Oslo, in the autumn of 1964 he created Odin Teatret (which in 1966 he moved to Holstebro, a small town in Jutland, Denmark, with 18.000 inhabitants). Just after founding the theatre, he took his final MA degree at the University of Oslo in Norwegian and French literature as well as history of religions. Since 1983 he has held Danish citizenship. He has directed all the productions of Odin Teatret.

The Fonds Eugenio Barba includes materials, letters, working drafts and documents by Eugenio Barba. In 2004 Barba handed over to the CTLS (Centre for Theatre Laboratory Studies, the Odin archives were not yet founded formally) the binders 1-5 of the Series Grotowski. In March 2008, when the archives were established, Barba delivered to OTA almost all materials having to do with Grotowski and the preparation of his productions (series Barba-Grotowski, and series Barba-Odin), as well as some of the material concerning Barba’s work for ISTA and also his correspondence. Other materials were delivered in the following years. Starting from 2009, Eugenio Barba donated to the archives a series of photographs taken by himself or his wife Judy, or belonging to his family. These photographs are now collected in the Photographic Fonds, series Barba. Other photographs were kept inside the documents binders; we included them in the inventory but left them where we found them. Most materials were originally kept in Barba’s office (series Grotowski and part of series Odin); in his home (the binders of the correspondence, i.e. Barba-letters and some of the materials of the series Barba-ISTA); in the corridor beside Barba’s office (the correspondence arranged by year, i.e. series Barba-Lett-A); in the locked cupboard outside Barba’s office (the binder “Eugenio” and the ones on the first ISTA sessions); in Sigrid Post’s office (the collection of articles by Kirsten Hastrup, the binders with the preparatory materials for the performances of the series Barba-Odin).

In December 2014 the Fonds Eugenio Barba includes 146 binders and is divided in 7 series (see also the Photographic Fonds, series Eugenio Barba): 1) Series Grotowski (labelled “Barba-Grotowski”): in December 2014 it consists of 25 binders all organised by Eugenio Barba. They include materials about Grotowski (letters from Grotowski to Barba and photocopies of letters from Barba to Grotowski; articles about and by Grotowski, photocopied or typewritten; articles and books by Eugenio Barba on Grotowski; typewritten texts of translations, often with handwritten corrections; programmes; information; drawings by Jerzy Gurawski, architect and stage designer for Grotowski’s productions; other materials which Barba used for his writings about Grotowski, etc.), gathered and ordered starting from 1961 until April 2008. After the first few years, some of the letters from Grotowski to Barba were kept by Barba in the binders of his general correspondence (Barba-Lett-A, arranged by year and not by letter writer). 2) Series Odin Teatret (labelled “Barba-Odin”): in December 2014 it consists of 44 binders. It comprises materials concerning Odin Teatret from 1965 to 2008 and in Eugenio Barba’s possession (for example, working notes about the texts of the performances; working materials of the actors; Barba’s articles, texts by the actors addressed to Barba on various occasions; photographs; collection of articles or books used by Barba on the occasion of a new performance, or of the creation of ISTA; mixed letters and materials concerning Barba’s relationship with South America; articles and cuttings gathered by Barba’s mother in Italy; materials concerning unrealized projects by Odin Teatret; materials of various types concerning the creation of single performances; transcriptions of radio programmes about Odin Teatret; private and theatre photographs etc.) 3) Series ISTA (labelled “Barba-ISTA”): in December 2014 it consists of 7 binders concerning the years 1980-1987 (after 1987 the organising work for the various sessions of ISTA was entrusted to the Odin actors, mostly to Julia Varley). It comprises preparatory materials for Barba’s articles and more generally for the scholarly work in ISTA (scholarly articles gathered by Barba while preparing the first ISTA, programmes, contracts, letters, budgets, lists of partecipants). The binders are few, but significant. 4)Series Letters : a total of 46 binders containing letters addressed to Barba, often including a copy of his reply. It includes two sub-series (Barba-Letters, 22 binders, and Barba-Lett-A, 24 binders). The letters were divided by Barba (and later by us) into two groups: the sub-series Barba-Letters includes letters kept by Barba at home or in his office and is organised for specific people corresponding with Barba (for example, the letters to and from Christian Ludvigsen, Richard Schechner, Marc Fumaroli, Jerzy Grotowski, Ernesto Barba); and the sub-series Barba-Lett-A comprising Barba’s correspondence organised by year. These binders with letters were kept by Barba in locked cupboards outside his office from 1981. The previous correspondence, like many other materials, was deposited in an unorganized state at Holstebro Museum; it was, at least partially, retrieved and included in the inventory. 5) Series Awards: it consists of a total of 10 binders and includes two sub-series. The sub-series Awards, labelled Barba-Awards (9 binders), includes materials concerning honorary doctorates, honours, acknowledgements, awards, letters of presentation, prizes of various types. Among these official documents, Barba has often kept articles of different kinds which we have noted. The sub-series Awards-A (only 1 binder) includes a press review about prizes, books etc. 6)Series Publications: it consists of 7 binders and includes two sub-series. The sub- series Barba-Publications (3 binders) collects materials concerning Barba’s writings (organised by Barba, the binders contain books, essays and previous works that Barba collected while working on a new publication; they include some letters and typescripts

3 with corrections, first drafts etc.). The sub-series Barba-Publications-A (4 binders) collects typescripts by scholars who are or were particularly close to Barba. The writings were ordered by Barba in separate folders each devoted to a single scholar and sometimes to a single work. The essays mostly deal with Odin Teatret’s work and often another copy of the same writing is kept in a different section of the archives; still, we decided to keep the series because the writings often reveal information about the collaboration, trust and mutual intervention on the writings which were the product of the make up the relationship between Barba and some scholars. 7) Series Miscellaneous (labelled “Barba-Miscellaneous”): it comprises 7 binders. The Series includes materials of various types which are not closely connected to the work of Odin Teatret or ISTA, or to the relationship with Poland and Grotowski. These are documents, typewritten texts and other personal materials concerning Barba, as for instance a notebook-journal, or a short story written by his elder brother Ernesto.

In his study Barba also kept few audio materials (tapes and reels), often without indications about their contents, except one tape of the interview with Renata Molinari in 1972. We included these materials in the Fonds Odin Teatret, series Audio, with indications about their original placement.

4 * Series Grotowski

Labelled: Barba-Grotowski In December 2014, the series Grotowski consists of 25 binders. The series was created by Barba who kept together all materials about Grotowski (letters from Grotowski to Barba and photocopies of letters from Barba to Grotowski; articles about and by Grotowski, photocopied or typewritten; articles and books by Eugenio Barba on Grotowski; typewritten texts of translations, often with handwritten corrections; programmes; information; drawings by Jerzy Gurawski, architect and stage designer for Grotowski’s productions; other materials which Barba used for his writings about Grotowski, etc.), gathered and ordered starting from 1961 until April 2008. After the first few years, some of the letters from Grotowski to Barba were kept by Barba in the binders of his general correspondence (Barba-Lett-A, arranged by year and not by letter writer). We indicated those materials that were not originally arranged in rigorous order and were acquired and added to the binders at a later stage.

Barba did his theatre apprenticeship in Poland between 1961 and 1964 at Jerzy Grotowski’s theatre, which at that time was rather unknown even in Poland and had never been abroad. (cf. Barba’s book, Land of Ashes and Diamonds). The bond between the two directors went beyond the simple relationship teacher-pupil. Barba was very active (through articles, essays and later when he invited Grotowski’s performances to Norway and Denmark) in spreading information about Grotowski’s theories, technique, his ideas about theatre and his way of doing it. Since 1961, from the moment he first met Grotowski, Barba began systematically to collect and keep articles by Grotowski and about Grotowski. With the aim of diffusion, Barba helped translate Grotowski’s texts from Polish to be published in other languages. Barba himself often wrote about the experience at the Teatr-Laboratorium. Also after ending his “apprenticeship” and having already founded Odin Teatret, Barba collected photos of Grotowski’s performances. He also invited Grotowski first to Norway (February 1966) and then to Denmark (several times in the period 1966-1996) with his performances, as well as to seminars with his actors at Odin Teatret. With Odin Teatrets Forlag (Publishing House) Barba edited and published Grotowski’s Towards a Poor Theatre in English. Over the years Barba’s active bond to Grotowski continued, although less regularly (Grotowski was invited to be present at the Encounters of theatre groups in Belgrade (1976) and Bergamo (1977), as well as at various ISTA sessions, at the activities in connection with Odin Teatret’s 30th anniversary in October 1994; Barba participated in Modena at the one-day event dedicated to “Grotowski, the absent presence”, in October 1989, and so on). Their correspondence continued, although it was increasingly substituted by faster means of communication. In his book Land of Ashes and Diamonds, Barba has published the letters which Grotowski had written to him during the 1960s (the years of Barba’s stay in Poland and the first years of Odin Teatret) constituting the most interesting and compact nucleus of their correspondence. However, more letters from Grotowski can be found in the binders containing Barba’s general correspondence. A few years after Grotowski’s death, his brother Kazimierz found letters from Barba to Grotowski, the originals of which are now at Ossolineum Library, in Wroclaw. Zbigniew Osinski, a Polish theatre scholar and good friend of Barba, collaborating with the Grotowski Institute (which he created in 1985), sent photocopies of these letters to Barba. In the accompanying letter,

5 Osinski relates how the letters were found by Kazimierz Grotowski in a barn at a house in the mountains where Grotowski had left many documents before leaving Poland in 1981 for exile. Kazimierz contacted Osinski who, opening a box, found Barba’s letters. The first letter sent from India in 1963, partially crumbled once it was brought out into the light. Barba ordered the materials of the “series Grotowski” in binders in a more precise and organised way during the early years and less so later on. The binders were all kept in a locked cupboard in Barba’s office where materials of particular relevance or emotional value were placed. In view of the particular importance of the Grotowski-Barba bond, an accurate index of the contents was made at the time Barba handed them over.

Barba-Grotowski, b. 1 The binder contains different materials and documents, in the possession of Eugenio Barba, concerning the activities of the Teatr-Laboratorium 13 Rźędów in Opole directed by Jerzy Grotowski and Ludwik Flaszen since 1959 and where, between 1961 and 1964, Eugenio Barba did his apprenticeship. Among other things there are: programmes of the performances, articles by Jerzy Grotowski and Ludwik Flaszen as well as magazines: - Teatr-Laboratorium 13 Rzędów; Materialy – dyskusje nr. 6 Opole, Czerwiec 1961 r. About “Dziady”in Polish (4 copies; materials published within the Teatr-Laboratorium); - Teatr-Laboratorium 13 Rzędów; Materialy – dyskusje nr. 7 Opole luty 1961 r. About Kordian in Polish (3 copies; materials published within the Teatr-Laboratorium); - Teatr-Laboratorium 13 Rzędów; Materialy – dyskusje Opole Październik 1962, about Akropolis in Polish (5 copies; materials published within the Teatr-Laboratorium); - Teatr-Laboratorium 13 Rzędów; Materialy – dyskusje Opole, Kwiecień 1963; Materialy: Tragiczne dzieje doktora Fausta in Polish (3 copies; materials published within the Teatr-Laboratorium); - Teatr-Laboratorium 13 Rzędów by Ludwik Flaszen in Polish (10 copies; materials published within the Teatr-Laboratorium); - Teatr-Laboratorium 13 Rzędów Przebieg scen (4 pages); 1 Książę Niezlomny, Przebieg scen (1 page) in Polish (1 copiy; materials published within the Teatr-Laboratorium);; - 2 copies of: Tragiczne Dzieje Doktora Fausta (1 page; materials published within the Teatr-Laboratorium); - 9 copies of: DOKUMENT GÓRA PŁOMENIA project: The Mountain of Flame (8 pages) in Polish (materials published within the Teatr-Laboratorium); - 1 copy of: Materialy Warsztatowe Teatru 13 Rzędów Opole, luty 1962 (materials published within the Teatr-Laboratorium); - 1 copy of: Teatr 13 Rzędów, Opole, maj 1962 (materials published within the Teatr- Laboratorium); - 12 copies of the programmes of STUDIUM O HAMLECIE, 1964; - 2 copies of: Ludwik Flaszen presentation of Studium o Hamlecie (1 page) in Polish (materials published within the Teatr-Laboratorium); - 13 copies of: Teatr-Laboratorium 13 Rzędów Wprowadzenie w metode (1963), booklet in Polish; - 1 copy of: Polske eksperimenter, Saturday 30 December 1962 (cutting from an unspecified Danish newspaper). - 2 copies of a publication TEATR-LABORATORIUM WROCLAW INSTYTUT BADAŃ METODY AKTORSKIEJ Institut de Recherches sur le jeu de l’acteur, Théâtre

6 Laboratoire, Wroclaw Rynek Ratusz 27 (no date, certainly after 1967) in French (36 pages); Table of contents: Jerzy Grotowski, Institut de recherches sur l’art de l’acteur Ludwik Flaszen, Après l’avant-garde Rencontres avec Jerzy Grotowski, propos recueillis par Eugenio Barba Jerzy Grotowski, Vers un théâtre pauvre Ludwik Flaszen, Exemple d’un traitement du texte: Acropolis Denis Bablet, Les techniques de l’acteur In May 2009 Francesca Romana Rietti e Mirella Schino added to Binder 1 the programme of the X Congress of ITI (Institut International du Théâtre), in Warsaw, 1963. On this occasion a production by the Teatrlaboratrium 13 Rzedów (Dr Faustus, Tragiczne dzieje doktora Fausta) for the first time received international exposure and recognition. Grotowski’s theatre had not been invited to Warsaw. He decided to present his production in Lódz, a town about 100 km from the Polish capital. Barba managed to rent a bus and transport many international participants from the Congress to see the performance. The programme of the Congress, originally kept at Barba’s home, is signed Judy Jones (later Judy Barba) then secretary at the ITI main UNESCO office in Paris. See also Eugenio Barba: Land of Ashes and Diamonds. In February 2011 a newspaper was added cutting of the first article published by Barba on Grotowski, dated Sunday 30, without indication of the month, 1962. There is no mention of the name of the newspaper which, according to Barba, could be “Berlingske Tidende” or “Information”, both from Copenhagen.

Barba-Grotowski, b. 2 The binder contains articles and documents, in the possession of Eugenio Barba, concerning Jerzy Grotowski, Polish theatre groups, and the first articles by and interviews with Eugenio Barba about Grotowski, about Barba’s experiences while he was in Poland and his article on Kathakali theatre after his trip to India in 1963. In particular: - 1 copy of “Acta Scenografica” 6-XI, 1968-1969 (Czechoslovakian magazine). It contains an article about Grotowski: Přemysl Maydl, Jerzy Grotowski a jeho metoda, pp.89-92 in Czech; - 3 copies of Le théâtre-laboratoire 13 Rźędów d’Opole ou le théâtre comme autopénétration collective par Eugenio Barba. Matériaux bibliographique annexes au mémoire, Le théâtre psycho-dinamique, in French (50 pages); - 6 copies of: Programme notes Apocalypsis cum figuris (in English, 12 pages); - 1 copy of: Jerzy Grotowski och Teater Laboratorium av Ingererd Hellner; Särtryck ur Kungl. Dramatiska Teaterns programme Yvonne, prinsessa av Bourgogne (in Swedish about 20 pages); - 1 copy of “Scenen och Salong” tidskrift för teater och film, nr. 1, 1963 (Swedish magazine in Swedish) which contains an article: Eugenio Barba, Teaterns Antropologi (pp. 28-29); - 3 articles by Eugenio Barba: 1) In memoriam (on the occasion of the death of Camus); 2)Teatret uten scene-hvor tilskuerne er statister (article on Grotowski Teatr- Laboratorium) Norwegian newspaper “Dagbladet” no. 193, Thursday 22 August 1963:

7 3)Hvis Teatrene er tomme, saa er det noget positivt. Italiensk instruktør fortæller om polske experimentelt Teatret og om fornyelsen af Teatret (interview with Eugenio Barba), Danish newspaper “Information”, Monday 27 April 1964; - 1 copy of “Under Dusken”, 46 årgang – Utgitt av Studentersamfundet i Trondhejm – Høsten 1964, 8. It contains the article: Eugenio Barba, Polen – 20 År etter Introduksjon and other articles on Polish theatre. Norwegian magazine (in Norwegian, about 20 pages); - 1 copy of: “Nuova generazione” settimanale dei giovani comunisti italiani Anno IX – Domenica 8 marzo 1964 (Italian magazine). It contains the article: G. Marcus, [Barba’s pseudonym] Teatro polacco d’avanguardia (in Italian, 1 page); - 1 copy of “Vindrosen”, 4, 12. årgang 1965 Gyldendal (Danish magazine). It contains the article: Eugenio Barba, Kathakali, en klassisk indisk teaterskole (pages 53-61 in Danish).

Barba-Grotowski, b. 3 It contains: - 1 leaflet by Flaszen on Akropolis; - 5 copies of: Théâtre-Laboratoire 13 Rzędów Opole – Pologne – 1962 «Faits et discussions» Expériences du Théâtre-Laboratoire 13 Rzędów par Eugenio Barba boursier italien en Pologne, in French (30 pages); - 1 copy of: «Sipario», no. 208-209, August-September 1963, double issue dedicated to Polish Theatre [edited by Eugenio Barba]; - 1 copy of: «Vinduet» Gyldendals Tidsskrift for Litteratur, nr. 3, 1963 17. Årgang, Gyldendal Norsk Forlag. It contains: Eugenio Barba, Etterkrigstidens teater i Polen, (pages 176-183, in Norwegian).

Barba-Grotowski, b. 4 It contains: 1 typewritten text by Eugenio Barba: Eugenio Barba, Le théâtre psycho-dynamique, Opole, janvier 1963 (79 pages); 1 typewritten article: Eugenio Barba L’impossibilité de jouer Hamlet ou Ahasvérus, prince de Danmark (in French, 6 pages with handwritten notes); typewritten programme of La vie tragique du Doctor Faust (in French); a folder with a typewritten text in Polish.

Barba-Grotowski, b. 5 It contains: Letters from Jerzy Grotowski to Eugenio Barba; photocopies of letters from Jerzy Grotowski to Eugenio Barba with a letter from Grotowski to Erik Veaux (see Land of Ashes and Diamonds) and a letter from Grotowski (Land of Ashes and Diamonds) to Giampiero Bozzolato (both sent to Barba), with handwritten notes by Eugenio Barba for their publication in the book Land of Ashes and Diamonds. Photocopies of letters from Eugenio Barba to Jerzy Grotowski. Photocopy of a letter with which Grotowski authorizes the publication of his letters in the book Land of Ashes and Diamonds. Copy of a fragment of Jerzy Grotowski’s will. Copy of the text Untitled Text by Jerzy Grotowski, signed in Pontedera, Italy, July 4, 1998. Other photocopies of letters from Eugenio Barba to Jerzy Grotowski with a letter by the Polish scholar Zbigniew Osinski explaining that Grotowski’s brother, Kazimierz, accidentally found these letters after the publication of Land of Ashes and Diamonds (cf.

8 Mirella Schino, La busta 23, “Teatro e Storia”, nr. 30, 2009). There is also an envelope that contains documents concerning Barba’s work at Grotowski’s theatre in Opole and a letter dated 1967 from Barba to Grotowski. For other letters between Barba and Grotowski see binder 10. The binder contains 5 envelopes in the following order: Envelope 1 contains: Letters from J. Grotowski to E. Barba no.1, 12.V.1964, Opole, 3 pages, handwritten no.2, 21.XI.1967, Belgrad, postcard, handwritten no.3, 10.VII.1963, Opole, 1 page, handwritten no.4, 15.IX.1963, Opole, 3 pages, handwritten no.5, 21.IX.1963, Opole, 2 pages, handwritten no.6, 1963, Krakow Hotel Grand, 1 page, handwritten no.7, 1963, Opole, 1 page, handwritten no.8, 4.VII.1964, 1 page handwritten to E. Barba and 2 pages typewritten with the letter from Grotowski to Erik Veaux no.9, 2.IX.1964, Opole, 1 page, handwritten no.10, 3.IX.1964, Opole, 1 page, handwritten no.11, 20.X.1964, Opole, 1 page, typewritten no.12, 1.IX.1964, Opole, 1 page, typewritten no.13, 29.XII.1964, Wroclaw, 2 pages, typewritten no.14, 5.IX.1965, Wroclaw, 1 page, typewritten no.15, 6.II.1965, Wroclaw, 2 pages, typewritten no.16, 4.IV.1965, Wroclaw, letter from J. Grotowski to Giampiero Bozzolato, 5 pages, typewritten no.17, 5.IV.1965, Wroclaw, 1 page, typewritten no.18, 26.IV.1965, Wroclaw, 3 pages, typewritten no.19, 8.VI.1965, Wroclaw, 1 page, typewritten no.20, 20.VI.1965, Wroclaw, 1 page, typewritten no.21, 27.IX.1965, Wroclaw, 1 page, half typewritten half handwritten no.22, 16.XI.1965, Wroclaw, 2 pages, typewritten no.23, 18.XII.1965, Wroclaw, 1 page, typewritten no.24, 14.I.1966, Wroclaw, 1 page, typewritten no.25, 5.XII.1966, Wroclaw, 2 pages, typewritten no.26, 23.IV.1967, Wroclaw, 1 page, typewritten in French no.27, 10.VIII.1969, Calcuta, 3 pages, handwritten - Untitled Text by Jerzy Grotowski, Signed in Pontedera, Italy, July 4, 1998 According to the wish of Jerzy Grotowski the text is published posthumously, 2 pages - 8.X.1999, Paris, photocopies of Grotowski’s will signed in Paris the 20th of April, 1999, - 5.X.1994, Holstebro, Permission for Eugenio Barba to publish all the letters he received from Grotowski between 1963-1969, 1 page, handwritten. Envelope 2 contains: Sent from Zbigniew Osinski to Eugenio Barba: - 25. VII. 2007, Warsaw, 1 letter to E. Barba written by Z. Osinski, 2 pages - Photocopy of the envelope of the letter sent by E.Barba to Grotowski the 15.VI.1964, from Oslo to Opole - no.1, 13.VI.1964, Oslo, Letter from E. Barba to J. Grotowski, 1 page. Photocopy

9 - no.2, 23.VII.1964, Krakow, Letter signed by E. Barba to J. Grotowski, 1 page. Photocopy - no.3, 1.XI.1964, Oslo, Letter from E. Barba to J. Grotowski, 3 pages. Photocopy - Photocopy of the envelope of the letter sent by E.Barba to J. Grotowski the 21.XII.1964, from Oslo to Opole (1 page) - no.4, 18.XII.1964, Oslo, Letter from E. Barba to J. Grotowski, 1 page. Photocopy - no. 5, 28.II.1965, Oslo, Letter from E. Barba to J. Grotowski, 3 pages. Photocopy - no.6, 28.VIII.1967, Holstebro, Letter from E. Barba to J. Grotowski, 1 page. Photocopy - no.7, 17.XI.1969, Holstebro, Letter from E. Barba to J. Grotowski, 2 pages. Photocopy - no.8, 26.XI.1969, Holstebro, Letter from E. Barba to J. Grotowski, 2 pages. Photocopy - no.9, 16.III.1970, Holstebro, Letter from E. Barba to J. Grotowski, 1 page. Photocopy. In October 2008, Francesca Romana Rietti and Mirella Schino added the photocopy of the first letter from Barba to Grotowski sent from India. It is a letter which had partially disintegrated when Barba’s letters were found in a barn at the country house of Grotowski’s brother Kazimierz where Grotowski had deposited a few boxes of personal documents before leaving Poland. This photocopied letter is accompanied by a short note from Osinski to Barba. Envelope 3 contains: - no.1, 13.II.1968 Letter from E. Barba to J. Grotowski, 1 page. Original handwritten - n.2, 1-2/II/1967 Letter from E. Barba to J. Grotowski, 1 page. Original typewritten - no.3, 16.VIII.1968 J. Grotowski, Iran, 1 page. Original handwritten - no.4, 10.IV.1964, Opole, Letter from J. Grotowski to E. Barba, 3 pages. Original typewritten - no.5, 31.X.1971, Wroclaw, Letter in Polish from J. Grotowski to E.Barba and members of Odin Teatret, 1 page. Original typewritten letter - no.5 the same letter of the 31.X.1971 from J. Grotowski to E.Barba and members of Odin Teatret, but in English, 1 page. Original typewritten letter - no.6, 18.XII.1961, Opole, from J. Grotowski to E. Barba. Original typewritten letter. Envelope 4 contains: Documentation found at the Theatre-Laboratorium Archive, sent by Zbigniew Osinski to E. Barba: - Recommendations for Eugenio Barba, signed by J.Grotowski 1962-3. Photocopies - 13. III. 1991, letter from Fabrizio Cruciani to Z. Osinski. Original typewritten letter - 21. II. 1991, letter from Fabrizio Cruciani to Z. Osinski. Original handwritten letter - 29. VI.1989, letter from Bohdan Korzeniewski to Z. Osinski. Photocopy - 10.V.1962, Opole, one letter from J. Grotowski to the Ministère des Affaires Etrangères Italiennes, Rome. Photocopy - 23.I.1963, Paris, letter from A. Veinstein (Bibliothèque de l’Arsenal) to J. Grotowski. Photocopy. Envelope 5 contains: Photocopies of the letters sent by J. Grotowski to E. Barba - 1 letter from Grotowski to Erik Veaux. Photocopy - 1 letter from J. Grotowski to Giampiero Bozzolato. Photocopy.

Barba-Grotowski, b. 6 The binder contains magazines with articles by and on Grotowski collected by and in the possession of Eugenio Barba, given to the Odin Teatret Archives by Eugenio Barba in 2008:

10 - 12 issues of “Dialog” between 1960 and 1999: 1960, no.6, Rozmowy o dramacie: “Kain”, czyli jak zabić autora (Interview); 1969, no.8, Jerzy Grotowski, Teatr a rytuał; 1973, no.7, Obok Teatru (Jerzy Grotowski, Konstanty Puzyna, publiczność) (Interview); 1979, no.10, Jerzy Grotowski, Świat powinien być miejscem prawdy; 1979, no.11, Jerzy Grotowski, Wędrownaie za teatrem źródeł; 1980, no.1, Jerzy Grotowski, Głos; 1980, no.2, Jerzy Grotowski, Pogadanka o teatrze dla młodzieźy szkolnej; 1980, no.3, Konstanty Puzyna, Grotowski i dramat romantyczny; Jerzy Grotowski, O praktykowaniu romantyzmu; Jan Pawel Gawlik, Stary Teatr: wybór tradycji; 1980, no.4, Jolanta Brach-Czaina, Proces indywiduacji w wersji grotowskiego; Leszek Kolankiewicz, Doświadczenie nieoswojone; Mariusz Orski, Moje “Drzewo ludzi”; 1989, no.5: Grotowski ciągle tajemniczy (Jan Błoński, Tadeusz Burzyński, Krzysztof Czyżewski, Małgorzata Dzieduszycka, Małgorzata Dziewulska, Zbigniew Osiński, Konstanty Puzyna) (Interview); Leszek Kolankiewicz, “Dramat obiektywny” grotowskiego; 1998, no.1, Zbigniew Osiński, Pierwsze laboratorium teatrakne grotowskiego Natełła Baszyndżagian, Przestrzeń grotowskiego 1999, no.6, Grotowski – I co jest do zrobienia (Janusz Degler, Małgorzata Dziewulska, Aldona Jawłowska, Leszek Kolankiewicz, Wojciech Krukowski, Andrzej Mencwel, Grzegorz Niziołek, Zbigniew Osiński, Włodzimierz Pawluczuk, Małgorzata Szpakowska, Lech Śliwonik)(Interview); Thomas Richards, Punkt graniczny przedstawienia – przełożył Artur Przybysławski, konsultowała Magda Złotowska - 1 copy of “Pour l’art” 1963 (March-April): Raymonde Temkine, Jerzy Grotowski et son Théâtre laboratoire - 1 copy of “I 4 soli”1964 (May- August): Raymonde Temkine, Le creuset d’Opole - 1 copy of “Pamietnik teatralny” 1964: Ludwik Flaszen, “Dziady” “Kordian” i “Akropolis” w Teatrze 13 Rzędów; Zbigniew Raszewski, Teatr 13 rzędów. - 1 copy of “La Nouvelle Revue Francaise” 1965: Raymonde Temkine, Théâtre qui se cherche, Théâtre qui se trouve - 2 copies of “Les Lettres Nouvelles” both from 1966: Raymonde Temkine, Fils naturel d’Artaud (May-June) Dominique Nores, La saison du Théâtre des Nations (October-November) - 1 copy of “Le temps modernes” 1966: Renée Saurel, Impuissance et espoir du théâtre - 1 copy of “Polish Perspective” (undated, perhaps 1966/1967): Andrzej Krasiński, Parodia sacra - 1 copy of “Divadlo” 1969: Jerzy Grotowski, Nový zákon divadla - 1 copy of “Il Dramma” 1969: Leonia Jabonkowna, Apocalypsis cum figures di Grotowski: una chiave dall’abisso - 2 copies of “Odra” 1969, 1970: 1969, Józef Kelera, Apocalypsis. – Fantazy.- Festiwal Dziesiaty; in the column “Co miesiąc teatr” (theatre of the month) “Odra”. 1970, Zbigniew Osiński, Człowiek i jego kondycja

11 - 1 copy of “Perspectives Polonaises” 1970: Konstanty Puzyna, Grotowski ou la recherche des myths perdus 1 copy of “Theatre Quarterly” 1973: Jerzy Grotowski, Holiday, the Meaning of ‘Meeting’ in Theatre and Life - 3 copies of “Le théâtre en Pologne – The Theatre in Poland” between 1976 and 1978: 1976, Tadeusz Burzyński, Special project de Jerzy Grotowski 1977, Leszek Kolankiewicz, Que se passe-t-il chez Grotowski? 1978, Zbigniew Osiński, Le théâtre des sources - 1 copy of “Konteksty” 1995: Zbigniew Osiński, Grotowski wobec gnozy; Leszek Kolankiewicz, Aktorstwo w teatrze Grotowskiego - 1 copy of “Biblioteca teatrale” 2000: Chiara Guglielmi, Le tecniche originarie dell’attore: lezioni di Jerzy Grotowski all’Università di Roma - 3 copies of a Publication by the Work Center of Jerzy Grotowski, undated: Roberto Bacci, Un lavoro necessario Peter Brook, Grotowski, l’arte come veicolo Jerzy Grotowski, Il performer - 2 copies of Teksty, Odra, Wrocław,1975 and 1990. 1975, Rozmowa Rozmowa z Grotowskim (Interview); J. Grotowski, Święto; Bez gry. Rozmowa z R. Cieślakiem (Interview); L.Flaszen, Księga Rozmowa (Interview) “Apocalypsis cum figures”. Rozmowa ze Stanisławem Scierskim 1990, Jerzy Grotowski, Teksty z lat 1965-1969,Wrocław Wydawnictwo Centralnego Programu Badan Podstawowych, 1990.

Barba-Grotowski, b. 7 (“Published texts”): Collected over the years by Eugenio Barba. It contains published articles by and on Jerzy Grotowski (mainly photocopies): - September 1999, no. 10-11 Teatri della diversità (p. 49-52) - 1994, Teatr Spotkania, Jerzy Jarocki, Interview with Ludwik Flaszen - April 1997, Didaskalia, Gazeta Teatralna 18 - Zbigniew Osiński, Grotowski w college de france: lekcja pierwsza - Tadeusz Kornaś, Wehikuł dla siebie i innych - Monika Mamińska, Odłóźmy teraz wszelka życia troske… - Grzegorz Niziolek, Źródło czyste – źródła zatrute? - Georges Banu, Język, czyli inne ciało - Marta Poniatowska, Rozmawia (Interview) Wszystko, co robię, jest pożegnaniem Z Janem Kottem - One handwritten page translated into Italian by Eugenio Barba - Article by Grzegorz Niziolek, Fonte pura – Fonti avvelenate Translated into Italian - 1997, n.3, Teatertidningen, Kjerstin Norén, Skådespelaren Ryszard Cieslak - 1995, Chronique, Grotowski et Richards à Wroclaw - April, 1997, Bill Reichblum, At Work with Grotowski - “The Drama Review”, 4 copies (1973 original, 1986 copy, 1995 copy, 1996 copy) - 1973, no. 17, Jerzy Grotowski, Holiday - 1986, vol.30 n.3,

12 - Robert Findlay and Halina Filipowicz, Grotowski’s Laboratory Theatre: Dissolution and Diaspora - Kazimierz Braun, Review of the Theatre of Grotowski by Jennifer Kumiega and Grotowski and His Laboratory by Zbigniew Osinski, 1995, vol. 35, no.1, - Zbigniew Osiński, Grotowski Blazes the Trails: from Objective Drama to Ritual Arts - I Wayan Lendra, Bali and Grotowski: some parallels - Philip Winterbottom, Jr., Two years before the Master - J. Ndukaku Amankulor, Jerzy Grotowski’s “Divination Consultation”: Objective Drama Seminar at U.C. Irvine - Lisa Wolford, Subjective Reflections on Objective Work - Halina Filipowicz, Where is Gurutowski? - 1996, no.4, Lisa Wolford, Action: The Unrepresentable Origin - October 1967, La nouvelle critique, René Gaudy, Grotowski et l’esthétique théâtrale (Interview to J. Grotowski) - 1968, no.28-29, France – Pologne, Jerzy Grotowski: le théâtre d’aujourd’hui à la recherche du rite. Conférence prononcée le 15 octobre 1968 au centre de l’Académie Polonaise des sciences de Paris - 1969, Margaret Croyden interview with Jerzy Grotowski, I said Yes to the Past - July-August 1972, no.30/31, Teatro ’70, the whole magazine is devoted to J. Grotowski - September, 1970, no101, La quinzaine litéraire, Last Conference at the Brooklyn Academy - 1972, Teatr, Spotkanie Z Grotowskim Odra Review: - April, 1972, no.4, Jerzy Grotowski, Jak Żyć By Można - June, 1972, no.6, Jerzy Grotowski, Święto - October, 1972, Dialog, Jerzy Grotowski, Co było (Kolumbia – lato 1970 – Festiwal Ameryki Łacińskiej) - 1973, Festival d’automne à Paris- Gallimard. It contains 4 texts by Jerzy Grotowski: Jour saint; Tel qu’on est, tout entier; Ce qui fut; …Et le jour saint deviendra possible Dialog (Polish magazine) (copies) - July, 1973, no.7, Rozmowy (Interview) Jerzy Grotowski Obok Teatru - October, 1979, no.10, Jerzy Grotowski, Świat Powinien być Miejscem Prawdy - November, 1979, no.11, Jerzy Grotowski, Wędrowanie Za Teatrem Źródeł - January, 1980, Jerzy Grotowski, Głos - 18 March 1976, Le Monde, Colette Godard, Le double stage de Jerzy Grotowski “Ce n’est pas la santé des gens qui nous préoccupe, mais celle de leur métier” - November, 1979, no.11, Le théâtre en Pologne, Jerzy Grotowski parle du Théâtre des Sources - December, 1986, no.17, Jerzy Grotowski, Tu sei figlio di qualcuno - 1988, Centro per la sperimentazione e la ricerca teatrale, - Roberto Bacci, Un lavoro necessario - Peter Brook, Grotowski, l’arte come veicolo - Jerzy Grotowski, Il performer - 1991, Entretien, C’était une sorte de volcan (interview with J. Grotowski) - article by Fernando de Ita (a critic from Messico): El año de Grotowski, April 2009 (donated by EB to the Odin archive in May 2009).

Barba-Grotowski, b. 8:

13 Binder with different materials collected by E. Barba, probably for the publication of the book The Land of Ashes and Diamonds (i. e. handwritten notes, typewritten texts by Barba on Grotowski, photocopies of articles on Grotowski, photocopies of different materials, photocopies of articles on Polish theatre, the text of a hymn used in a performance by Grotowski with a French translation, a typewritten text with the title “Jerzy Grotowski Holstebro 1971”).

Barba-Grotowski, b. 9: It contains: 7 envelopes of photos: 1) Akropolis 2) Trening 3) Kziąże niezłomny (Il principe costante) 4) Dziady 5) Faust 6) Kordian 7) Kziąże niezłomny (Il principe costante)

Barba-Grotowski, b. 10 (“Grotowski Osrodek Wroclaw”): The binder, organised by E. Barba with the title “Grotowski Osrodek Wroclaw”, contains letters and other materials concerning Grotowski (letters from the Centre of Grotowski Studies to Barba and his replies to them, photocopies of articles on Grotowski, different letters by people close to Grotowski (Richard Schechner, Mario Biagini etc), photocopies of letters to Eugenio Barba on the occasion of Grotowski’s death and replies from Barba, programmes, invitations, photocopy of a letter of condolence from Odin Teatret on the death of Grotowski, copy of an email from Nando Taviani to Nicola Savarese on the death of Grotowski also sent to Barba, information on the death of Grotowski from Pontedera Centre, notes by Barba on a telephone call with Bacci about Grotowski, letter from Bacci to Barba, programme of the Prize Pegaso d’Oro awarded to Grotowski, open letter from Barba to Grotowski dated Ayacucho 25 May 1998, letter from the Grotowski Centre in Wroclaw to Barba, notes from Barba to Biagini and Grotowski, leaflet on Sanjukta after her death, greeting card from the Italian and Polish scholars taking part in a congress in Wroclaw, copy of letters from Talia Rodgers (Routledge Publishing House) to Grotowski, photocopies of letters from Barba to Grotowski and from Grotowski to Barba (see also b.5, envelope 5) between 1990 and 1999, programmes of Grotowski Centre in Wroclaw, notes on the nomination of Barba as a member of the “Conseil d’honneur” of the Grotowski Centre in Wroclaw, circulars by Bacci about economical problems of the Grotowski Centre in Pontedera, note of financial support by “Stanislavskij Fonden” (Odin Teatret) to the Grotowski Centre in Pontedera, photocopy of account specification concerning “TTT” no.7 Towards a Poor Theatre, materials about the collaboration of Grotowski with the University of Irvine ).

Barba-Grotowski, b. 11: The binder, organised by Eugenio Barba, is called: “ Documenti Grotowski” and contains articles, almost all by Grotowski, and mainly typewritten. The articles are assembled in plastic folders, each with the date as title. The plastic folders have been replaced by paper envelopes. 1968: Grotowski invades Czechoslovakia! (“TDR”)

14 October 1968: Jerzy Grotowski, Le theatre d’aujourdhui à la recherce du rite; typewritten text and photocopy of the published article. (“France Pologne”, conférence Académie polonaise de Paris, 15 Octobre 1968) December 1968: Réponse de Jerzy Grotowski, typewritten, with a note in Polish by Barba W. d.: Jerzy Grotowski exercices (“Action culturelle du sud est”) May 1969: typewritten, Article by Grotowski with a note in Polish by Barba May 1969: Jerzy Grotowski, La voix, typewritten, with corrections June 1969: Jerzy Grotowski exercices, typewritten, with corrections 6 December 1969: typewritten, with corrections Not Actor but Son of Man and typewritten, with corrections Pas acteur mais fils de l´homme November 1969, with a note by Eugenio Barba contains: Jerzy Grotowski, Pas acteur mais fils de l´homme; Jerzy Grotowski, 7 November 1969 New York Jerzy Grotowski, 22 November 1969 New York Jerzy Grotowski, 30 November 1969 New York 1969: typewritten Exercices, with a typewritten note by Barba, 1971: 2 letters (English and French versions) to support Julian Beck and Judith Malina in prison Tournée Apocalypsis September 1971: Jerzy Grotowski Holstebro September 1971 W. d.: Jerzy Grotowski typewritten in French 1988: conférence de presse Jerzy Grotowski 8.2.1988 1965: magazine “Odra” no. 9 1967: magazine “Flourish” nr. 9 1967: magazine «Les temps modernes» no. 251 Spring 1967: magazine «TDR»

Barba-Grotowski, b. 12 (1/2): The binder, organised by Eugenio Barba, is called “Grotowski Seminari 67 – 68 – 69, Holstebro, testi rari originali” (rare and original texts). It contains typewritten texts, mainly in Polish and organised by date, like the Binder 11: 1961-62: typewritten on Teatr-Laboratorium 13 Rzedów’s headed paper; small booklet about Teatr-Laboratorium 13 Rzedow 1965: Jerzy Grotowski, Osobowosc teatru, typewritten, in Polish Envelope w. d.: leaflets and programmes by Teatr-Laboratorium 13 Rzedów and a photo of Grotowski and Rena Mirecka 14 February 1966: Exposé final de M. Grotowski lors du séminaire de Skara (Suède) 19 May 1966: Polish transcription with corrections 1 st December 1967: (interview with Jerzy Grotowski). The complete text of the interview has been published in “TDR” 39, 1968 1967: Jerzy Grotowski, Nie byl caly soba Jerzy Grotowski, Han var ikke helt ut seg selv (typewritten, with corrections and a handwritten note ”TTT” 2/1967) 1967: Document Zasad typewritten, in Polish with corrections and signed: Jerzy Grotowski Seminar Odin Teatret Holstebro1968:

15 Grotowski – 1968 typewritten Typewritten in French by Jerzy Grotowski “Je tiens à dissiper une équivoque” 1968: photocopy of a typewritten text, in Polish without title, with a handwritten note by Eugenio Barba 20 September 1967: Jerzy Grotowski, Citations de interview in French 1967: Transcription (by Marianne Ahrne) from seminar in Holstebro: Holstebro 1967, typewritten, in French 1968: Seminario Holstebro trascritto da Marianne Ahrne: Holstebro 1968 Holstebro 1968 extraits Seminaire Barba – Grotowski Odin Teatret, Holstebro juillet 1968 1969: Seminario Holstebro trascritto da Marianne Ahrne: 3 typewritten copies, in French. (the original typewritten texts can be found in 2/2 of this binder b. 12 – we chose to keep the copies considering the relevance of these materials). (2/2) contains: a) a thick exercise book entitled “Grotowski/Holstebro” donated by Marianne Ahrne to the Odin Archives in February 2009 on the occasion of the “banquet” (a celebration- symposium) organised by Odin Teatret for the 50th Anniversary of the taking over of Teatr 13 Rzedów in Opole by Grotowski and Flaszen. Marianne Ahrne is a Swedish film director and writer. She became acquainted with Grotowski during a seminar at Odin Teatret in 1967 in Holstebro and is one of the people who was closest to him. She has partially described Grotowski’s seminars at Odin Teatret in an autobiographic novel Katarina Horowitz drömmar (The Dreams of Katarina Horowitz), Stockolm, Norstedts, 1990. During the seminars Grotowski did not allow the taking of notes. Barba, however, had hidden a microphone (about which he had informed Grotowski) to record the entire seminar. Marianne Ahrne received the task of transcribing these “non-existant” recordings, always in total secrecy - a task which she also performed for other lectures and seminars by Grotowski. The exercise book contains the original transcriptions patiently and carefully corrected and edited by Marianne Ahrne and Grotowski of the seminars and lectures in: Holstebro 1967 (pp.1-37), Holstebro 1968 (pp.1-26), “Holstebro 1968: extraits” (pp. 1-36), New York 1969 (two copies, with many annotations by Ahrne and Grotowski, pp.1-19, and pp. 1-16), Holstebro 1971 (during the tour of Grotowski’s production Apocalypsis cum Figuris, pages without numbers), Belgrade 1976 (pp.I-IX), Warsaw 1977 (pp. 1-21). Marianne Ahrne has added short notes about how and where these transcriptions took place. b) A photocopy, donated by Leszek Kolankiewicz to the Odin Archives in February 2009, on the occasion of the “banquet” (a celebration-symposium) organised by Odin Teatret for the 50th Anniversary of the taking over of Teatr 13 Rzedów in Opole by Grotowski and Flaszen. It concerns the genesis of Grotowski’s article Farewell Speech to the Pupils. The photocopy includes the first and last page of the various phases in the editing of the text the story of which is told by Kolankiewicz, and the final result which was published in TDR, summer 2008. According to Kolankiewicz's story, the genesis of the article lasted almost thirty years. At the origin of the text there is the transcription by Marianne Ahrne of the recordings of Grotowski’s seminar in Holstebro in 1969 (which we have in its totality in Binder 13). The typewritten text was then sent by Grotowski to Kolankiewicz so that he could edit it. Kolankiewicz changed the sequence, cut out some parts and proposed a title: Farewell Speech. The typewritten text was sent to Grotowski

16 at the address of the American director André Gregory in 1983. Grotowski worked on it and changed the title in Farewell Speech to the Pupils. The final result was published in “TDR”, no.2, vol. 52, summer 2008.

Barba-Grotowski, b. 13: The binder, organised by Eugenio Barba, is untitled. It contains: newspaper cuttings about Grotowski’s death (1999) and an envelope with other articles about Grotowski’s death. The plastic folders have been substituted with paper envelopes.

Barba-Grotowski, b. 14: The binder contains various types of materials in no special order kept by Eugenio Barba, not in folders but piled up in a corner of one of his office cupboards (i. e. articles by Osinski and others about Grotowski; leaflets on Apocalypsis; Italian translation of a fragment of Marianne Ahrne’s book; an audio tape with a medical diagnosis for Osinski; a poster of a congress on Grotowski in Pontedera; Polish typewritten texts about Teatr- Laboratorum in Wroclaw, one of them about group creation at the Teatr Laboratorium; excerpt from a text by Zbigniew Spychalski with the title Teatr-Laboratorium, based on his apprenticeship Spychalski at Teatr-Laboratorium in ’66-67; a text by Peter S. Rosevski with the title The Polish Laboratory Theatre Institute; an article (Action) by Juliusz Tyszka published in “Opcje”, no. 3, September 1997; newspaper cuttings from “Le Monde”, 15 June 2000 with the news that the inhabitants of Grotowski’s hometown do not consider it right to name a street after him since he was a director “fou, confondant l’art et la religion”; a typewritten text by Flaszen in Polish; a postcard from Flaszen; the last text-testament by Grotowski: Untitled Text by Jerzy Grotowski signed in Pontedera Italy July the 4th 1998; a program of Apocalypsis cum figuris in English; news of the issue of a Polish stamp with the face of Grotowski).

Barba-Grotowski, b. 15: The binder, organised by Eugenio Barba, entitled “Attori: Cieslak, Molik, Cynkutis”, contains: newspaper cuttings and photocopies concerning the actors of Teatr- Laboratorium in Wroclaw (i. e.: leaflet on Molik, news on the death of Cieslak etc. in different languages).

Barba-Grotowski, b. 16: The binder, organised by Eugenio Barba, contains articles from magazines and newspapers from various countries and in different languages, mainly between 1961 and 1965, and a few up to 1969. The folder contains: the typewritten text of a translation in English and in French with handwritten corrections of an article by Jozef Kelera; a Danish translation (for “TTT” nr. 18, 1972) of the article by Eric Bentley Dear Grotowski; a typewritten text of an English article by Walter Kerr.

Barba-Grotowski, b. 17: The binder, organised by Eugenio Barba, contains articles from magazines and newspapers and some photocopies from different countries and in different languages, from 1969 until 1995. It can be considered the continuation of Barba-Grotowski, b. 16.

Barba-Grotowski, b. 18: The binder, organised by Eugenio Barba, contains 5 envelopes:

17 Envelope 1: newspaper cuttings about the honorary degree given to Jerzy Grotowski by the University of Wroclaw. Envelope 2: newspaper cuttings from the early 1960s. Envelope 3: some articles about “Dissolution of Teatr-Laboratorium in Wroclaw 1984”. Envelope 4: 2 programmes of Apocalypsis cum figuris in Danish. Envelope 5: different materials on Grotowski’s last years (i. e.: prospectus of “Objective Drama Program” 1984, leaflet of The Working Centre of Grotowski in Pontedera, publications of Grotowski Centre in Wroclaw).

Barba-Grotowski, b. 19: French magazine from 2008, monographic issue about ’68, with an article about Grotowski.

Barba-Grotowski, b. 20: Binder 20 contains: drawings and photos of drawings by Gurawski (he was an architect, but not a scenographer, who collaborated with Grotowski for many of his stage designs) The drawings and photographs were sent to Barba to illustrate his writings about Grotowski and his Teatrlaboratorium in various international magazines.

Barba-Grotowski, b. 21 Binder 21 contains: photocopy of a letter dated Warsaw 2003 from the Polish film director Andrzej Wajda to the scholar Zbigniew Osinski on the occasion of EB’s honorary doctorate from the University of Warsaw. The copy of the letter was donated to Eugenio Barba by Osinski in February 2009 on the occasion of the “banquet” (a celebration-symposium) organised by Odin Teatret for the 50th Anniversary of the taking over of Teatr 13 Rzedów in Opole by Grotowski and Flaszen.

Barba-Grotowski, b. 22: Binder 22 (large size) contains: proofs of the Mexican magazine “Máscara, cuaderno iberoamericano de reflexiones sobre escenologia”, nos. 11-12, October 1992-January 1993, issue entirely devoted to Grotowski. The proofs were donated to Eugenio Barba and the Odin Teatret Archives by Edgar Ceballos, editor of the magazine. These are enlarged photocopies which Grotowski had requested in order to read and correct the proofs more easily. The numerous corrections, in Spanish, are not by Grotowski’s hand, although they look like Grotowski’s corrections (as stated by Ceballos). To these proofs, Francesca Romana Rietti and Mirella Schino have added a copy of “Máscara”, as well as three emails by Ceballos to Eugenio Barba and Franco Ruffini in which he describes his meeting with Grotowski and the origins of the issue.

Barba-Grotowski, b. 23 This binder, indicated by Rina Skeel, was kept in the ex-office of Dorthe Kærgaard, Barba’s previous secretary. It contains a series of materials concerning Grotowski, mostly from the period 1980-1984 and dealing with organisational matters of various types. In this case, the organisational contribution by Odin Teatret consists in extra help and the usual complicity which Barba always gave Grotowski. The binder also contains official letters and telegrams from and to Barba and even a rather private letter from Grotowski to Barba. Therefore we have taken the arbitrary decision to add this binder to the series Barba-Grotowski.

18 The binder is of particular importance for the understanding of the sort of relationship which Grotowski had with Odin Teatret as well as the type of assistance and help which Odin Teatret gave to Grotowski, and the kind of solidarity which existed between the two directors, a bond which did not only affect the sphere of their work. Moreover, its reading gives a rather vivid idea of how Grotowski managed to move around Europe in spite of the often dramatic problems involved in obtaining a passport and exit visa from the Polish government. The content of this binder shows the complex network of contacts and relationships which Grotowski knew how to exploit: a network consisting of different people who helped him and who he utilised as filters, from André Gregory and Marianne Ahrne to Odin Teatret. The binder contains: - an information sheet of the meeting “Grotowski Aujourd’hui” (24 September 1989, at the Bouffes du Nord in Paris); - a memorandum on headed paper from the Nordisk Teater Laboratorium signed by Martin Berg (member of Odin Teatret’s board of directors and adviser to its publishing house) about the management of the rights for Towards a Poor Theatre by Odin Teatret (concerning the copyright, see b.24); - a detailed prospectus about Grotowski’s research programme for the Objective Drama at the University of Irvine in California; - a bibliography about Grotowski; - photocopies of an issue of the Polish magazine “Teatr” from 1985 with a long article on Grotowski; - photocopies of an article from the Italian newspaper “Il Manifesto” (13 March 1984) on the dissolution of the Teatrlaboratorium in Wroclaw; - a typewritten text in Italian entitled Realizzazioni nel periodo post-teatrale, very detailed, concerning the period 1970-1982; - an essential bibliography by Carla Pollastrelli dated September 1983 entitled Utopia del laboratorio; - a long official letter by Eugenio Barba to G. E. Rodriguez of the University of Irvine. This University had asked a few theatre people for their opinion of Grotowski’s Research Programme. Barba vigourously supports the importance of Grotowski’s research for the international theatre community. One of the questions refers to the budget, and Barba protests over the meagreness of the allocated grant. Attached to the letter there is a detailed CV of Barba and his activities; - request for a multiple Danish visa for Grotowski’s recurrent activity in Denmark; - several telegrams concerning Grotowski’s flights and travels; various copies of an official letter dated 14 June 1982 in which Barba reminds Grotowski of his obligations about a (fictitious) research project on behalf of ISTA within the field of pre-colombian indian culture in Mexico, USA and Canada. It was Grotowski’s last year in Poland and Barba wrote official letters with invented tasks and commitments to help him to obtain a visa to leave Poland; - Barba’s notes on what to do with Grotowski’s mail arriving at the Odin during spring 1982. Grotowski was in Volterra with the para-theatrical group Il Porto and Barba’s notes specify that if Grotowski sends a telegram asking for money for research, this must absolutely be sent. While Grotowski was in Italy, letters adressed to him had be opened, read to him over the telephone and then sent to him in an envelope of Odin Teatret so that they could be returned to the Odin if he changed address. In all his travels Grotowski seems to have created a system of filters which on the one hand allowed him to receive

19 news from his theatre at a time when phone calls from and to Poland were difficult and complicated to plan, and on the other, it was an efficient system of protection; - notes concerning the official Polish agency PAGART through which all payments of fees, rights, travels as well as visas and train and plane tickets were channelled; -a letter to Grotowski dated 15 February 1982 by Bent Blindbæk who founded the Århus Teater Akademi, an alternative theatre school, and wants to organise a seminar with Grotowski (in 2000 Blindbæk and his wife Inge Thorning moved to Copenaghen and created the IKC, Interkulturelt Center, a foundation with their private funds. In September 2011, after visiting Odin Teatret in Holstebro for the premiere of The Chronic Life, they decided to support some activities of Odin Teatret, among others the Gambuh school in Batuan Bali, and WIN, Workout for Intercultural Navigators, in Holstebro, a project aimed at using theatre in different social, ethnical and cultural environments); - a letter dated 8 February 1982 by Marianne Ahrne who comunicates all her addresses in India; - a list of expenses by Grotowski for his travels in India and Mexico and paid by Odin Teatret; - a contract, dated 11 September 1980 in which Grotowski accepts to collaborate with ISTA as adviser; - an official letter by Barba (one of the many to help Grotowski obtain a Polish exit visa) in which Barba peremptorily requests Grotowski to comply with his obligations in the contract for the period April-July 1981 with regard to the research he has accepted to do in Europe, America and Asia. In the letter Barba emphasises that Grotowski’s presence is absolutely necessary; - telegrams from Grotowski asking for money; - official letters to Grotowski written by Leif Beck, Odin Teatret’s tour manager and Barba’s factotum, demanding that he come to Holstebro to Odin Teatret (these are all attempts to get an exit visa); - telegrams about visas, letters or money for Grotowski addressed to Odin Teatret; - official letter of invitation to Grotowski for the second ISTA session in Volterra (August-September 1981); - letters to the Polish agency PAGART and to the Indian Embassy in Copenhagen to obtain a visa for Grotowski to do research on behalf of ISTA; - an official telegram from Barba to Grotowski (addressed to André Gregory’s home in New York) dated 19 December 1980 explaining that if Grotowski needs more time for his ISTA research, he can take it; - handwritten notes by Grotowski for a telegram to Ludwik Flaszen (to be sent by Odin) in which he urges Flaszen to prepare carefully their programme for the USA, to sign all necessary documents in his absence, adding all necessary stamps and ratifications, and suggesting speaking with the minister of culture, as well as giving detailed indications on how to contact him (Grotowski) by phone. In the same binder is the telegram by Flaszen of 29 November 1980 to which Grotowski’s handwritten notes were the answer; - letter from Grotowski to Barba dated 17.11.1980 in which he gives Barba meticulous directions on what to do if Flaszen should need to speak with him: Barba must take the message and send it to Grotowski’s next probable address. This is a good example of the complex system of filters utilised by Grotowski as result of political circumstances and material difficulties in maintaining contact with his theatre; - a telegram signed Stefa (Stefania Gardecka) - secretary for many years at the Teatrlaboratorium and very attached to Grotowski - in which she mentions delays and

20 problems with the visas for Colombia, Mexico and USA. Once again a good example of the enormous difficulties which a Polish citizen faced every time he needed a passport and visas (on returning to Poland from abroad, all Polish citizens had to return their passports to the authorities); - letter from Grotowski to Barba in which he mentions the invitation from an alternative theatre school, probably the one in Århus directed by Bent Blindbæk. Grotowski writes that he already has a visa for USA and the following day will fly to New York to immediately begin the tests at the hospital. He has already contacted Stefa (Stefania Gardecka) without giving her any precise information about the date of the tests or how serious his illness is. He has not told anybody about his illness (leukemia). [André Gregory – as Grotowski would later tell Barba - manages to include him in a group of 400 sick people who are going to test a new medecine – interferon and only two survived]. In the same letter Grotowski explains that if there is something urgent, Barba must write to Jacek Zmyslowski, his para-theatre collaborator who lives at Gregory’s home in New York. If Barba wants to speak with him (Grotowski), he must phone home to Gregory, asking for André, Chiquita (Andrés Gregory’s wife) or Jacek, and then tell them to let him speak with Jurek (Polish diminutive of Jerzy). During the period of the test and the cure Grotowski wants to avoid any private contacts. If possible, he will travel for a couple of weeks during the cure, but he will let Barba know. - telegram addressed to Grotowski at Gregory’s home, dated 15 September 1980, where Barba informs him that his visa is in order and gives him the address in Bonn where the ISTA session will take place from 1st October.

Barba-Grotowski, b. 24 This binder, with articles and documents about Grotowski, was given by Barba after the creation of the Odin Teatret Archives. It includes: - a typewritten speech by the Danish literature professor and theatre critic (also Odin Teatret’s dramaturge since 1988) Thomas Bredsdorff with the title: “I am a spectator”, delivered during the “A Banquet for Grotowski and Flaszen” 20 February 2009. It is the only preserved speech of the many held on that occasion; - contract conditions for Towards a Poor Theatre (copyright) dated August 1991.

Barba-Grotowski, b. 25: Typewritten text by the Polish scholar Zbigniew Osinski. This text cannot be consulted before 2035. It contains notes and fragments from Osinski’s journal reporting on his various meetings with Grotowski with private comments and considerations. Osinski published some of these notes between 2006 and 2008 in: “Didaskalia” no. 76, 2006 (December): Zbigniew Osiński, W Vallicelle pod Pontederą we Włoszech, 26-30 kwietnia 1988. Notatki ze spotkań z Jerzym Grotowskim, pp. 97-103. “Didaskalia” no.78, 2007 (April-May): Zbigniew Osiński, Notatki ze spotkań z Jerzym Grotowskim po pobycie w Vallicelle: maj 1988- grudzień 1989 (wybór), pp. 97-103. “Didaskalia”no. 82, 2007 (December): Zbigniew Osiński, Moje spotkania z Grotowskim. Notatki z lat 1990-1994, pp. 99-107. “Didaskalia” no. 84, 2008 (April): Zbigniew Osiński, Spotkania z Grotowskim, Pontedera, 26-30 lipca 2006, pp. 115-123. “Didaskalia” no. 85-86, 2008 (June-September): Zbigniew Osiński, Notakti z pobytu Grotowskiego w Polsce: 21 grudnia 1996 – 25 stycznia 1997, pp. 125-133.

21 “Didaskalia” no. 87, 2008 (October): Zbigniew Osiński, Spotkania z Grotowskim. Notatki: 22 lutego 1997 – 21 stycznia 1996, pp. 61-68. The binder also includes a few letters between Osinski and Barba concerning the publications of these notes.

22 * SERIES ODIN TEATRET

Labelled: Barba-Odin In December 2014, it consists of 44 binders, most of them arranged by Eugenio Barba. We assembled the series with different types of materials kept by Barba in different places (and partly in his home). The single binders were organised by Barba. It comprises materials concerning Odin Teatret from 1965 to 2008 in the possession of Barba (for example: working notes on the texts of the performances; working materials by the actors; Barba’s articles; actors’ letters addressed to Barba on various occasions, actors’ letters about the future of Odin Teatret; actors’ texts about their work; photos, articles or books utilised by Barba in connection with a new performance, or with the creation of ISTA; a miscellany of letters and materials concerning Barba’s relationship with Latin America; articles and newspaper cuttings from Barba’s mother; materials about the Sonning Prize received by Barba in 2000 from the University of Copenhagen; materials about unfinalised Odin projects; materials of various types about the creation of single performances, transcriptions of radio programmes about Odin Teatret; private and theatre photographs etc.). The binders were kept in the locked cupboards in Barba’s office and in other places in the theatre, for example in Sigrid Post’s office (Sigrid Post also keeps in a locked cupboard a copy of all posters, presentation cards, programmes of performances as well as of other activities by Odin Teatret over the years). The binders on the performances (for ex. the ones on Talabot and Mythos) contain preparatory materials of various types: Barba’s notes, drawings reproducing the movements of the actors, corrected texts, information and articles about subjects and people/characters in the performance; images and photos possibly to be used for the performances’ poster, and so on. They have been organised by Barba in this order during the working process for the performance, and later put aside without any further arrangement.

Barba-Odin, b. 1 ( Mythos testo): The binder, organised by Eugenio Barba, contains working materials for the texts of Mythos (poems by Henrik Norbrandt, handwritten notes by Eugenio Barba and the actors, poems with cuts, changes, handwritten notes, mostly under individual actors’ names; typewritten Poesie per Mythos. Proposte di traduzione, with handwritten notes by Barba; typewritten Appunti per una filosofia del mugugno (probably by Nando Taviani); a short presentation of Mythos in Italian and in Danish; a newspaper cutting on Ulysses.

Barba-Odin, b. 2 Binder 2 contains: a presentation of the Magazine “TTT” sent to the Norwegian National Council of Research with the hope of receiving a grant, dated 18 September 1964. The magazine “Teatrets Teori og Teknikk” (Theatre’s Theory and Tecnique), abbreviated as TTT, was published by Odin Teatret from 1965 to 1974 (23 issues in all). Its publication was important for Barba who was its editor, and it is a crucial document concerning his historical roots. An article about TTT is to be found in the dossier Odin Quaranta (Odin Forty Years), published in the Italian magazine “Teatro e Storia” no. 25. All copies of TTT are kept in the library of Odin Teatret. (See also the series TTT in the Fonds Odin Teatret, retrieved and acquired at a later stage).

23 Barba-Odin, b. 3 (1973, futuro dell’Odin Teatret): The binder, organised by Eugenio Barba, contains typewritten and handwritten texts by the actors addressed to Barba in 1973, with suggestions for the future of Odin Teatret after Min Fars Hus in reply to his request to describe their expectations, wishes and interests. Eugenio Barba had asked his actors how they envisaged their future and what they would most like to do. Also on later occasions Barba has asked his actors about their wishes for the future, in a collective meeting or by requesting them to write to him. (Texts and letters by Torgeir Wethal, Jens Christensen, Tage Larsen, Ulrik Skeel, Iben Nagel Rasmussen, Ragnar Christiansen and drawings by Iben Nagel Rasmussen).

Barba-Odin, b. 4 (Eugenio Barba’s sabbatical year October 1982-October 1983): Correspondence between the actors (Torgeir Wethal, Toni Cots, Ulrik Skeel, Silvia Ricciardelli, Roberta Carreri, Francis Pardeilhan, Else Marie Laukvik, leif Bech, Iben Nagel Rasmussen, Julia Varley) and Barba during his sabbatical year. Letter by Torgeir Wethal and reply by Eugenio Barba.

Barba-Odin, b. 5 (Encounter with Odin Teatret - Møtet med Odin Teatret): The folder, organised by Eugenio Barba, contains writings by the actors (Else Marie Laukvik, Torgeir Wethal, Iben Nagel Rasmussen, Ulrik Skeel) describing how they first came to Odin Teatret. There is also an Italian translation of the same writings by Else Marie, Torgeir and Iben with a note in Italian, probably by Nando Taviani, explaining how in 1968 Marc Fumaroli had asked Else Marie and Torgeir to write about their meeting with Eugenio Barba and how in 1971 the writings of Iben and Ulrik were added with the intention of publishing a book “by the actors” by Franco Quadri in Italy. The weekly reports by the actors were also kept for the same purpose (see: b. 6 in the series Barba-Odin). There is also an envelope with a stencilled text entitled Dissero (They Said), a journal compiled by Pierfranco Zappareddu with signatures and greetings from the actors, amusing or significant comments from the population of Carpignano on the last day of Odin Teatret’s 5-month stay in this southern Italian village in 1974. The journal seems to be aimed at the village’s population (Cf. in Fonds Odin Teatret, series Enviroment, the binders “Taviani”).

Barba-Odin, b. 6 (working reports - arbeidsrapporter 1970-71): The binder, organised by Eugenio Barba, contains the reports with the actors’ comments and reflections on their training which they had to give to Barba every week. They were put together in order to be published in a book “by the actors” by Franco Quadri in his Publishing House Ubulibri in Milan. See b. 5 in the series Barba-Odin.

Barba-Odin, b. 7 (envelope of photos in the possession of Eugenio Barba): Binder 7 contains: 1) Group photo in Wroclaw, Poland, Dec. 1994; 2) Group photo in Wroclaw, Poland, Dec. 1994. Also in the group are Grotowski’s previous actors Bielski, Mienkowski, plus Ludwik Flaszen’s first wife, the wife and daughter of Ryszard Cieslak, plus Zbigniew Osinski; 3) Group photo in San José, Costa Rica Taller Nacional de Danza, Nov. 1989; 4) Iben Nagel Rasmussen and Eugenio Barba; 5) Chicxulub, in Mexico 1988, rehearsals on the beach; 6) Kirsten Hastrup watching the last scene of Talabot, 1988; 7) Orissa 1983 Pralad-Natak, father and son as spectators; 8) ISTA Salento 1987: “The jump” by Kanichi Hanayagi; 9) Group photo in Bellaggio,

24 Rockefeller Foundation, conference on Interculturalism 17-24 February 1991; 10) Group photo Odin Teatret in Ayacucho, Peru, Nov. 1988; 11) Group photo Odin Teatret in Ayacucho, Peru, Nov. 1988; 12) Group photo Odin Teatret in Ayacucho, Peru, Nov. 1988; 13) Group photo Odin Teatret in Ayacucho, Peru, Nov. 1988; 14) Maybe Chicxulub, in Mexico 1988, rehearsals on the beach; 15) Chilean actor Hector Noguera, 1989, with his son and daughter; 16)-17)-18)-19): 4 photos of Jan Ferslev’s and Kai Bredholt’s trip to India (Sanjukta Panigrahi’s house). The photos 17) & 19) are portraits of Sanjukta Panigrahi in front of temples in Orissa.

Barba-Odin, b. 8: Although this binder is not in the series ISTA and assembles materials of various types, it contains interesting documents concerning ISTA and Odin Teatret’s stay in Carpignano in 1974. The binder contains articles, transcriptions of lectures, essays on ISTA, letters and notes by Sanjukta Panigrahi; 3 transcriptions of lectures on ISTA (this binder is of particular interest for research on ISTA). There are also handwritten notes, letters from Sanjukta Panigrahi in which she explains the Indian dance. Lecture in Florence, 1981, on ISTA. There is also a long text by Elsa Kvamme (notes and transcriptions on a seminar with Italian actors led by Eugenio Barba during the period in Carpignano Salentino in 1974, see b. 5): - Transcription of Eugenio Barba’s inaugural lecture at the Piccolo Teatro (September 1996) during Odin Teatret’s tour in Milano: Introduction by Gianmario Maggi (general secretary of the Piccolo Teatro) Eugenio Barba’s lecture. Topics: Giuseppe Bartolucci’s death; Realism-Opole-Actor- spectator-Black room-Training-Exercises-Why do theatre-Anthropophagy; Latin America-TV theatre - ISTA, Blois. Transcriptions of speeches during the ISTA in Château de Chambord, April 1985: - Transcription by Bernard Guillet of the meeting with E. Barba 13 April 1985 (number of pages: 23) - Transcriptions made by Christiane Giroud (number of pages: 38) - Transcription of 14 April (Barba - Kosuke about kyogen - Sanjukta) - Transcription of 15 April (Barba- Sanjukta- Kosuke- Katsuko) - Transcription of 16 April - Transcription of 17 April (Barba- Kosuke- Nando Taviani - Nicolas Peskine- Renata Scant- Toni Cots- Silvia Ricciardelli) - Transcription of 18 April (Barba- Katsuko)

- Artaud I: La metafisica. Comments and Eugenio Barba’s handwritten notes

- Artaud II: Un atletismo affettivo. Comments and Eugenio Barba’s handwritten notes

- Antropologia Teatrale e Storiografia. Comments and Eugenio Barba’s handwritten notes

25 - Mejerchol’d II: La Biomeccanica. Comments and Eugenio Barba’s handwritten notes

-Transmission: Odin Teatret teaches. Copy of Kevin Johnson’s manuscript about the master class led by E.Barba and J. Varley in Philadelphia, Pennsylvania. (21 pages)

- Primer Puente and Ultimo Puente. Text of the meeting of Peruvian group theatre in Urubamba, Peru, 1987. Encuentro de Teatro de grupo, organised by Mario Delgado. (E.Barba on Theatre Anthropology- Roberta Carreri- Iben N. Rassmussen)

- La parte dell’altro. E.Barba’s lecture at Teatro del Mercato, Perugia. 15 April, 1989

- E.Barba’s lecture at TTB, Teatro Tascabile di Bergamo

- Animus e anima. E. Barba’s lecture at TTB, Bergamo. 1 September, 1986

- E. Barba’s typewritten and handwritten corrections concerning the actor’s work and the martial arts

- Teatro mutilato. E.Barba’s lecture, Mexico City, 7 November 1984

- Transcription of Eugenio Barba’s lecture in Rovereto, 26 September, 1982

- Transcription of Eugenio Barba’s lecture at the International Theatre Training Congress, Toronto, Canada. 6 June, 1983

- Text of E. Barba’s lecture at Teatro Ridotto, Bologna, 15 October, 1985

- Den hvite Othello. A project about Othello. E. Barba’s handwritten notes

- E. Barba’s handwritten notes on Japanese concepts- Zeami-Kabuki- India.

- Teatro Politico

-Orientaliskt Seminarie. Presentation av Decroux’s arbete (Oriental Seminar. Presentation of Decroux's work). 4 typewritten pages.

- Text of a programme of Odissi dance with handwritten notes (probably by Sanjukta)

- Typewritten text on Indian dance by Sanjukta

-Meyerhold og teater-oktober’en. E. Barba’s article, 15 pages, in Norwegian

26 - Nikolai Okhlopkov. E. Barba’s article, 2 pages, in Norwegian

-E. Barba’s lecture. ISTA. Firenze 29 September, 1981

- Grotowski’s lecture

- Henri Laborit’s lecture

- Interview with Dario Fo

- Transcription of E. Barba’s seminar in Salerno: “Con gli occhi dello spettatore”. Teatro A, Salerno

- ISTA, Blois. Transcription of ISTA- Chateau de Chambord, April 1985. Second copy.

- Elsa Kvame’s transcription of E. Barba’s seminar in Carpignano, July 1974, with actors from all over Italy who had been personally contacted by the young Italian theatre director Pierfranco Zappareddu (cf. b. 5).

Barba-Odin, b. 9: Binder 9, organised by Eugenio Barba, contains a miscellany of documents, mostly on the subject of Latin America and other topics: letters for the publication of a second expanded edition of Travels with the Odin by Tony D’Urso; letters for the publication of transcriptions of Barba's speeches in magazines, conference proceedings, etc.; letters for the organisation of various events with the title “Latin America”; many letters from Mario Delgado; a document on Decroux and the Stanislavskij Fonden. (For information about the Stanislavskij Fonden see Fonds Odin Teatret, series Activities-B, b. 8).

Barba-Odin, b. 10: The binder, organised by Barba, contains articles, newspaper cuttings, tickets for Odin Teatret’s performances (among others Kaspariana in Venice) kept, mainly, by Eugenio Barba’s mother: Vera Gaeta Barba.

3.X.1969 La gazzetta degli spettacoli: Da Gallipoli a Holstebro, il lungo cammino del direttore dell’“Odin”. Nasce nel Sud il teatro dell’“uomo nuovo” Barba. By Egidio Pani 22.XI.1974 n.46 Rinascita p.27: Il fecondo ‘baratto’ dell’Odin Teatret. By Edoardo Fadini 18/19.IX.1977, La Repubblica Interview with Eugenio Barba: Quando vuoi mettere radici e cerchi di comunicare. By Ugo Volli 31.I.1973 Letter from Cesare Biarese to Eugenio Barba (about Min Fars Hus) 6.III.1973 Eugenio Barba's reply to Cesare Biarese An envelope sent by Vera Barba 31.VIII.1977, containing: 1 ticket for Kaspariana at the Biennale di Venezia XXVI festival Internazionale del Teatro di prosa (18.IX – 14:X.1967)

27 Small card of presentation for Come and the Day Will be Ours with a short article announcing Il Milione Invitation by the Festival d’Automne de Paris. Institut Culturel Italien. Dialogue between: EB and Ferdinando Taviani Newspaper cutting about Atelier in Bergamo 25.IX.1980 “Il giornale nuovo” announces a summer course on Theatre Anthropology by Eugenio Barba. Season 1980- 1981 in Pontedera 5.IX. 1977 “Il resto del Carlino” Article: Maratona di spettacoli. A Bergamo con la regia di Barba. By Giampaolo Pioli 14.VI.1980 Il giornale degli spettacoli announces a course by Eugenio Barba in Pontedera. Pages of the magazine Area Cultura: Che c’è di nuovo. Photo of Eugenio Barba 1971 “D rivista danese”: Teatro rivoluzionario in una tranquilla città di provincia. By Victor Rasmussen 28.IX.1975 L’Espresso, n.39 anno XXI “Chi vuole vendere l’anima all’angelo” By Corrado Augias 5.XI.1980 La Repubblica, parte spettacoli “Fra Barba e Grotowski c’è l’isola di Bali” by Rodolfo di Giammarco 22.X.1972 Sette Giorni, n. 280 “Papà Dostoevskij in casa Barba” by Italo Moscati (photocopies) 28.I.1992 La Repubblica, “Itsi Bitsi’ diretto da Barba all’Ateneo. Viaggi in Oriente di un poeta beat” by Nico Garrone 17.IV.1980 Corriere della sera “L’‘Odin Teatret’ di Barba al Civis. Giro del mondo sulla scena” by Maurizio Giammusso 19.V.1980 Panorama “Scuole di teatro. Chi è di scena? Tutti” by Fabrizio Carbone (photocopies) 22.X.1982 Il giornale d’Italia “A Santarcangelo di Romagna. Successo di Barba con ‘Le ceneri di Brecht’” Gennaio-marzo 1987 Lettera dall’Italia, Istituto dell’Enciclopedia italiana fondata da G.Treccani “Il cinquantenario pirandelliano” by Ferdinando Taviani Within this magazine: 6 typewritten pages by Nando Taviani: Dialoghi Teatrali Article on Bustric “Il mago del palcoscenico” in which Eugenio Barba is mentioned 6.IX.1977 La Stampa “A Bergamo insieme all’Atelier internazionale. Capitale teatrale del mondo con 30 compagnie povere” by Giorgio Calcagno 12.X.1976 La Nazione “L’Odin Teatret oggi al Rondò. Il famoso laboratorio interscandinavo presenta: Come! And the Day Will be Ours” da P.E.P. 27.II.1972 Il giorno “Ferai: Impenetrabile ma affascinante” by Morando Morandini (photocopies) Photocopies of the same article together with other photocopies of articles about Ferai 27.2.1972 RAI Servizio Stampa “Ferai de Peter Seberg” da CIP “Televisione e radio. FERAI” 28.2.1972 La voce Repubblicana “TV: Il lungo viaggio del mito di Admeto e Alcesti” 27.2.1972 Il Tempo “San Remo – Festival” da M. Dol. 15.IX.1983 La gazzetta del mezzogiorno. Cronaca di Lecce “Eugenio Barba nel Salento. Ritorna l’uono del terzo teatro” by Roberto Buia 26.II.1972 Radio Corriere Programma Sperimentali per la TV: Ferai (photocopies) 3.III.1978 Rinascita “Teatro e dintorni. L’utopia di un teatro diverso” by Eugenio Barba

28 11.IX.1981 Rinascita “Eugenio Barba A Volterra per imparare e insegnare a imparare” by Piergiorgio Giacché 26.V.1993 La Repubblica “In scena a Fara Sabina Kaosmos, progetto dell ‘Odin sull’incontro di culture. In viaggio con Barba alle porte del regno” by Franco Quadri 19.VIII.1981 “Barba a Volterra” by Maurizio Tancredi 19.XII.1972 La nazione (Firenze) “La lezione di Olstebro” di Paolo Emilio Poesio 4.I.1973 An empty envelope with the stamp of Odin (NTL) 30.IX.1972 La Notte, Milano “Una recita per intimi” 30.IX.1972 “Al festival internazionale della prosa di Venezia. Un omaggio dell’italo- scandinavo Barba al ‘sottofondo’ esulcerato di Dostojevskij” by Antonio Valenti “Sessanta al buio. L’Odin Taetret viene dalla Danimarca con una recitazione piena di suggestioni indiane aventi il sapore di una beffa” 29.IX.1972 “Un’aria di russi malinconica e gaia ‘La casa del padre’” by Giorgio Polacco 18.X.1992 Il Tempo “L’autunno dei veri maestri in scena con Eugenio Barba” by Dante Cappelletti 28.X.1972 Corriere del Ticino “La casa del padre dell’Odin Teatre” (sic) 28.IX.1972 La Gazzetta del mezzogiorno “Alla mostra – teatro di Venezia Dedicato a Dostoevskij un viaggio nella memoria...per iniziati” by Egidio Pan (photocopies) Marzo 1972 Sipario “Viviamo tutti nella casa del padre” by Mario Raimondo (photocopies) 29.IX.1972 Avanti, Roma “I fantasmi di Dostojewsky” by Ghigo de Chiara (photocopies) 29.IX.1972 Messaggero Veneto “La casa del padre a Venezia per un omaggio a Dostoievsky” by Donato Paveglio (photocopies) 11-X.1972 L’osservatore romano “L’avanguardia al XXXI festival della prosa. Illuminazioni cristiane nel ‘Min Far Hus’ di Barba” by Gian Filippo Belardo (photocopies) 29.IX.1972 Gazzetta del popolo, Torino “Dostoevskij (per sessanta) dispensa emozioni a Venezia” by Guido Boursier (photocopies) 1.X. 1972 Umanitá, Roma “Dostoevskji secondo l’Odin Teatret’” by P.Massearano Taricco 29.IX.1972 L’eco della stampa “Al festival della prosa. ‘La casa del padre’ con l’Odin Teatret” by Massimo Dursi (photocopies) 29.IX.1972 Il tempo, Roma “Sessanta privilegiati in una finta Russia” by Giorgio Prosperi 5.X.1972 L’osservatore romano, Città del Vaticano “Dedicata a Dostoevskij ‘La casa del padre’ di Eugenio Barba dell’Odin Teatret” by Gino Cucchetti 20.I.1973 La civiltà cattolica “XXXI Festival internazionale del teatro di prosa “Min Far hus” 13.X.1972 an empty envelope sent by Eugenio Barba to his mother Vera Gaeta 15.IX.1972 “Con l’autostop verso il successo” by Dario Zanelli (photocopy) 8.III.1972 L’osservatore romano “Barba: il teatro dell’identità” by Enzo Natta (photocopy) 29.IX.1972 La nazione “L’angoscia di Dostoievskij” di Massimo Dursi (photocopy) 29.IX.1972 La stampa “Dostoevskij sul divano” di Alberto Blandi (photocopy) 29.IX.1972 Il giorno “Farfalle di fuoco per sessanta persone” di Roberto de Monticelli (photocopy)

29 29.IX.1972 Il resto del Carlino “ ‘La casa del padre’ con l’Odin Teatret” by Massimo Dursi (photocopy) 8.X.1972 L’espresso “Dostoievski è uno che sospira sempre” by Corrado Augias (photocopy) 11.X.1972 L’osservatore romano “Illuminazioni cristiane nel ‘Min Far Hus’ di Barba” by Gian Filipo Belardo (photocopy) 29.IX.1972 L’unità “Strani ed esclusivi riti nel nome di Dostoievski” by a.l. (photocopy) 29.IX.1972 Avanti, Milano “L’aggressività di Barba e il formalismo di Ricci” by Carlo Fontana (photocopy) 29.IX.1972 Paese sera “ ‘La casa del padre’ tranello per sessanta” by Elio Pagliarani (photocopy) An envelope containing photocopies of these articles: 23.IV.1986 Il giornale “All’Elfo ‘Oxyrhyncus Evangeliet’ di Barba” 21.IV.1986 Corriere della sera information about “Il Vangelo di Barba” 27.iv.1986 L’Espresso information about “Il Vangelo...” in Milano 18.IV.1986 La repubblica “Un’anarchia organizzata per l’holding del teatro alternativo” 18.IV.1986 La repubblica “Se la storia entra in scena” by Anna Bandettini 26.IV.1986 Le prime Teatro, Milano “Viaggio esoterico nella biblioteca di Babele” by Ugo Ronfani 23.IV.1986 Dissipario “il gesto inutile di Antigone” by Gianni Manzella 25.IV.1986 Avvenire “L’Odin Teatret “I cupi fantasmi di Oxirinco” by Domenico Rigotti 25.IV.1986 Il Giornale, Milano “Un piccolo sarto ebreo cerca il Messia. L’Odin glielo fa trovare tra i briganti” by Magda Poli 25.IV.1986 L’Unità “Fra cangaceiros e vecchie Singer arriverà il Messia?” by Maria Grazia Gregori 8.V.1986 Corriere della sera information about “Elfo/Incontro con Eugenio Barba” 8.V.1986 La Repubblica “Incontro al Teatro Elfo con il leader dell’Odin Teatret Eugenio Barba spiega Oxyrhinco” 8.V.1986 Il Manifesto “Incontro con Eugenio Barba” 8.V.1986 L’Unità information about “Incontro con Eugenio Barba” 23.IV.1986 L’Unità “Il Vangelo secondo il sarto ebreo” by Mario Sculatti 23.IV:1986 La Repubblica “In passerella i protagonisti di un Vangelo tutto in rosso” 17.IV.1986 Viva M “Oxyrhincus” by M.P. “Oxyrhincus Evangeliet. Eugenio Barba è a Milano con il suo Odin Teatret” 17.IV.1986 La Repubblica Teatro by Ugo Volli 27.IV.1986 Paese sera “Il rabbino Antigone e il figliol prodigo” by Franco Cordelli 10.V.1986 Corriere della sera “Barba convoca le prime donne del teatro” by Paolo Calcagno 10.V.1986 Il Giornale “Una lezione tenebrosa” by Paolo Bosacchi 10.V.1986 La Repubblica “Il mio Vangelo? Un piccolo gesto contro l’orrore” by Anna Bandettini 26.IV.1986 Il Manifesto “Alla fine c’è solo la rivolta” by Oliviero Ponte di Pino 18.IV.1986 La Repubblica “Quel rosso, velenoso incrocio che mischia teologia e politica” by Ugo Volli 11/12.IV.1986 Progetto Teatro “Il crudele inganno della storia” by Renata Molinari

Barba-Odin, b. 11:

30 Originally kept at Barba’s home. It contains some of the seminar programmes organised by Odin Teatret from 1966 (the same year Odin moved to Denmark) to the middle of the 1970s. The programmes of the Japanese and Indian seminars are missing (cf. also the binders - still to be inventoried - kept in the entrance to Samarkand called “Bali seminarer – India – 1974-1975 – Japan – 1976-1977” with newspaper cuttings on the various Odin Teatret international seminars). The programme for the first seminar is missing since it was prepared in Oslo and took place in July 1966, a month after the Odin’s transfer to Denmark (with Grotowski and Ryszard Cieslak from the Teatrlaboratorium, Stanislaw Brzozowski from the pantomime theatre of Henryk Tomaszewski, Wroclaw, and Barba with his actors). Cf. also Ferdinando Taviani, Il libro dell’Odin, and Eugenio Barba, Land of Ashes and Diamonds. Cf. also the Fonds Odin, series TTT. The programmes for the seminars are: 15-21 April 1967 (Om Tjekkisk Teater, seminar on Czech Theatre. With Vostry, Smocek, Kacer, Krejca, Kraus, Tomasova, Triska, Kouril); 14-28 July 1967, seminar with the Berliner Ensemble (which refuses to participate at the last minute), Jerzy Grotowski, Ryszard Cieslak, Stanislaw Brzozowski, Renée Saurel, and Charles Marowitz. 16 April-1 May 1968, seminar on The Myth of Commedia dell’Arte (with Giovanni Poli, Dario Fo and Franca Rame). Dario Fo and his company present the production La signora è da buttare. 16-30 July 1968 (seminar with Stanislaw Brzozowski, Jerzy Grotowski, Jolanda Rodio, Carlo Colombaioni, Romano Colombaioni, Alberto Vitali, Marc Fumaroli and Henri Boutillier). 11-16 April 1969 (seminar on Det Sceniske språk, The Language of the Stage with Etienne Decroux, Dario Fo, Jacques Lecoq, Martin Esslin and Mino Vianello). 14-31 July 1969 (seminar with Grotowski, Joseph Chaikin from the Open Theatre and Torgeir Wethal). 16-21 April 1970 (seminar on Teatrets Kilder, the Sources of Theatre with Jean-Louis Barrault, Jacques Lecoq, Dario Fo, Eric Bentley, Thomas Bredsdorff, Ferruccio Marotti, (who does not participate at the last minute), Renée Saurel and Mino Vianello). 29 October-3 November 1970 (seminar on The Myth of Political Theatre with the Swedish groups ABF’s Oppna Teater, Grupp Q, Nationalteatern, Populärteatern,the Danish Fiolteatret, Banden, Debatteatret, and the Finnish Collegium Artium). 1-6 April 1971 (seminar on English Fringe Groups (with Freehold, Pip Simmons’ Theatre Group, The People Show, Theatre Workshop Edinburgh). 25 February-1 March 1972 (seminar on Commedia dell’Arte with Angelo Corti, Marisa Flach, the Mimogruppo, Giovanni Poli, Giovanni Terelda and Enzo Turin).

Barba-Odin, b. 12: The binder, organised by Eugenio Barba, contains documents regarding different projects. - Palermo 2001, title: Isole di libertà. Voci e figure tra meticciato, rituale e resistenza (Islands of freedom. Voices and figures between mixed races, rituals and resistence). The project was not realised (presentation of the project, newspaper cuttings, on “meticciato” - métissage, mixed race -, budget, accounts and letters). - Co-productions with Italy for performances and projects (both finalised and not): Judith, La sorella di Shakespeare, La casa del padre e la sua memoria vivente.

31 - Documents about the Luigi Pirandello International Prize awarded to Barba in 1997 in Palermo, consisting of a tablet of about 600 grams of pure gold with a bas-relief of Pirandello’s profile on it. At the ceremony, in his acceptance speech, Barba said that he would transform the sculpture into earrings as a prize for theatre groups and individuals who “in Australia, Africa, Asia, Europe, North and South America extend the margins, yet are not marginal”. Barba had the Pirandello gold tablet melted down by the Mexican artist Marco Vallejo and made into earrings. He sent one single earring to about 100 groups and individuals who, according to him, “defend the margins” together with a copy of his speech and a montage of four photos showing the process of melting and transformation of the tablet. In February 2010, Barba gave to OTA an envelope with the negatives of all the photos of the melting down process as well as the montage of the four photos he had selected and sent together with each earring and his speech (see also the series Awards). - Contacts with publishing houses. - Lettera a Fabrizio Cruciani 1995 about the empty grave of Walter Benjamin at Port- Bou, published by Eugenio Barba in the magazine “Teatro e Storia”. - Letters from Fabrizio Cruciani to Barba, among which the last one before his death, dated 3 August 1992.

Barba-Odin, b. 13: Talabot. The binder, organised by Eugenio Barba, contains various articles by the anthropologist Kirsten Hastrup, kept by Eugenio Barba. Barba planned a performance with an anthropologist as main character. This was to be Talabot with Kirsten Hastrup as protagonist. She was an anthropologist and the partner of Peter Elsass, a psychologist who is an old friend and collaborator of Odin Teatret. Cf. also the binder 15 of this series, and the binder 21 of the series Barba-Lett-A (with many articles by and about anthropologists, indicating Barba’s search for an anthropologist as main character for his new production, before his choice fell on Kirsten Hastrup who became the protagonist of Talabot). Cf. also the Fonds Odin Teatret, series Odin-perf, b. 11.

Barba-Odin, b. 14: The binder, organised by Eugenio Barba, contains a miscellany of documents. I.e.: an article, 2007, by Ludwik Flaszen, published and unpublished articles, probably, from the 1970s. Explanation of ‘what is Odin’, from approximately 1980.

Barba-Odin, b. 15: Talabot. The folder, organised by Eugenio Barba and entitled Materials for Talabot comes from Sigrid Post’s office. It contains: the article by Kirsten Hastrup Out of Anthropology (about her being the “object of representation” by Odin Teatret in 1988). 51 episodes from her life written by K. Hastrup, each of one page, prepared for Odin Teatret. Drawings of Odin spaces. Drawings of the poster for Talabot (by Peter Bysted). Notes by Barba on Hastrup’s texts. Project Talabot and newspaper cuttings (i.e.: photo of the Giacometti statue which inspired the poster). Goethe’s dedication in his Faust (materials from Faust at ISTA session in Salento 1987). Materials for texts for the actors. Letters from Kirsten Hastrup to E. Barba, also on her experience as a performance character are kept in Barba’s personal correspondence file (folder 21 of the series Barba-

32 Lett-A). Cf. also the folder 13 of this series, and the folder11 of the Fond Odin (series Odin-perf). Later a typewritten text by the Danish anthropologist Kirsten Lauridsen Talabot 20 år efter has been added. Materials about the Talabot ship downloaded from the internet (www.warsailors.com) on 4 September 2010.

Barba-Odin, b. 16: Photos of Kaosmos rehearsals: the floor is covered with chalk drawings which were eliminated from the final version of the performance. Sketch by Peter Bysted for the poster for Kaosmos (rejected by Eugenio Barba).

Barba-Odin, b. 17: Original handwritten poems by Pablo Neruda given to Eugenio Barba as a present by Gloria Zea, director of the Museum of Fine Arts in Bogota.

Barba-Odin, b. 18: Text of the performance Brecht’s Ashes belonging to the actress Silvia Ricciardelli with her notes in different languages.

Barba-Odin, b. 19: Text of a radio programme by RAI (Rome) about Ferai, 1969. This is a radio programme by the theatre historian Ferruccio Marotti and marks the interest and collaboration of a group of Italian theatre scholars (Marotti, Ferdinando Taviani who became Odin Teatret’s literary adviser in 1973 and is the author of Il libro dell’Odin, Fabrizio Cruciani, Nicola Savarese and Franco Ruffini).

Barba-Odin, b. 20 (1/2) The binder, organised by Eugenio Barba, is entitled Ur-Hamlet and contains:  DVD of Ur-Hamlet 22.03.06 (entire performance with fixed camera), and the first version of this production, called The Prince;  List of participants  Hamlet legend (from Wikipedia) - Email from F. Taviani to E. Barba about different Hamlets - Image of the horse E. Barba had in mind for Augusto Omolú-Hamlet - Budget - Email from Exe Christoffersen to Rina Skeel - Email from E. Barba to Jovan Cirilov - Emails from Brigitte Cirla to E.Barba and from Barba to B.Cirla - Information sent to participants - Minutes of meeting in Helsingør 28. 02.2005 - Emails from Hans C. Gimbel to E. Barba and Barba’s answer - 27.02. 2004, Letter from E. Barba to Trevor Davies, Hans C. Gimbel (Copenhagen International Theatre) describing how the project was born etc.; - 20.05.2005, Email from light designer Jesper Kongshaug to E. Barba, and Barba’s reply - E. Barba’s notes

33 - Photo of Bakary Sangaré - Photos of bodies - 10.01. 2005 email from F. Taviani to E.Barba - 7.04.2005, “Hamletic notes” (“appunti amletici”) - Contract with Luca Ruzza - Letter from L. Ruzza to E. Barba - Latin text by Saxo Grammaticus - Danish text - Italian and English texts - Prince H’s rules of government - Pictures from Commedia dell’Arte - Synopsis and description of the project - Visiting cards from staff responsible for the Hamlet Summer Festival - 15.12.2003, Confirmation of project - Letters concerning organization (Trevor Davis-Barba) - Letter concerning organization: Japan, Bali, music, lights - Extra texts - Calendar and time schedule - Scenographic concept: drawings and CD Rom with images and drawings - Budget for the whole project - Specified budget for stage and light design - Specified budget for sound design by Dominique Pascal

Barba-Odin, b. 20 (2/2) Kept separately in the “document room” in a bigger folder: drawings by Luca Ruzza for Ur-Hamlet in Kronborg (2006).

Barba-Odin, b. 21: The binder contains photos of various types. Some are private, others concern Grotowski and still others Odin Teatret. They were kept in Barba’s home, not in a binder, but in small envelopes (which have been preserved). On most of them Barba has noted the date, the event, and the name of the people on the back of the photos. The binder contains: 1974, photos from Carpignano, first “festa de lu mieru” (wine festival); 1962, Grotowski in China (Shanghai); 1987, Grotowski, Roberto Bacci and South American groups after a meeting; 1972, Holstebro: training with Cieslak; 1994, Pontedera. Grotowski. Photo by Mike Elster, the Welsh film director who made a documentary film in 1963 about Grotowski’s theatre in Opole; 1981, ISTA Volterra: Dario Fo, Barba and Grotowski. Photo by Nicola Savarese; 1994, 2 photos of Grotowski at the 30th anniversary of Odin Teatret in Holstebro; 1971, photo of Apocalypsis cum figuris in Holstebro; 1971, several photos of Grotowski in Holstebro (during the seminars, sunbathing, etc.); 1981, ISTA Volterra. Roberto Bacci, Sanjukta Panigrahi, Eugenio Barba, Katsuko Azuma, Nando Taviani; 1988, Bologna, honorary doctorate. Official and less official photos; Photo of Barba as a sailor with a colleague on the Norwegian boat “Talabot” (1956);

34 2003, Warsaw, honorary doctorate; Photo with Alina Obidniak, Polish theatre director who had studied with Grotowski at GITIS in Moscow; Photo of The Million by Saul Shapiro, an American photographer living in Århus; Photo of The Million by Tony D´Urso; 1968, photo of Barba with his actors at his home; 1961, several photos of Barba in Poland with friends; 1989, photo of a dinner at the restaurant Camille in Holstebro for the 25th anniversary of Odin Teatret; 1958, photo of Eugenio Barba in Athens; 1981, photo of EB with Katsuko, a friend of Katsuko and Judy Barba in Holstebro; 1971 and 1978, photos with Christian Ludvigsen (with Barba dressed as an Arab and playing chess); Århus, March 2000; Various photos (training, Encuentro Ayacucho, etc.)

Barba-Odin, b. 22: It contains materials of various types: invitations to Barba, honorary doctorates (University of Plymouth), organisational correpondence for projects, letters concerning the planning of Odin’s 40th anniversary and for the international symposum in Århus in 2004 “Why a Theatre Laboratory?” (see also the series Awards).

Barba-Odin, b. 23 This binder, arranged by Barba and handed over by him to the Odin Archives (October 2008) contains photocopies of articles by several authors on a variety of arguments. For example, an article by Andrew White on the influence of yoga and occultism on Stanislavski’s system; an article by Jean Graham-Jones The Theatre Scholar as Coyote; an article by an anthropologist describing the habits of an African tribe from the perspective of Hamlet; a series of Barba’s typewritten texts and photocopies of articles on various topics: a short intervention on Atahualpa del Cioppo, his speech on the occasion of his Pirandello Prize, open letters to theatres, people (among others Jerzy Grotowski); materials Barba has sent to Franco Perrelli for his book Gli spettacoli di Odino.

Barba-Odin, b. 24 This binder, handed over by Barba to the Odin Teatret Archives in May 2009 and previously kept at his home, contains a series of typewritten texts of his articles or transcriptions of lectures, often with handwritten corrections. It has not yet been checked against the binders Eugenio Barba – Writings. It includes: - Bertolt Brecht’s Poison, with a photocopy of the article in Danish (published in “Politiken” 8.2.1998); - Sanjukta (in Italian); - Dario Fo e Franca Rame: amicizie di un altro millennio; - Homo Viator (in English); - Identidad cultural e idendidad professional - Lo spazio paradossale. Risposte a Renata (Molinari), about the movement of Third Theatre and its demise;

35 - A letter to Nitis Jacon (on the influence of Latin American theatre on EB’s work. In Spanish and Italian; -Il ritorno degli antichi dei (article dedicated to Jan Kott and published in the issue of New Theatre Quarterly dedicated to Jan Kott); - Reflexiones (on Rencuentro Ayacucho ’88); - Theatre labourers; - Tradizioni e tradimenti (transcription of a lecture in Rovereto, Italy, in September 1982, not checked by EB; - Il corpo credibile; - La memoria dei sensi; - L’intellettuale del teatro contro la dittatura del presente (about Christian Ludvigsen); - Lampposts and dingos (in English and Italian); El tiempo de la memoria (a three-day seminar by EB, trancription by Christine Graves, Meeting of Peruvian Groups in Urubamba, Peru, October 1987, not checked by EB); - Ricordo di Xavier (about Xavier Fabregas, 1987); - The fiction of duality (in English, French, Spanish and Italian); - Eurasisches Theater; - Chiaroveggenza (1989); - Anthropological theatre (in English, French, Danish and Spanish, 1987); - Uomo-donna o animus-anima; - Introduzione all’Antropologia Teatrale (in Italian, Spanish, English and German); - Theaterantropologi: første hypoteser; - Seminar by Eugenio Barba (transcription. The first sentence is: “Il primo incontro con Brecht ebbe per me un sapore di vomito”. Dated 23-4-1980. Rome); - Noh – An Anthropological Approach (5 November 1979); - Museum des Theaters (1979) Also in Spanish and French; -Kathakali (1978) In Danish and Italian; - Un’offesa alla natura. EB’s interview by Per Moth for “Rampelyset”, the magazine of the Danish theatre amateurs, January 1977 (also in French, Spanish and English); - A letter to Richard Gough; - A letter to Richard Gough accompanying an interview “Conversation with EB” about Third Theatre; - Senza illusioni (February 1978); - Interview with no title, with many corrections in Italian and French, apparently from 1976; - Article on the relationship with Holstebro (plus a short text by the Swedish sociologist Ingvar Holm, Ferai’s audience, 1970), in Danish and French, dated August 1973; - Barba en Ayacucho, 1978. Interview by Mario Delgado; - Article in Danish, 1978 - Transcription of a speech at the Venice Biennale 1975, with indication “videotape projections”. Photocopies; - Bergamo 7 September 1977 (Second Meeting of Third Theatre organised by Teatro Tascabile di Bergamo); - one page presentation (apparently) for the film In Search of Theatre, signed Odin Teatret; - Transcription of an interview with Barba by Antonio De Paolis, March-April 1976; - Text of a film;

36 - Text based on an interview with Barba by Ferruccio Marotti for RAI at the Venice Biennale, September 1969, after the presentation of Ferai; - Barba’s text for Torgeir Wethal’s film about Vocal training for RAI; - En kommentar af Eugenio Barba; - Transcription of a several days’ seminar for actors and directors, Carpignano, Italy, July 1974; - Transcription of an international seminar at Trappeto, Sicily, Ricerca teatrale e diverso culturale. 8-10 May 1980 (on theatre anthropology, but with a suggestive beginning about Ludwik Flaszen - who was present - and Grotowski); - Postface à l’edition danoise de «Le théâtre et son double», published in the Danish edition of Artaud’s book by Arena in 1967; - A couple of pages of a “questionnaire” by Marc Fumaroli, and Barba’s answers; - Creation of a Rift-Theatre (1964); - Alcune osservazioni connesse al soggiorno in un circo bulgaro (original texts in Italian and Polish of the report by Eugenio Barba to the Polish Ministry of Culture after his working period at a Bulgarian Circus during summer 1962); - L’impossibilité de jouer Hamlet (on the production Studium o Hamlecie by Grotowski, 1964). Photocopy.

Barba-Odin, b. 25 Binder organised by Eugenio Barba, on the back of which he has written: “Testi Sanjukta Fara Sabina - Theatrum Mundi - Faust - 4 poems - K-Evangel - Don Giovanni”. It comprises material mainly concerning the texts for several “Theatrum Mundi” or unfinished productions about which Barba had relatively few materials. They are however rather interesting, especially those about Don Giovanni andK-Evangel, a production which was never made. The binder contains 4 envelopes with these contents: ENV.1: Materials for Don Giovanni all’inferno, a production commissioned by the Festival of Ravenna (Italy) to Odin Teatret in 2006. It was a performance in two parts, one closer to Da Ponte’s libretto, the other based on a development of the actors’ scores and the performing space of Mythos. The music was performed live by a chamber orchestra with ten musicians and an Indian classical flautist, and adapted from Mozart’s opera by Raúl Iaiza. See also the material for the performance’s programme, and the Ravenna Festival’s book-programme for 2006; - a sheet of paper with only one sentence, presumably for Don Giovanni: “senza la chiesa non c’è neanche l’inferno” (without the church there is not even a hell); - the text of Da Ponte’s libretto, with underlined fragments chosen for Odin Teatrets’s Don Giovanni all’inferno (first part of the performance); - the final text of the second part of the performance; - the text of Mythos (used in the second part of Don Giovanni) with notes concerning changes; - letters by Raúl Iaiza, assistant director, who had adapted Mozart’s music for a chamber orchestra. ENV.2: Various materials about K-Evangeliet, a production planned by Barba over a long period between the performances of Mythos and The Dream of Andersen, but never finished and perhaps not even begun. This material is interesting in order to understand how ideas about a new Odin production arise; - handwritten “improvisations” by Franco Ruffini, Nicola Savarese, Mirella Schino on subjects given by Barba during the session of the University of Eurasian Theatre in 2001;

37 - a typed text, probably by Nando Taviani, Odin Teatret’s literary adviser, which describes the birth of a production (and also the activity in Scilla), proposing a range of ideas; - photocopies from a book by Ivan Havener on the “Q-Gospel Tradition” (the collection of Jesus’ sayings which, according to some theologians, constitute the source of the Gospels) which is the departure theme of the performance. (Q = quelle, source, in German); - several poems in Danish by Iben Nagen Rasmussen on biblical subjets which Barba had asked her to write for the performance; - an unsigned note on improvisation as “fast montage”, probably by Nando Taviani; - an unsigned letter from Gordon Craig to Pierpaolo Pasolini, invented by Nando Taviani. It treats subjects which are parallel to the performance, but not connected directly to it. ENV. 3: Material about the work on the text for various Theatrum Mundi productions, often on the subject of Faust, Hamlet and Don Giovanni, made by The Theatrum Mundi Ensemble together with Odin Teatret’s actors (concerning TM, see the binders ISTA and related bibliographies). The Binder contains: - fragments of texts (for ex. sent by Judy Barba who had corrected the English, ideas and propositions by Nando Taviani and notes by Barba); - text of Ego Faust (Bologna, Bielefeld and Copenhagen 2000); - photocopies of the poem “Hamlet” by Boris Pasternak, used for Theatrum Mundi with the theme of Hamlet; - Text of a Viking poem on death, and a page for the programme of Theatrum Mundi in Copenhagen 1996; - Material for the Theatrum Mundi The Island of Labyrinths, Copenhagen 1996; - Barba’s text on the term “to tell, to narrate” (fortelle) for a Danish Encyclopedia (Brøndums Encyklopedi), both in Danish and Italian. Very interesting. ENV. 4: Further written “improvisations” by Franco Ruffini, Mirella Schino and Nicola Savarese on the word “sale” (salt), clearly related to the production Salt. These improvisations are presumably from The University of Eurasian Theatre 2001 since there is no text by Nando Taviani who was absent from Scilla because of his father’s death.

Barba-Odin, b. 26 The binder contains the typewritten text of the speech (in Spanish and in Danish) by Malco Oliveros organizer of the “Nordiske scenekunst Festival”, held in Aarhus in April 1995. The Festival is dedicated to Odin Teatret. Photocopy of an article (100.000 kr. til norsk forfatter fra Odin-Folket) published in Holstebro Dagbladet, 11 September 1984, concerning a new prize in honour of Jens Bjørneboe. A photocopy of a paper (January 17, 1990) with five poems by Nina Zivancevic, one entitlted Eugenio Barba’s Marriage with God.

Barba-Odin, b. 27 The binder contains: - A notebook with Barba’s notes. It covers fifteen years, from 1968 to 1984. It is particularly interesting, although difficult to fully interpret, since they are sporadic notes taken during rehearsals or training: the director’s associations, indications to be given to the actors, “rules” of behaviour, general considerations, quotations, reflections on the actor’s improvisations after the task they had been given, photocopies of texts to be used,

38 notes on the different montages (successions) of the scenes of a performance, etc. The notes are mostly in Norwegian, especially for Min fars hus. Later they are also in Italian. They are mostly sentences, or even odd words. In a certain sense it is like entering the organic chaos of thoughts in the director’s head during his work with the actors. - The first notes (dated 1968) are on the subject of the Russian Jurodostvo, the men “mad” for Christ. - A letter from Marc Fumaroli suggesting themes for the next production (Ferai). - Notes on the jobs that the actors should do (e.g. directing an external group of children or handicapped people, etc., organising the cleaning of the theatre, making a journey, about the importance of milk, vitamins, etc.). - Notes on principles in Kabuki, classical ballet and biomechanics (apparently a list of fields of training, or of possible tasks for the actors) and instructions to read books on history of the theatre. -Notes for a possible task: to build micro-performances utilising the old ones, Ornitofilene or Kaspariana. The need for a training which experiments to be done by the actors with more experience. Rules for the youngest actors (e.g. they must write weekly reports). The importance of building intense but not “expressive” physical actions. - Notes on the elementary, basic training and reflections on the significance of weight. - Notes on the vocal training (apparently tasks for the actors: Orpheus who enthralls the animals, the voice of Ophelia drowning, a fakir who charms snakes, sounds of whales and whalers). It is worth noticing Barba’s tendency to give tasks that involve opposites: the hull of a sailing ship and its sail, the whales and the whalers. Other vocal exercises are in pairs: speaking with the same colour of voice but with a darker or clearer tone than the companion. - Notes on the meaning of technique, on the psychological consequence of the training, how training affects the actor’s awareness and transforms it. - Notes on UNESCO vinyl records with samples of Asian music which the actors listen to and then imitate: Kechak from Bali, Indian Kathak, a Pakistani singer. - Notes on more general subjects: two methodological roads exist, the first is simpler, yet more banal, and consists in interpreting the task; the other is more complicated, consisting in translating the task, a process which is tied to the actor’s affective ability to enable the emerging of his/her own hidden humanity. Theatre is the surfacing of this humanity. How to trasform an opening into a new road. The most important is the crossroad. A sentence for the new production: “I have to set out on a path. The point of departure will be: what is light?” - 1971: improvisations with a sheet on the floor which seem to anticipate Min fars hus, the performance on Dostoievski’s biography. - Notes on intellectuals that get married to the “people”: just like Stavrogin and his lame wife. Barba asks the actors to improvise episodes on Dostoievski which don't exist in his real biography. Barba elaborates further asking the actors to repeat their improvisations but placing these twenty years later in time. These are some of the indirect ways which Barba uses to extract from the actor something which is also deeply personal. The aim is to reach what Barba today (2010) calls “the angelic language”, the language that conveys simultaneously many different and contradictory meanings. This way of working characterises the rehearsals of Min fars hus. It was to be found in the earlier productions which had a written play as the point of departure, although reshaped by the director. It will reappear somewhat differently in the following productions, after the great changes during the period in Carpignano in the region of

39 Salento in southern Italy (1974), when Odin Teatret began with open air and itinerant street performances as well as barters. The reason for Barba’s change in his way of working is due to the fact that by now the older actors have so much experience that this type of improvisation no longer succeeds in breaking their clichés - and that the younger actors do not have enough experience of this kind of work. - Notes on small changes to make in the performance (they seem to be the sort of notes Barba makes whenever he sees a run-through): “boots”, “put a weight on the stomach”, “extinguish the candle with a sibilant sound”. - Notes on tasks for the actors: the “narrative roulette”, that is, the invention of episodes which do not exist in Dostoievski’s life, but told as if in a literary salon, stressing Dostoievski’s clumsiness, his “absurdity”, etc. - Random notes: a farmer is so mild-tempered that he succeeds in speaking to a wolf, and then, together with the other farmers, he brutally kills Dostoievski’s father. The aristocrats in the living room tease Dostoievski because of his shyness. Dostoievski’s arrest, trial and false execution. Achmatova’s Requiem. Barba makes the actors read not only D.’s novels, but also other authors such as Tolstoi, Leskov. Improvisation: after Dostoievski’s speech at the inauguration of Pushkin’s monument, three students discuss how to become writers. Another improvisation: a feverish Dostoievski fantasises on Mother Russia (who, for Barba, is represented by all the humble characters played by Else Marie Laukvik). - Notes on how to transform actions (the action of writing is made through kisses). A page with the actors’ answers to Barba’s questions: what characterises the “people” (heavy boots, beer drinking. There are also a lot of slogans such as “roses for the people” “nobody is perfect without the people”, etc). Then an underlined sentence: the action takes place in Dostoievski’s mind an hour before his false execution. On another page: the aged Dostoievski reviews his whole life. A sentence by Dostoievski (from The Idiot): “at times one unconsciously recalls a thousand small things, for example when being taken to the scaffold”. It will later become the motto for the performance. - A note: “Angela gives her impressions.” [Angela Paladini was a student from the University of Rome who was following the rehearsals and about which she was writing her thesis.] - Various pages on the rehearsals for The Million, when Barba still believed it was a performance about Bertolt Brecht’s life. Several poems by Brecht, photocopied, cut out and glued: many will become the text of Brecht‘s Ashes 1980), and later of Great Cities under the Moon (2000). -Notes from 1978 to 1981 about improvisations and training. Some of these notes seem to be made during the second sessions of ISTA (there is a reference to Edward Bond, a playwright whose play Narrow Road to the Deep North was rehearsed with five actor- participants as an internal performance at the ISTA session in Volterra in 1981). - Notes on themes for “the next production”. - A few blank pages, then the notes for “The Dead” begin - a work in progress with all the actors in preparation for a new production. The subject was taken from a short story by Borges which took place among Uruguayan outlaws. These are at the origin of the cangaceiros (outlaws from the desertic north-east part of Brasil) who were to be the protagonists of The Gospel according to Oxyrhincus. (cf also Fonds Odin Teatret, Series Performances-A, b.4). - Lists of “characters” always with their age (e.g. Barba Gato/Anhanguera, the old devil, 25 years). List of films from Brasil which the actors and Barba watch. Notes on the

40 actors’ actions (“TG [Torgeir Wethal] sits, reads, tears out the page he has read, listens to a shell. Rob [Roberta Carreri] talks to him with her feet, asking questions about the meaning of what he is reading). Then an underlined sentence: “Title: Fathers and Sons”. Day after day notes on new scenes appear. Underlined sentence: “to sail against the wind. The wind (the text) blows in one direction. The ship (the scenic action) proceeds in the opposite direction. But the ship can sail forward only because of the wind. Relationship”. - Notes on the work of the actors concerning “horses” (perhaps they are tasks for the actors), indicating the actor’s possibilities for exploring a “horse”: 1. the horse; 2. the man who believes he is a horse; 3. a horse that behaves like a man; 4. the centaur (body of a horse, head of a man); 5. the ippo-anthropos (head of a horse, body of a man). 6. the cangaceiro who cannot be killed since he changes into a mare in a second); 7. the legend of the cangaceiro with two heads. - Note “New production, 8 March 1984". Barba has noted the three stories he intends to weave into this performance. Titles (Fathers and Sons, Lions Gone Mad in the Desert, Christ the King). In August 1984 notes start on the Golem (who becomes one of the characters of The Gospel according to Oxyrhincus), newspaper cuttings, etc. - Notes on montage from (or for) an article by (or for) Franco Ruffini. - Only a note for Judith, the performance with Roberta Carreri (with two dates: 3 January 1985, 17 July 1987): to transform into a unity the multiplicity of autonomous elements. - A few notes for Talabot.

Barba-Odin, b. 28 The binder contains: - A typewritten text by Roberta Carreri from 2001, probably given by her for the director to read. It appears to be the first draft of a project for a book consisting of photos and a text by the actress which does not comment on the photos, but runs beside them recounting her life in broken sentences (a sort of blank verse). The project was not realised.

Barba-Odin, b. 29 The binder, entitled “articoli di Nando” (articles by Nando), with typewritten articles and other texts by Ferdinando Taviani, from about 1977 to 1983. It contains: - a scenario Come un pugno quando si apre la mano (Like a fist when the hand opens). During Barba’s sabbatical year from October 1982 to October 1983, Torgeir Wethal, Roberta Carreri e Francis Pardeilhan worked together for a performance and asked Taviani for a scenario which he wrote during a stay at Odin Teatret. There exists a video of this process with the three actors, given by Roberta Carreri to OTA; - an article on the Odin seminar on Indian theatre in 1976, published in the Italian magazine “Scena”; - an article on the International Encounter of theatre groups in Bergamo in 1977; - an annex to a bibliographical note on Odin Teatret and the Third Theatre; - photocopy of a letter from Antonio (Attisani) to Taviani and a copy of a very long (and critical) answer from Taviani; - a typewritten “letter from the field” entitled “l’acritica e gli attori” (the acritic and the actors) published in the Italian journal “Quaderni di teatro”.

Barba-Odin, b. 30

41 Binder on which Barba has written “Ode-Balena”. It contains: a few programmes in Italian for The Gospel according to Oxyrhincus (with the translation of the text which was said in Coptic in the performance. Barba will rearrange and use the same text for Inside the Skeleton of the Whale), a photocopy of The Marriage of Heaven and Hell, the text of Inside the Skeleton of the Whale, various notes, text of Ode to Progress and a musical score.

Barba-Odin, b. 31 Binder organised by Francesca Romana Rietti and Mirella Schino. It contains: the typescript of the final text of Mythos, including those parts which were translated into the language of the places where it was performed (here Italian and English). A photocopy with signs and underlining of one of the 22 volumes of poems by Henrik Norbrandt from which the text of Mythos was extracted (cf. the performance programme in which Barba describes how he built up and elaborated the text). See also Barba-Odin, b.1.

Barba-Odin, b. 32 Here are collected heterogeneous materials not intended for a public performance, but for an internal “project/performance” that Barba used to do with all his actors. At times it was a sort of preparatory process for a completely different production (as in the case of The Dead by Borges), and one could see traces of this process in the final result (The Gospel according to Oxyrhincus). The “project” included: A) The Three Sisters by Chekhov, in an attempt at an over- realistic mise-en-scène; B) the quaggas, animals similar to zebras, numerous in South Africa before colonisation and now totally extinct; C) the story of an Icelandic protestant priest who secretely converts to Islam but keeps on working in his church. From this third theme an image sprang during a scene at the rehearsals (the musician/actor Frans Winther “gave birth” to a a fall of stones from his enormous false belly), derived from a literal image: a thread of stones. In the binder many texts about stones are preserved, together with Barba’s notes on stones. There are also photocopies of pages of encyclopedias and other publications regarding the quaggas; a reproduction of the painting of a bearded woman nursing a child (La mujer barbuda by Ribera (Magdalena Ventura, with her husband); an envelope with a few postcards of Easter processions (with hooded men, etc.); various texts, apparently invented stories, with the names of the actors and that of Lluís Masgrau. The rehearsals took place in Ryde, a small village about 15 km from Holstebro, in a barn beside Iben Nagel Rasmussen’s house, around 1995.

Barba-Odin, b. 33 The binder contains: mostly photocopied materials for the montage of the text of Salt, with an amusing sketch (in photocopy) signed Tabucchi as permission to use his book (with the text fine del monopolio di stato Sale e Tabucchi). See also b. 39 and Barba- Letters b. 9.

Barba-Odin, b. 34 Binder organised by Barba and delivered by him to OTA in February 2010. It contains materials related to Shakuntala a project in two phases. The first one was a session of the University of Eurasian Theatre in Fara Sabina, Italy, at the end of May 1993 with about twenty-five participants (directors, actors and scholars), the Odin actors and Sanjukta

42 Panigrahi with her orchestra of four. Barba and the renowned Odissi dancer each directed a version of Kalidasa’s Shakuntala, developping two parallel performances, while the participants were actively involved in a sort of collective dramaturgy. Nevertheless, the recent death of Fabrizio Cruciani, who had belonged to the small group of Italian scholars close to Barba since the end of the 1960s, influenced Barba’s mise-en-scène of Kalidasa’s text. The resulting internal performance, with no spectators, became something near a reflection on death. The second phase of the project about Shakuntala resulted in a public performance in September 1993 during a whole week at the Holstebro Festuge, presented according to three different styles: as opera composed by Frans Winther, as Odissi dance/performance with original music by Ragunath Panigrahi, choreographed and danced by Sanjukta Panigrahi; and as a performance in the Odin style, directed by Barba with his actors. Cf on the subject the essay by Mirella Schino, Shakuntala amongst the olive trees, “Asian Theatre Journal”, spring 1996, and Janne Risum, Satori, the ritual of the empty chair, in Drammaturgia dell’attore, edited by Marco De Marinis, I quaderni del battello ebbro, Bologna, 1997. The binder contains several translations of Kalidasa’s text in various languages, with many comments and materials, in particular about the first stage of the project.

Barba-Odin, b. 35 This binder includes preparatory materials for the performance Andersen’s Dream (2004), typical of the way Barba assembles various information during the work on a performance. Through such a binder one can see the plurality of subjects and suggestions which Barba and the actors follow to build a performance. The various materials included are: - a series of notes (probably by Ferdinando Taviani) about the associations which may spring from Andersen’s fairy tale The Red Shoes as well as from the performance’s images related to this fairy-tale; - drawings and reproductions of men with bandages round their heads (for the character played by Torgeir Wethal) or of nazarenos, men with hoods (for the scene in which all actors have hoods) as in the catholic procession for Good Friday in South Italy and Spain; - several dialogues, written by Barba and Taviani for the characters of Sharazade and Andersen; - articles on H.C. Andersen; - the contract between Odin Teatret and the Italian architect and stage designer Luca Ruzza; - several notes by Nando Taviani; - correspondence with the dramaturge Thomas Bredsdorff; - texts for the actors, some of which probably written by the actors; etc. We included in these materials an email from Gianandrea Piccioli to Eugenio Barba (who forwarded it to all theatre members) about the performance Andersen’s dream, dated 22 June 2010. For many years Piccioli was a manager at the publishing house Rizzoli and he is an old friend of Odin Teatret. His beautiful letter is a testimony to a spectator’s reactions to the performance as well as to the different aspects of Odin Teatret’s presence in Milan. He manages to describe a widespread perception: more than being a series of performances or separate events, Odin Teatret’s passage is a whole, a unit. This is not

43 because it has internal congruence but because its various faces interact, particularly for a “spectator friend”. Piccioli writes:

Dear Eugenio, I am writing to you and embracing all your companions. What can I say? There would be so much to say about your return to Milan [...]: about Andersen, the other performances and activities, about the great Saturday in the courtyard in via Rovello (once the home of the very fascist, cruel and infamous Muti gang: people were tortured in there and Saturday the memory of the partisans’ torment mixed up in me with the torment of today’s migrants); and about the Odin, which I hadn’t seen so solid and unified since the times of Min Fars Hus, ages ago. The plummeting of the years can be measured on our bodies and on the bodies of your actors that you exhibit, so ruthlessly and almost cruelly, with their consent, in the musical tragedy of Andersen’s dream: in this extraordinary performance one feels the presence of death, the evaluation of a lifetime, the fall of historical and artistic personal illusions: my and our generation facing its destiny, dreams and nightmares that have brought us to this day. I don’t know if it’s for the age or for my glands but I tend to be easily touched these days; but the other night, at the Strehler theatre, I really cried. Usually in your performances life runs red-hot like blood under a thin layer of ice, just like the water of streams in these high pastures when the first autumn chills arrive; emotions in Andersen have no shields, in this case the rigour of your companions’ performance breaks every diaphragm instead of building it because it hits the unsolved nodes of the conscience in us spectators. The same thing happens in different ways in don Colmegna’s performance with migrants. Apparently it is a skillful recycling of your best pieces with the wise inclusion of new parts offered by the circumstances. But the whole montage completely changes the perspective: once again you are able to show us not reality but the emotions of reality, its crux. So I cried again, out of shame. Shame for being Italian today. Also for being Westeners and rich and cut away from innocence. A few years after Berlusconi established his power I decided to retire. Sure, I had in mind Montaigne’s famous justification: “We have lived long enough for the others, let us live for ourselves at least the last remainder of our lives”. But the truest reason was maybe that I couldn’t understand what was happening to us, and you can’t invent or plan books when you are no longer in tune with the people to whom the books are addressed. The situation is such that it doesn’t even allow for dialectics, which implies anyway an acknowledgment from above. So I chose for internal exile, as far as possible outside of Milan, an impossible city anthropologically, sociologically and politically. Where the only living faces are those of the foreigners (it is enough to spend some time on public transport to realise it…). Where those who still keep the customs and traditions of a far away era meet as last witnesses. It feels like being Edward G. Robinson in the science fiction film Soylent Green… Yet, your transit has awakened forces that are still alive in this petty and umbilical city: in the audience there were not just veterans, these were actually few, there were also young people, miles away from our history and still touched. Finally, this is what I want to say: express my gratitutude, bigger and deeper and more emotional than I can say, for giving us some energy. Perhaps for even seeding some seeds of hope. Please thank all the companions and friends, including those that I do not know personally. A special greeting goes to Torgeir who has inhabited my thoughts for two months, since I’ve known about his disease. Feel me close to you, also in this – Gianandrea.

To these heterogeneous materials collected by Barba, we added a CD found among the photographs of the performance. It contains: the drawings and sketches of some scenes of Andersen’s dream by Hans Krull (some were published in the performance programme); photographs of some sculptures and objects that were not used in the final version of the performance; close-up photographs of the actors (often depicted in their hoods); other photographs of people and objects during the rehearsals taken for internal use, mostly related to the stage design or to the creation of stage objects.

Barba-Odin, b. 36 The binder contains a declaration signed 5 November 2010 and signed by Eugenio Barba and all Odin actors stating the conditions for the final dissolution of the theatre.

44 Barba-Odin, b. 37 The binder contains: several Italian articles kept by Vera Gaeta Barba (mother of the director and passed away in December 2009) concerning the performances and other activities of her son in the middle of the 1980’s. There are also materials not related to the theatre, for example a booklet of Neapolitan songs and My life on the stage by di Mei Lanfang, a publication edited by a group of Italian scholars to celebrate Barba’s 50th anniversary. There are also a few issues of TTT, Teatrets Teori og Teknikk, the journal published by Odin Teatret. Binder 37 also contains two big folders of various materials sent by Eugenio Barba to his mother: a great number of Italian newspaper cuttings about himself and Odin Teatret, photographs (including private ones, for example of his children), letters etc. The newspaper cuttings range in date from the mid-1970s to the mid-1980s.

Barba-Odin, b. 38 Binder 38 contains an email dated June 2009 from John Andreasen, professor at the University of Åarhus, to Ulrik Skeel. Andreasen sent a short article about the way he met Ch. Ludvigsen and Odin Teatret when he was a student in Grindsted in 1966. At the time, he was a member of a cultural organisation where on one evening Ludvigsen gave a lecture of theatre history and talked about Odin Teatret. The young Andreasen then tried to write to Holstebro, specifically to the nurse Inger Landsted who was member of the amateur theatre group Holstebro Studioscene, and who had made the proposal to the Holstebro City Hall to invite Odin Teatret. Andreasen attached a photocopy of the reply from Landsted: after something about her amateur activity, she wrote that at Odin Teatret there was a real professional theatre group, an extraordinary experimental theatre group who had just moved from Norway to Holstebro; this was a delicate moment and it was early to present performances. Since she was one of the people who contributed to the settlement of Odin Teatret in Holstebro, many letters for the Odin were sent to her probably because the right address was not known yet – she included the address in her reply.

Barba-Odin, b. 39 Two notebooks about the performances (other notebooks or diaries with writings that are not connected to the creation of a performance are kept in the Fonds Odin Teatret, series Miscellaneous, b. 4). A notebook from 1982 to 1986 (folder A), only partially written. These notes were taken during workshops, meetings or working sessions with the Odin actors. They are particularly difficult to understand or follow. They are often notes about words. For example: “Montepulciano dic. 83” (these are notes of a meeting with the group of Italian intellectuals closely connected to Barba; judging from the names written, naturally only first names, the group probably included: Fabrizio Cruciani, Ugo Volli, Claudio Meldolesi, Franco Ruffini, Nando Taviani, in Claudio Meldolesi’s house in Montepulciano): “the smallest part: quark. Fab: non-return; Ugo: juncture; Franco: willpower; Nando: surprise”. Or: “Mexico nov. 1986. Prepare a 3-minute study Las Manos Oscuras del Olvido. Those who are sitting: stand. Those who are standing: sit. (transpose blood to another skin). BLOOD: the invisible. SKIN: the visible. Extend (increase by double) the action in

45 space. Work the action in time: some work as sea current/wave (fast, slow). Absorb 50% and 90%. Principle: negar hacienda”. Or (“Holstebro 1987”): “verbs about falling in love. To quiver: jelly; to spin your head: to twiddle your thumbs; to blush: to turn red”. Presumably the task was to look for physical or in other way visible actions which could be equivalent to the typical verbs about falling in love. In the second notebook (folder B) there are notes about two other performances: Talabot (1988) and Salt (2001). Also in this case the written pages are very few; on average they are shorter and less understandable than the ones of the first notebook. “Holstebro 20 April 1988. All humans are dead. The species is lost. They vanished like a fist when the hand opens. They thought that the whole world was made and maintained just for them. Also lizards and midges think that the world is made deliberately for their species” (this seems like the first version of the final sentence of Talabot, at least partially taken from the Operette Morali by Giacomo Leopardi. About Barba’s notes for Talabot see also Barba-Odin, b. 27). On the other side of the notebook there are notes apparently for the performance Salt, with Roberta Carreri and Jan Ferslev (see Barba-Odin b. 33 and Barba-Letters b. 9). They are just a couple of pages (“started on 17-4-2001”) followed by probable hypothesis for titles “A harp with one single snare. Letter to the wind. The mask is tired. Salt”.

They exist Estos silencios ????? 1 – The bodies die but the spirit of your lover stays with you 2 – A woman travels from island to island in search for her vanished lover, who has maybe committed suicide 3 – The ghost of a deceased husband sings to prevent his living wife from forgetting him.

These look like three themes for the performance (in the final version only the second one remained or was recognisable).

Rob. Important – some grains of sand and a shell. - a strip of white foam. Jan – someone who wheezes, who drowns - harmonics of stars in love who talk to each other.

(In the performance Jan Ferslev is the musician but he also plays a role: sitting at a table, he drinks, plays and looks at this woman who speaks about love or craves it). 1992 notebook (folder C). Inside: the postcard of a zen garden in Kyoto. It contains: notes for a new performance. At the time, the following Odin performance would be Kaosmos, but these materials indicate a completely different direction – another performance that was rehearsed and then abandoned. It was probably some sort of internal exercice, like Il Morto. This is not a document about a project but about Barba’s way to start thinking about a performance, to develop a thought or idea, about the necessity to continuously combine abstract ideas and practical solutions. It is a statement more about a way of thinking than about construction techniques or dramaturgical composition: a sort of thought training, perhaps the initial drive, a way to consolidate ideas which will change in contact with his actors. A sort of mental improvisation. Some of these themes will reappear in Kaosmos and Mythos. Other themes will disappear –

46 although an echo of them could be found in performances of many years later, for example The chronic life. Both Barba (in his book Burning the house, Routledge, 2009) and Julia Varley (Wind in the west, Holstebro, Odin Teatrets Forlag, 1996) wrote about this transition period. The actress and the director retrace a path – with deviations, the influence of chance, the apparent and real turnabouts of a preliminary path –, the path by which a group starts to slowly approach the genesis of a new performance. In a certain sense this is complementary material. On this occasion, the area preceding the beginning of the rehearsals appears different from a path towards a goal, however full of deviations; it is like a process of sedimentation of attempted and discarded works, thoughts that were developed, defined, articulated and later completely forgotten. Some thoughts so old as to be forgotten that however are still present, in some sense still alive. Some sort of geological stratification. Examples from the notebook:

1-2-1992. A GHOST WANDERS THROUGH EUROPE. A ghost travels through Europe. It is the ghost of communism looking for a land where to find shelter, for people who can welcome him. Open borders, populated and guarded by painful memories and indifferent ironies, push him away. He reaches the farthest edges of Europe, Asia, the Americas, up to the region inhabited by the klabauterfolks, the elves who sail on ships and who often are the ghosts of drowned sailors. There, he finds shelter. He will live among the beings who feed the energies that humans call motion. THE PERFORMANCE STARTS IN MOSCOW AND ENDS IN THE GRAVEYARD OF WHITE WHALES. 2-2-1992 Frue ved havet [this is a reference to Ibsen’s Fruen fra havet (The lady from the sea)] a meeting with water. Twenty words condensed in episodes: improvise and connect to Air (music In the beginning they created the sea They gave it a name They filled it up with life and memory That was the YANTRA – sign and action That was the MANTRA – voice action Accompanied by silence GLIDER HOPPENDE PÅ BØLGENE [it leaps, springing through the waves] - ALLE TØRKLÆR [all with kerchiefs on their heads] The ghost is accompanied by three musicians. THE GRAVEYARD OF WHITE WHALES. The graveyard of ideas and ideals – there are skeletons of books everywhere [originally in English] TRICKSTER SOM STORYTELLER Funeral of the body of communism: funeral of a book in a coffin. Everybody enters with dance-walk and buries the book Mother Courage of the sea [originally in English] Trickster: with the water, with the fish in the graveyard of white whales (can of tuna and sardines) - Story of the sailor who ate sardines inside the stomach of the whale who had swallowed him. 2 – The story of the sailor who was fished by a fish (they fish in the opposite way of humans: they catch the man with a rod and pull him up with a bait in his mouth) Christ crucified behind a crucified book. Pietà: Christ with the spirit of communism in his arms. DEATH as a metamorphosis from man to fish. Return to the origins: the sea. THE SOUL as a whale-white fish Dead Books: [originally in English] 1) How do you kill a book? 2) At what point is the God dead? 3) What is a dead book? What does it look like, smell like? (deep peer, shoot, ripping the cover of) Book in a block of ice – in a piece of crystal – in a rock. 7 February

47 How do you make the sea alive? How do you kill the sea? To kill: to cover with salt (dead sea). To cover with fish - fish fossil - fragment of ice (with the book inside) - painted plastic Create: balloons that lift the carpet - hair dryer Russian costumes – Matrioshka – Babchka Costumes hanging from a balloon – like skeletons Elle est retrouvée quoi? L’éternité c’est la mer avec le soleil. Requiem – by Anna Achmatova How to kill the mask (the body – so that the soul – the body – dressed in white can fly away) 1 - Hisako – strangling 2 - Leo – red on her face, starting from the feet (red flag) 3 - Roberta – red scarf in mouth, fingers in eyes, she pulls out the mask 4 - Julia – with flute in mouth (opens mouth and puts flute in, grabs him by the face pulls him to his knees takes away mask with flute in mouth. Hammer and sickle) 5 - Isabel – white rose in mouth, mask, takes it away. Rose in mouth. 6 - Torgeir – with scarf on his head, takes mask away and scarf follows 7 - Lluis – with black cloth on his head Popular theatre – agit prop theatre (Julia and Isabel) Mayakovski and Meyerhold Isac Babel (when they take their clothes off).

On the other side of the notebook there are notes called “Il libro della Giungla” (“Jungle Book”), dated February 1992. At Odin Teatret there are two “jungle books”. There is Jungle Book, the 1993 performance with Iben Nagel Rasmussen and Sanjukta Panigrahi (musicians: Kai Bredholt, Jan Ferslev, Raghunath Panigrahi and three other Indian musicians; director: Eugenio Barba). It was presented during the 1993 Festuge for the schools of Holstebro and was performed very few times. About the performance Jungle Book see Fonds Odin Teatret, series Perf-A, b. 8, and Fonds Rasmussen, series Odin, b. 2. These notes are about a different “Jungle book”: another project that did not become a performance but left its traces in a performance (in Kaosmos and in Jungle Book with Sanjukta). About one year before Jungle Book, Barba, thinking about a work possibility for the three young actors who had recently joined the group – Hisako Miura, Tina Nielsen, Isabel Ubeda –, decided to commission them to do a children’s performance based on Jungle book. The work did not develop into a performance (Hisako Miura left Odin Teatret very soon), but traces of the improvisations on “wolf-ness” remained in the following works.

3 different births of a wolf: 1 - biological, a wolf who gives birth to a cub 2 – rite of passage – days and nights: actions which lead to being accepted as wolves 3 – Already from a certain age: others say: he is a wolf, he has certain qualities… (wolf-ness can be seen only in somebody else, in situations-concrete actions). - Take a flying carpet (the jungle?) on which the 3 births occur. - The knots (like kippu), the back of the cloth like words. Free words, like dog carcasses that produce and attract life (birds). Poetry – poiein Words that make up the substance of language. Melody of the wolves.

48 Next there are scattered notes (“crucify wolf skin”) and the story of a “theatre for wolves”, which probably was the presentation of the future performance: “In the winter of ’92, while travelling through North Norway, a Lapp told me about a wolf theatre. During the snow season, Lapps attract hungry packs and they tell stories with songs and dances that make one forget hunger. Odin Teatret presents these stories for wolves, certain that, in these ecological and [?] times, they will be of interest to sensitive humans too”. Afterwards the notes clearly refer to the ensemble performance in preparation, Kaosmos, with some residue of the work on the “Ghost prowling through Europe” (which will be the theme of the performance Mythos): for example “read the Law from the frozen book”. A book in ice was described in the notes about “Ghost”. The story of the man from the countryside before the Law (from Kafka) is one of the themes of the performance Kaosmos. This is a mixture of diary entries and notes – after one of the few dates (8 August ’92), there is a circled sentence: “Iben returns and joins the new performance” (until then the actress had been on tour with Itsi Bitsi). And immediately next: “ruthless title: kaos mos – kaos theories, hidden laws. A butterfly flapping its wings causes a snow storm in Lapland. Kaos as non-symmetrical. Kosmos as creation – structure, organization, organicity.” 30 September 1992 Moralité. Sacred Representation – mystery. David, the man who did not want to die. 25 October ’92. 2-Fight against death 1-Fights and surrenders (the mother) 1-Fights and is defeated (David) 1-wants to save the son 1-wants to save himself. The man from the countryside is inactive: around him two people fight against death. He does not accept the bet and prefers not to live. 28-1-’93 The man who did not want to die. There was once a man who did not want to die. So he set off looking for the land where you never die (the theatre? Where the door ritual is performed?).

Although many of the situations described and some of the names (“David”, for example) were dropped during the rehearsals, the notes are clearly related to the development of the performance Kaosmos. Next page: it is the beginning of a series of notes from ’95 about the quagga project (see also Barba-Odin b. 32). The quagga project is perhaps a project for internal use, or the beginning of the work for the performance Mythos (1998). The notes suggest that the experimental work on The Three Sisters (see Barba-Odin b. 32) was supposed to be connected to the quagga project. 1 February ’95:

EB tells a story: the quaggas among the half extinguished fires in Quito at dawn on the first of January. Lengsel [nostalgia] for the past, for the future. You possess for eternity only what you have lost. Who are the quaggas. 1853 the last one free. 1883 – the last one in a zoo Adam (Amsterdam). The absent. The chair – the last number of Decroux for Corinne Soum. The disappeared director – 3 actors want to go to the Royal Theatre. Others want to stage his last story (stones as inheritance). One will finally make the performance he always talked about – Rimbaud.

49 The reference to the three actors who want to go to the Royal Theatre could be a development from The Three Sisters. The reference to Rimbaud and to the one who will finally make the performance he always talked about could point to Torgeir Wethal, who often talked about a Rimbaud project which he never realised. The reference to the chair could be related to the work for a 1993 session of the Eurasian Theatre in Fara Sabina entitled Parallel dramaturgies, dedicated to Fabrizio Cruciani, an Italian scholar friend of Odin Teatret since the beginning, one of the founders of the ISTA, who had died one year before. In this session Eugenio Barba and Sanjukta Panigrahi worked on the staging of the Sanskrit text Sakuntala before a very limited group of observers. The work gave rise to an internal performance and the presence of the empty chair was chosen by Barba as concrete image for a person’s disappearance (for all information about Sakuntala see Barba-Odin, b. 34). There are also many notes about the stones – which were one of the motifs of the internal performance. Barba wrote down sayings, quotations and famous sentences about stones in different languages (you are Peter ('rock') and on this rock I will build my church, stone-faced etc.). Apparently this work was partially included in the performance Mythos a few years later. “Dance of the quaggas: actors: from the positions in a series of sketches. Frans [Winther] composes from these drawings. Prophecies. Musical theme of the quaggas”. The quagga story mixes with the story of the Protestant shephard who was in fact a Muslim: he got pregnant and thought he would give birth to Mohammed (as decribed in a prophecy) but begot a montain of stones instead (this was an improvisation by Frans Winther: see Barba-Odin, b. 32). In the notes reference is made to the “shephard’s wife” who gives birth to three stones (stener) and tells her children: “Play with your brothers”. “Stones that flower/stones that sweat. Stones that cry/stones that give birth”. The next notations are almost in the style of a diary: on 5 February ’95 Iben Nagel Rasmussen, Roberta Carreri and Julia Varley start reading The Three Sisters by Čechov, supported by Stanislavskij’s commentary. On 8 February, Nando (Ferdinando Taviani, literary advisor) leaves. More notes about the quaggas (the last free one was killed in Aberdeen in 1853, the last one kept in captivity died in Amsterdam in 1883), or about the deep theme of the performance (“a performance about heart breaking nostalgia and the implacable wait for a better future”). Next there are notes entitled “Myte” regarding the future performance Mythos:

- Danish songs - 3 new melodies-myth: a character - costumes: 3 types - little wooden hands Extinct languages – animal species – quaggas The story about Oedipus returning to die outside Thebes. Question: why other mythological characters return to kill life and bury hope. - The Bacchae in their wedding dress kill the last soldier in Prestes with sand in his mouth - The curtain that separates the spectators sipario: a voice that screams: the wall has fallen, the world is before us. - the graveyard-zen garden - The hands that bury the soldier. Der hvor kravene vender [there where the crows come back] (mythological characters meet to bury the revolution and make it resurrect as myth).

50 The little wooden hands, the graveyard-zen garden, the last soldier in Prestes and the last sentence, which describes the theme of the performance, were included in Mythos.

Barba-Odin, b. 40 Binder 40, labelled “Menuhin Foundation” (Yehudi Menuhin, one of the greatest violinists of the 20th century, created the International Yehudi Menuhin Foundation - IYMF - in Brussels in 1991 as an international non-profit association. The aim of the IYMF is to establish projects whose purpose is to give a voice to the voiceless. The centre of a network of 11 national structures based in Europe and Israel, the Foundation acts as a catalyst and provides new ways of cross-cultural exchanges. These are realised through different programmes), was delivered by Eugenio Barba to the Odin Teatret Archives in September 2013. It contains the correspondence (email dated November 2008) between Eugenio Barba and Marianne Poncelet, general secretary of the IYMF, in charge of MUS-E, a European programme against racism and xenophobia through the use of music, dance, painting and body arts. The correspondence is about the collaboration between a project promoted by IYMF (“Moving Voices”) and Odin Teatret in the framework of activities promoted by Odin Teatret in Denmark from February to April 2009. B. 40 contains the documentation for the presentation of the project “Moving Voices”; (email) correspondence between Eugenio Barba, Thorbjørn Carl Hjalager and Sauro Pari, who were also involved in this project. The project took place from February to October 2009. Odin Teatret’s musician-actor Frans Winther was responsible for the collaboration between Odin and IYMF. See also the binders Environment-Iaiza, because Iaiza (assistant director in several Odin performances) is a collaborator of the Foundation.

Barba-Odin, b. 41 On the spine: “X-Large”. This is one of Barba’s binders about directing, like the ones about Talabot and Mythos: a binder where the director collects many diverse materials, drawings, possible texts, texts, images, cuttings that he kept as potentially useful during the rehearsals for a performance. Some of these would be included in the performance, generally after some sort of transformation; other materials were only used during the rehearsals for a certain period. In the case of this binder the performance is The Chronic Life, which initially had the temporary title X-Large. B. 41 includes: writings by Ursula Andkjær Olsen (a Danish poet; Barba asked her for some texts as a starting point for a part of the performance, see the performance programme), with Barba’s handwritten changes; a series of images about the laying out of bodies, requested by Barba from one of the three assistant directors, Raúl Iaiza; notes about problems in the construction of the musical scores (by Iaiza, who is a violinist); a print of the painting Le Radeau de la Méduse, which was used as the basis for the construction of one of the performance scenes; newspaper clippings with female hairstyles that partially cover the face. B. 41 also includes various materials about limping (one of the starting themes that was kept until the end was the limp of several characters), collected by one of the assistant directors, Pierangelo Pompa (including materials about the jumping flea and Oedipus’s limp); another group of materials collected by Pierangelo Pompa, on Jacob’s fight with the angel (one of the starting points for the performance was the meeting with Odin Teatret and the first work with Barba as a fight against the angel, resulting in victory for Jacob but with a crippled hip); prayer texts proposed by Iaiza.

51 In the second half of the binder there are partitions with the names of the actors. These are mainly texts proposed by the actors or set aside by Barba as potentially suitable for one of the characters. Several materials were modified by Barba (cuts, changes etc.), but sometimes not even used for the rehearsals. Sometimes there are notes by Barba about movements or micro-actions to suggest to the actors (for example, in the section “Roberta”, meaning Roberta Carreri: notes on the keys, on the drums and on other objects that were used in the rehearsals, at least for some time). The section “Roberta” also includes the “character’s biography” requested by Barba from all the actors (ultimately these biographies were not consistent with the final characters). In the section “Sofia” (Sofia Monsalve) there is a short story probably written by her. It is a dialogue about her search for her father (this is her character’s theme) with various actors (in the performance the dialogue is with Iben Nagel Rasmussen, in Latin and Spanish). There is also a list written by Sofia: the songs she has in repertory, among which Barba can choose. In the section “Torgeir” (Torgeir Wethal, who died during the rehearsals) there is a list of possible ways to commit suicide written by Pierangelo Pompa (Torgeir had decided to work on the figure of an old Norwegian man who wants to commit suicide and tries in different ways). Sketches for the costumes by the designer Jan de Neergaard. This is Barba’s private binder. At the same time, the assistant directors recorded the materials regarding the innumerable, continuous variations of texts and physical scores. (About “X-Large” see the binders Environments-Iaiza and Environments-Woolf. See also Roberta Carreri’s diaries, Fonds Carreri).

Barba-Odin, b. 42 B. 42, labelled “Tournées + altro EB office 2000-2010”, was given by Eugenio Barba to the Odin Teatret Archives in September 2013. The binder mostly contains organizational correspondence – arranged in alphabetical order by Barba – between Barba and tour organizers (about tours of Odin Teatret or of single members of the group, especially Barba and Julia Varley), universities or other cultural institutions that wished to confer prizes and honours to Barba. In the case of some projects and tours, beside the correspondence, the binder also includes Barba’s autograph notes, interesting in order to understand his logics and the strategies of his cultural policy.

Barba-Odin, b. 43 B. 43, labelled “Festuge 2001, 2005, 2008 + ISTA Poland 2004 + Sevilla 2005 + Vinden Festival 2003”, was delivered to Odin Teatret Archives in September 2013. It mostly contains organizational correspondence – arranged by project – between Barba and those responsible for the different projects. Beside the correspondence, the binder also includes press cuttings, flyers, lists of expenses and notes.

Barba-Odin, b. 44 A series of lists of participants in the workshops for directors and actors given by Barba in various parts of the world and at different times, probably preserved for reasons that can no longer be documented. Many of these lists concern workshops given in Latin America attended by actors, directors and dancers who later became famous or remained connected to Odin Teatret in long-lasting relationships of friendship and collaboration. This is the case of José Luis Gómez García, Spanish director founder of Teatro de La Abadía in Madrid, who took part in a workshop for directors in Valladolid, Spain in 1994 during Odin Teatret’s Kaosmos tour. The list of participants in a seminar for directors in

52 Bergamo in 1994 also includes many names of those Barba called as “Odin people” (not casual friends and collaborators). Another interesting item is the list of participants in a seminar for directors organized by Teatro Potlach in Fara Sabina (Italy) between 1989 and 1990 (but the website of Teatro Proskenion indicates 1993), where participants included Claudio La Camera from Proskenion in Reggio Calabria and Elio Gimbo from Coop. T. ARS PRODUZ. in Catania. According to Barba, coming back from the workshop La Camera and Gimbo stopped at the sight of Scilla and decided that that would be the right place to organise a workshop with Barba. That random impression gave rise to the long tradition of “Eurasian theatre” sessions organised by Teatro Proskenion. Another list records the participants in the meeting “Intercultural Performance”, organised (among others) by Richard Schechner, with the support of the Rockefeller Foundation, in February 1991 in Bellagio. Among others, it was attended by Barba and Sanjukta Panigrahi (see Eugenio Barba, The Paper Canoe, Routledge, 1995). Among the documents without date, there is one about a workshop on the connection between theatre and science organised in Combes by Jean-Marie Pradier; a typescript list by Patricia Cardona with many autograph notes about a workshop for dancers and choreographers organised by the Dirección de Teatro y Danza of the Universidad Autónoma de México (UNAM) from 3 to 7 November 1985. The text of the workshop can be found in Eugenio Barba, The Paper Canoe, Routledge, 1995.

53 * SERIES ISTA

Labelled: Barba-ISTA

In December 2014 it consists of 7 binders with materials from 1980-1987, the years in which Barba planned and organised the entire sessions by himself. After 1987 the practical organisation was also in the hands of other collaborators, mainly Julia Varley. The materials comprise Barba’s preparatory texts and scientific articles gathered by him for the first ISTA in Bonn in 1980, as well as programmes, contracts, letters, budgets and lists of participants. The binders are few, but significant.

ISTA: International School of Theatre Anthropology founded and directed by Eugenio Barba who also considers the masters and scholars who have collaborated with him since the first session in Bonn as founders of ISTA: Sanjukta Panigrahi, Katsuko Azuma, I Made Pasek Tempo, Fabrizio Cruciani, Jean-Marie Pradier, Franco Ruffini, Nicola Savarese and Ferdinando Taviani. Between 1980 and 2008, 14 ISTA sessions have taken place in various countries. The ISTA staff, in addition to Barba and the Odin actors (the latter only from 1987) consists of a permanent core of artists and masters from Asian and western genres (cf Franco Ruffini’s La scuola degli attori, Firenze, La Casa Usher, 1980 Rina Skeel’s The Tradition of ISTA, Londrina, FILO/Universidad Estadual de Londrina, 1994; Kirsten Hastrup, The Performers’ Village. Times, Techniques and Theories at ISTA, Graasten, Drama, 1996; and Barba-Savarese, A Dictionary of Theatre Anthropology (The Secret Art of The Performer), Routledge, London 2005. In the beginning ISTA was one of the many autonomous activities of Nordisk Teaterlaboratorium, but over the years its history has been increasingly intertwined with that of Odin Teatret. ISTA is the practical fulfilment and the point of arrival of two aspirations which were present from the very start of Barba’s theatrical work: 1) to transmit valuable professional experiences to the autodidacts who do not have the privilege of a longer schooling and a protected apprenticeship; 2) to investigate pragmatically the ways through which the deep, hidden processes of the performer’s scenic presence is built. Several films and videos about the various ISTA sessions are available - some edited and some unedited - kept at the Odin Teatret Archives. See also b.8, Fonds Barba, Odin Series, and the binders of the correspondence.

Barba-ISTA, b. 1 The binder contains articles from various scientific domains assembled by Barba in preparation for ISTA (International School of Theatre Anthropology), the first session in particular. It doesn’t contain direct information on ISTA, but is of fundamental importance to the understanding of the roots of theatre anthropology, some of its definitions and points of view. The binder contains: - September 1989, n. 11, Marsyas (Revue de pédagogie musicale et chorégraphique), - Richard Delrieu, Cerveau – musique et émotion: pour une neuro-pédagogie musicale - Etudes françaises, Derrick De Kerckhove, Ecriture, théâtre et neurologie - Derrick De Kerckhove, A note on Psychotechnologies (McLuhan Program in Culture and Technology, University of Toronto)

54 - Derrick De Kerckhove, A Theory of Greek Tragedy - 1942, Wilson Glenn, The psychology of performing arts, chapter 5: Social Process in Theatre - Le Magner, Towards a neurobiology of aesthetics - Jean-Marie Pradier, Toward a biological theory of the body in performance - 1986, Jean-Marie Pradier, Males, females - 1986, First World Congress on Theatre Sociology, Jean-Marie Pradier, Le public et son corps: de quelques données paradoxales de la communication théâtrale - Klaus Scherer, Définition de l’émotion - September, 1989, Science et vie (Hors série), Susana Bloch, Emotion ressentie, émotion recrée - 1987, Susana Bloch, Pedro Orthous, Guy Santibañez, Effect of patterns of basic emotions: a psychophysiological method for training actors - May, 1984, Pour la science, Gerald Oster, Les sons émis par les muscles - Jean-Yves Laffineur, La synchonie interactionnelle. Etude temporelle d’une interaction mère-enfant et père-enfant - Journal of Nonverbal Behavior, John Gatewood, Robert Rosenwein, Interactional Synchrony: Genuine or spurious? A critique of recent research - 1974, Science, Child Development Unit, William S. Condon, Louis W. Sander, Neonate movement is synchronized with Adult speech: interactional participation and language acquisition - January, 1986, n.29, Les cahiers de psychologie sociale, La synchronie interactionnelle - 1983, Le temps des sciences, Jean-Pierre Changeux, L’homme neuronal - September, 1979, Colloque sur les aspects scientifiques du théâtre, - René Busnel, Réflexion sur certains aspects biologiques des danses - Henri Marie Laborit, Le théâtre vu dans l’optique de la biologie des comportements - R. Bijeljac-Babić, Centre hospitalier Sainte-Anne Paris, Laboratoire de posturographie - 1978, R. Bijeljac-Babić, Le rôle du langage du corps dans les relations de communication - May, 1969, Centre hospitalier Sainte-Anne Paris, J.-B. Baron, Tonic postural activity and motor imagination - 1979, V Symposium International de posturographie, Amsterdam, V. Strelets, V. Efremov, A. Korneev, Stabilization of vertical posture during emotional stress - October, 1971, I Symposium International de posturographie, Madrid, Berthelot- Ganancia, Etude des variations de la posture en function de la vigilance et de l’activité chez des fillettes de 5 à 11 ans normales et handicapées visuelles - October, 1971, I Symposium International de posturographie, Madrid, G.N. Gantchev, N. Draganova, S. Dunev, The role of Visual Information and Ocular Movements for the maintenance of body equilibrium - October, 1971, I Symposium International de posturographie, Madrid, -J.Winearls, Posture: its function in efficient use of the human organism as a total concept - October, 1971, I Symposium International de posturographie, Madrid, V.S. Gurfinkel, M. Alexeef, G. Elner, Variations de l’activité tonique posturale et du réflexe achiléen sous l’influence du calcul mental et d’une manoeuvre derivée de celle de Jendrassik - September, 1975, III Symposium International de posturographie, Paris, Berthelot- Ganancia, Etude comparative de l’activité tonique posturale de sujets africaines et européennes en function de different types de portage - 1980, Arthur Lydiard, Chapter 1: Fysiologien

55 - January, 1957, Scientific American Review, Woodburn Heron, The pathology of boredom - November, 1965, Scientific American Review, Richard Held, Plasticity in sensory- motor systems - August, 1967, Scientific American Review, Michael S. Gazzaniga, The split brain in main - June, 1971, Scientific American Review, David Noton, Lawrence Stark, Eye movements and visual perception - February, 1978, VI Conference at Minneapolis, Minnesota, Mapping a behavioural cerebral space - 1974, C.Cameron, A Theory of fatigue - February, 1979, Psycology Today, p. 74 - A p r i l , 1 9 7 8 , A g n e s S a a b y , Jernindustriens Fremtidsprojekt, Arbejdets Fysiske/Fysiologiske Belastning - 1951, Alain Danielou, Yoga. The method of re-integration - 1948, handwritten notes by Eugenio Barba on Ernesto de Martino’s Il mondo magico. Prolegomeni ad una storia del magismo - 1979, n.4, Horizont, Ralf Norrman, Strukturalismen - Ellen Bach, Kreativitet i teori og praksis,Copenaghen, Gyldendal, 1972.

Barba-ISTA, b. 2 The binder organised by Eugenio Barba, entitled “ISTA Blois 1985, KHN 1986, Holstebro 1986, Salento 1987. Projects for Spain, Greece, Turkey, France”. The binder contains different materials for the preparation of ISTA sessions of 1986-1987. These sessions were organised by Eugenio Barba alone, so the materials are very different in their organization and quality from those of the later sessions. There are interesting materials and many letters, some long, to Sanjukta Panigrahi, Katsuko Azuma, Pier Giorgio Giacché.

Barba-ISTA, b. 3 ISTA Sessions: Bielefeld, Montemor O Novo, Umeå, Fara Sabina, Londrina, Odin Teatret’s 30th Aniversary (1994) and 35th Aniversary (1999). The binder, organised by Eugenio Barba, contains letters and other material for the preparation of ISTA sessions: programmes, contracts, budgets, many letters to and from Kanichi Hanayagi and letters for unrealised projects, i.e.: a whole night of Kathakali for ISTA in Bielefeld and the presence of Arianne Mnouchkine at ISTA in 2000 (the folder with the press review about this ISTA session went missing).

Barba-ISTA, b. 4 ISTA Sessions: Copenhagen 1996. The binder contains material concerning ISTA in Copenhagen in 1996 and the meeting of the University of Eurasian Theatre in Fara Sabina in 1993: lists of the participants, programmes, handwritten notes by Barba on the work demonstrations by the Asian actors, preparatory material, articles, budgets, contracts, letters (i.e.: to Carolyne Carlson, Stina Ekblad, Natsu Nakajima, Toshio Mikohata, Sanjukta Panigrahi, Ekkehard Schall and Susanne Vill).

Barba-ISTA, b. 5

56 ISTA Sessions: Bologna 1990, Padova 1992 (University of Eurasian Theatre session), Brecon 1992, Bali 1986-1988. The binder contains preparatory material and letters for the organisation of the sessions and meetings: many long letters from Pino Confessa from Bali (1986-1987) concerning the preparation of the ISTA session, construction of masks, description of photos of Balinese dances and Balinese customs, technical dance terms.

Barba-ISTA, b. 6 Binder 6 contains a story about Medea (in Italian and in English) written by Ferdinando Taviani, literary adviser at Odin Teatret, meant for the Odissi dancer Sanjukta Panigrahi, and a copy of the letter Barba sent to the dancer with the English version of the story. After the ISTA in Copenhagen in 1996, before leaving Denmark, Sanjukta Panigrahi told Barba that she missed artistic challenges. Barba proposed to her the Greek myth of Medea, so that she could face a taboo for Indian classical theatre: death on stage. Barba described Medea's story to Sanjukta, who had never heard it, and asked Nando Taviani to write a first draft of the scenario. They agreed on the project without deciding when to finalise it. A similar episode occured during the ISTA in Bielefeld in 2000. In 1998 Barba suggested to Kanichi Hanayagi, the Nihon Buyo dancer, to prepare a performance on a script written by Nando Taviani. During the Bielfeld ISTA Barba worked on it as director and showed the result to the participants. The performance was realised starting from a script written by Taviani and Barba with the title The snow that never melts. The story of Medea is beautiful and it reveals the amount of time and energy dedicated to the ISTA by its most faithful participants (Nando Taviani is one of its founders). The time for ISTA was certainly not wasted but used in unusual ways, certainly not linearly or “conveniently”. The way in which Taviani describes Medea, double-faced, the naive girl and the powerful magician, might also accidentally reflect the way the scholar saw the great Odissi dancer. Taviani's story is a long writer's narrative. He chose to tell the story of the myth (not that of one specific incarnation) from a very personal point of view:

It looks like there are two different women in Medea (Mèdeia). One is the helpless and naive girl and woman, who is fragile and cheated. The other one is a powerful magician, a murderer with clear and ruthless intentions. The first woman is a victim of men. The second one is an avenger of women. The whole story of Medea – from her young years with her father to her escape to Corinth on a fire wagon – is based on the alternation of these two different faces of the same person […] Now Medea exits her home with her heart broken by compassion and necessity. She has to kill her two children. The children of Jason. She feels she is dying of compassion for those two beings who – after Jason – are what she loved most in the world. But she knows she will kill. She knows her doubts are the moment of weakness when one gathers strength to perform the unthinkable action well, and with precision. […]. She is a lioness. With refined art, unknown even to Jason, the sword twirls in the air and falls to cut where the heads are to be severed from the torso. Then she sits by the doors of the house that remain bolted […] In the shadow, she feels like she is talking to Theseus […] she tells him: there is not only war, defence and revenge, or the sacrifice of barbarians who kill human beings for the gods. What I have just performed is not a sacrifice and is not an act of war. It is both. It is something horrible, a revolt against nature. And it is something sacred. Now my children are in the sun. Sanctuaries will be erected for them. Then Medea thinks of Jason who is surely about to arrive. She thinks of him with disdain. She could have never killed him. You do not know this, – she tells herself, continuing to imagine that she is talking to Theseus – You do not know this. But I know now the real reason why gods only want animals in sacrifice: animals cannot be disdained.

Barba-ISTA, b. 7 (1/2 e 2/2)

57 Containing two folders. Eugenio Barba organised each folder in alphabetical order and delivered the binder to the archives in October 2014. It contains the correspondence between the director and a group of scholars, most of them Italian and French and all connected to the ISTA environment (hence the title ISTA written by Barba on the spine, although the correspondence does not concern any specific ISTA session or themes particularly connected to the ISTA). Notable among the correspondents are Marco De Marinis, Patrice Pavis and Jean-Marie Pradier in the first folder; Clelia Falletti and Claudio Meldolesi in the second folder (about other scholars important for ISTA, as Taviani, Ruffini and Savarese, see the series Letters in this fonds, binders 19-22). These are documents of paramount importance to investigate core issues in theatre history and practice discussed by Barba with these scholars, in a time span from the beginning of the 1980s to the 2010s. Noteworthy among the letters are those containing comments, corrections and notes by Barba to the scholars' essays and books, and viceversa.

58 * SERIES LETTERS

It comprises letters to and from Eugenio Barba. It was organised by Barba (and later by us) in two groups: - The letters under Barba-Letters (in December 2014: 22 binders for the different correspondents), comprise particularly important correspondence for various reasons (for ex. with Christian Ludvigsen and Martin Berg, or with the writer Jens Bjørneboe), which were kept by Eugenio Barba at the theatre (in locked cupboards or in his office) or at his home, organised by correspondent; - The letters under Barba-Lett-A comprise Barba’s “standard” correspondence by year (in November 2013: 24 binders between 1981-2003), organised by Barba chronologically by correspondent. These binders were kept in locked cupboards outside Barba’s office. Correspondence from before 1981, as with many other materials, was preserved with no order in cupboards boxes at Holstebro Museum.

Barba’s correspondence, from the very beginning, was written in three copies: one to be sent, one to be kept in chronological order and one to be kept according to the person receiving it or to the specific project. Barba’s binders appear to contain the second copies. The copies of Barba’s letters (or the photocopies of his handwritten ones) are kept together with the letters received, organised in binders spanning one or two years, and in alphabetical order. In the first years Barba apparently kept all the letters which he received, but later a selection began to take place. Nevertheless it seems that the essential part of the correspondence has been kept. Also when he uses email, many e-letters are printed and kept. Private letters are of course missing from the correspondence which is ordered chronologically. Barba, moreover, has kept aside the correspondence with some collaborators and a few other people close to his work. No decision has yet been taken on what will be done with these letters. The series Barba-Lett-A is particularly interesting not only for reconstructing Odin Teatret’s history and its international connections of friendship and collaboration, but also for becoming acquainted with the web of relationships and the mentality of numerous experimental and group theatres since the mid-1960s. Consultation is subject to particular conditions. However one must remember that the way the correspondence, was organized, both Odin Teatret’s and Barba’s, changed over the years. In the first years, the binder of the correspondence is the same for letters both from and to Barba and from and to the people taking care of the administration. To these letters, when it comes to Barba, one has to add the letters kept according to the sender (now in Fonds Barba, Series Letter), usually kept at his home. About ten years after the creation of the theatre (about 1977, although we ignore the precise date), the binders “mixing” Barba’s letters and those of the various people in the administration disappear, and Barba’s correspondence is kept separate from the others. At the moment of the foundation of the Odin Teatret Archives (2008), only the binders with correspondence starting from 1977 were kept at the theatre. In the storeroom in the Holstebro Museum we found binders with correspondence from the very beginning of the theatre until 1982. They are binders mixing various administrative collaborators,

59 although we have found a binder (1975-1976) called “Correspondence Barba” which we have inserted in the other binders of the Series Letters in the Fonds Odin Teatret since it seems to be an isolated case. In consulting Barba’s correspondence one must be aware that there are three Series: two in the Fonds Barba (Barba-Lett-A and Barba-Letters), which are the most important, and one in the Fonds Odin Teatret (Series Letters). In consulting the correspondence of the theatre, however, one must be aware that many letters about particular projects (for example the seminars) have been kept with the other materials concerning the project (list of teachers, participants, etc.). Since the binders do not exclusively contain correspondence, they have been inventoried in the Series Activities.

Sub-series * Barba-Letters First group (December 2014: 22 folders): a series of “monographic” letters including letters from a particular person or from several people with some connection amongst each other (Cristian Ludvigsen and Martin Berg, for example, who were Barba’s advisers and members of Odin Teatret’s board of directors). They have been arranged in this order by Barba himself, and we have labelled them Barba-Letters (binders, arranged individually, including particularly significant or lengthy correspondence, and which were kept in locked cupboards at the theatre or Eugenio Barba’s home).

Barba-Letters, b. 1 Binder 1 contains: - Original letters from Jens Bjørneboe to Eugenio Barba. Jens Bjørneboe is the Norwegian author who in 1964 gave Odin Teatret the draft of his playFugleelskerne (The Bird-lovers) which Eugenio Barba adapted for its first production changing the title into Ornitofilene. Bjørneboe was a rather well known and much discussed author, a personal friend of Eugenio Barba long before the latter’s departure to Poland in 1961. Their correspondence has been published by Elsa Kvamme in the book Kjære Jens, Kjære Eugenio, Pax, Oslo 2004, dedicated to the friendship Bjørneboe-Barba. About this correspondence and about the performance Ornitofilene, see also Mirella Schino, Lo schema del secondo giocatore. Su Jens Bjørneboe, il diavolo, e l’Odin Teatret, “Teatro e Storia”, no. 34, Annale 2013, pp. 21-74; - Photocopies of the letters from Eugenio Barba to Jens Bjørneboe given to Barba by Jens Bjørneboe’s wife, Tone, on the publication of Elsa Kvamme’ s book. - Speech by Merete Grieg in Copenhagen at the funeral of Dag Halvorsen, a Norwegian journalist and a close friend of EB from his student days in Oslo and Poland. Cf. also Land of Ashes and Diamonds. In September 2009 we added the first edition of Jens Bjørneboe’s Fugleelskerne (The Bird-Lovers) with a printed dedication “Til Eugenio” (To Eugenio), and the author’s handwritten dedication “Per i [sic] capitano dei mafiosi fra Jens and for Judy 1964”. In the book Barba had kept two typed summaries of the play in French. On the first one, on the top right corner is written “Radio Paris”; on the second “Traduction brute d’une pièce dont l’original est en norvégien”). In October 2009 we added two envelopes with reviews and comments on the first volume of Jens Bjørneboe’s biography by Tore Rem, Sin egen herre. En biografi om Jens

60 Bjørneboe (Oslo, Cappelen Damm, 2009). The first envelope contains a few Norwegian reviews collected by EB. The second contains comments mainly concerning one aspect of the book: the presumed connection between anthroposophic views and Nazi ideology. This interpretation by Tore Rem had provoked reactions and protests both from the anthroposophists (of whom Bjøeneboe was one) and Therese, Bjørneboe’s own daughter. These reviews had been sent from Norway to Barba by Agnete Strøm, Odin Teatret’s administrator in its first years of life. Also in 2009 we have added three emails between Eugenio Barba and Tore Rem, the author of the biography. They say: “Dear Tore, I am reading your book, I’m learning a lot about Jens. So many lives he had before I met him. Attached I send you a streak of my sky. Greetings”. “Dear Eugenio, I thank you for your greeting which warmed me and for sharing with me your sky. There is much in my book which nobody knew - and not everything is easy for the people who hold him dear. I approached Jens Bjørneboe in the most open way possible and let the documents shape my reading. Dramatic things happen at the end of the next volume. I hope we have the occasion to speak about it, etc”. “ Dear Tore, I am still reading your book and am aware of the reaction it has provoked in Norway. The living own the dead and none of us is disposed to let the others touch our property. The professional ethos and the empathic capacity of the historian shake, rightly or wrongly, the mummy of our representations and oblige us to see the contradictions of the living man, etc”. A letter from Tone and Therese Bjørneboe (the writer’s wife and daughter) about Tore Rem’s biography in 2009. We added to this folder two CDs with the copy of a Norwegian documentary from 2004 dedicated to Bjørneboe, in two episodes, the first one broadcasted on 14 December, the second one on 20 December. The programme contains an interview with Barba about his relationship with Bjørneboe.

Barba-Letters, b. 2 The binder contains a series of letters from and to Eugenio Barba between 1966 and 1973. The letters are mainly from Christian Ludvigsen (literary adviser to Odin Teatret since its arrival in Denmark and member of its board of administration) and Martin Berg (publishing agent and adviser to Odin Teatret since 1968 and also member of the board of administration) and replies from Eugenio Barba. There is also an article by Christian Ludvigsen in memory of Jens Kruuse. It is a binder of particular relevance considering the relationship between Barba, Ludvigsen and Berg, and the wide range of topics and problems related to all aspects of Odin Teatret’s existence. See also H.M. Berg’s Treklang - År med Odin teatret 1968-84, Vindrose, Copenhagen 1986; Franco Perrelli, Bricks to Build a “Teatrlaboratorium”. Odin Teatret and Chr. Ludvigsen, Bari, Edizioni di Pagina, 2013. The binder contains: - Letter from Jean-Louis Aupetit to Eugenio Barba 6 May 1966 - Letter from Giampiero Bozzolato (of the publishing house Marsilio, Padova, which published Barba’s Alla ricerca del teatro perduto); 2 May 1966 - Letters from Christian Ludvigsen and Barba’s replies; From Chr. Ludvgsen to E. Barba 11th of July 1973 (with handwritten note) From E. Barba to Chr. Ludvigsen and Martin Berg 27th of September 1971 From Chr. Ludvigsen to E. Barba 12th of November 1971 (with handwritten note)

61 From Chr. Ludvigsen to E. Barba 11th of November 1971 (The 150th anniversary of Fjodor Dostoyevski) From Chr. Ludvigsen to E. Barba 15th of August 1971 From E. Barba to Chr. Ludvigsen 17th of August 1971 From Chr. Ludvigsen to E. Barba 7th of July 1973 Postcard from Chr. Ludvigsen (and Silvia) to E. Barba (and Judy) 4th of July 1972 From E. Barba to Chr. Ludvigsen 9th of July 1972 From Chr. Ludvigsen to E. Barba 7th of March 1972 From E. Barba to Chr. Ludvigsen 8th of March 1972 (the atmosphere is a little up- tight. Emotionally hurt.) From Chr. Ludvigsen to E. Barba 9th of January 1972 From E. Barba to Chr. Ludvigsen 13th of January 1972 (longer than usual. 5 pages) - Letters from Erik Münter (lawyer): legal action against the lawyer Jens Bjerre (problems connected to the change in the juridical structure of Odin Teatret after its move from Norway to Denmark). From Hans-Martin Berg to E. Barba 27th of June 1972. From H.M. Berg to Erik Münter (Lawyer) – c.c. E. Barba 27th of June 1972 (About Odin Teatret A/S (joint-stock company)). From Erik Münter to Board of lawyers In Herning (about Jens Bjerre) c.c. Odin Teatret A/S. 23 December 1971. From Chr. Ludvigsen to E. Barba 22nd of December 1971 From Chr. Ludvigsen to E. Barba 24th of April 1971 From Chr. Ludvigsen to E Barba 21st of April 1971 From E. Barba to Chr. Ludvigsen 22nd of April 1971 From E. Barba to H.M. Berg 1st of April 1971 - Article by Christian Ludvigsen in memory of Jens Kruuse; No date, last in this binder. - Two short articles about the Danish critic Jens Kruuse taken from Danish biographical dictionaries with French translation; In a separate envelope last in this binder. - Letter to Jolanda Rodio (Swiss opera singer and friend of Odin Teatret) From Jolanda Rodio to E. Barba 15th of March 1971 From E. Barba to Jolanda Rodio 7th of March 1971. - Letter to Peter Seeberg (author of the text of Ferai), 9th of January 1971. From H.M. Berg to Erik Münter c.c. E. Barba and Chr. Ludvigsen 12th of January 1971. - Letter from Tage Hind (teacher at the University of Aarhus) December 1970 (Handwritten) - Letters to Marc Fumaroli (for more letters to and from Fumaroli see also: Barba-Letters B. 4) From E. Barba to Marc Fumaroli, 8th of November 1970 From E. Barba to Marc Fumaroli 14th of September 1970 From E. Barba to H.M. Berg 6th of October 1970 From H.M. Berg to E. Barba 31st of August 1970 From Chr. Ludvigsen to E. Barba 3rd of September 1970 From H.M. Berg to E. Barba 10th of June 1970 From H.M. Berg to E. Barba 1st of June 1970 (mentioning TTT) - Letters to Sam Besekow about a foreword to Piscator’s book published by “TTT”; and Besekow’s reply From Sam Besekow to E. Barba (no date)

62 From E. Barba to Sam Besekow 29th of April 1970 From H.M. Berg to E. Barba c.c. Chr. Ludvigsen 12th of August 1969 From E. Barba to Chr. Ludvigsen 16th of August 1969 From Chr. Ludvigsen to E. Barba 15th of August 1969 From Chr. Ludvigsen to E. Barba 13th of August 1969 From Chr. Ludvigsen to E. Barba 5th of August 1969 From Chr. Ludvigsen to E. Barba 11th of August 1969 From Chr. Ludvigsen to E. Barba 9th of August 1969 From E. Barba to Chr. Ludvigsen 2nd of August 1969 From Chr. Ludvigsen to E. Barba 31st of July 1969 (Chr. Talks about leaving Odin Teatret. TTT (Piscator publication) vs. salary to an administrator) - Letters from Ole Sarvig (author of the text of Kaspariana) and Barba’s replies Postcards from Ole Sarvig to E. Barba: 8th of February 1969 13th of June 1968 27th of May 1968 6th of June 1968 - Letter from Jess Ørnsbo to E. Barba (no date) (Danish poet friend of Barba, previous editor of the magazine Vindrosen who had published fragments of a still unpublished Alla ricerca del teatro perduto in 1964) From Ole Sarvig to E. Barba Maundy Thursday 1968 From Chr. Ludvigsen to E. Barba 11th of March 1967 Postcard from Ole Sarvig 20th of March 1967 From E. Barba to Ole Sarvig 25th of March 1967 From Chr. Ludvigsen to E. Barba 2nd of March 1966 From Chr. Ludvigsen to E. Barba 16th of March 1966 - Letters from Lars Kleberg to E. Barba (Swedish scholar/critic and author of one of the first important reviews of Odin Teatret in Stockholm) 8th of February ?? Postcard from Ole Sarvig to E. Barba 25th of January 1967 Postcard from Ole Sarvig to E. Barba 11th of January 1967 From Ole Sarvig 14th of December 1966 - Letter from K. E. Hermann (director of Arena publishing house asking Barba for a preface to Artaud’s The theatre and its double) and positive reply from Barba From E. Barba to K.E. Hermann 12th of December 1966 From K.E. Hermann to E. Barba 5th of December 1966 From Tage Hind to E. Barba 11th of October 1966 (handwritten) From Chr. Ludvigsen to E.Barba 7th of August 1966 (with a handwritten note) From Chr. Ludvigsen to E. Barba 19th of May 1966 From Ole Sarvig to E. Barba 17th of May 1966 - Letters from Tore Giljane to E. Barba 25th of July 1966 (sub-editor of “Bonytt”, a Norwegian magazine on architecture which published the first five issues of “TTT”) From Ole Sarvig to E. Barba 7th of July 1966 From Ole Sarvig to E. Barba and Judy (a copy of a letter to Chr. Ludvigsen and Silvia) 20th of September 1966 - Letter from Ingrid Luterkort to E. Barba 30th of June 1966 (Swedish director who went to Odin Teatret’s summer seminars) From Chr. Ludvigsen to E. Barba 19th of June 1966 From Chr. Ludvigsen to E. Barba 25th of June 1966

63 From Chr. Ludvigsen to E. Barba 10th of May 1966 From ? to E. Barba 24th of November 1965 (in polish) From Lars Kleberg to E. Barba 10th of August (handwritten) - Letter from Anne-Trine Grimnes to E. Barba 7th of September 1966 (handwritten) (one of the founding actresses of Odin Teatret in Oslo). From E. Barba to Ole Sarvig 12th of September 1966 From Ole Sarvig to E. Barba 22nd of February 1966 (with a handwritten note) From Ole Sarvig to E. Barba and Judy 18th of February 1970 (with attachments) (Very personal, because it mentions personal details about Chr. Ludvigsen’s private life) - Articles, photographs. In October 2008 Francesca Romana Rietti and Mirella Schino added to folder 2 the booklet Gunvor Kongstad Berg 31.10.1927 – 16.11.2007, Stenholm, 2008. It is a commemoration by Martin Berg of his wife, with a handwritten dedication by Berg to Eugenio Barba. Later, a photocopy of an open letter, presumably to the press and dated 1966, in which a group of well known Danish artists, critics and scholars express their satisfaction that Denmark is the host of such a significant theatre as Odin Teatret. The letter is signed by Jens Kruuse (a well known critic from the newspaper Jyllands Posten), Christian Ludvigsen, Søren Melson (a renowned theatre and TV director), the writers Ole Sarvig, Peter Seeberg and Poul Vad (accompanied by a letter from Ludvigsen). Also a few letters between Eugenio Barba and Chr. Ludvigsen from November 2010 have been added. From Chr. Ludvigsen to E. Barba 29th of September 2010 From Chr. Ludvigsen to E. Barba 14th of September 2010 From Chr. Ludvigsen to E. Barba 17th of September 2010 From Chr. Ludvigsen to E. Barba 14th of November 2010 (with a handwritten note) From E. Barba to Chr. Ludvigsen 5th of July 2010 From Chr. Ludvigsen to E. Barba 18th of June 2010 From Chr. Ludvigsen to E. Barba 17th of May 2010

Barba-Letters, b. 3 Letters from Eugenio Barba to Rori (nickname for Rosario Amodeo, companion of Barba at the military college “La Nunziatella” in the years 1951-1954 in Naples. The letters are from 1960 to 1966 and mainly concern Barba’s Polish period. There is also an accompanying note (by Barba dated 2001) in which Rosario Amodeo tells how he found the letters and decided to return them to Barba. See Barba-Lett – A b. 2. Rosario Amodeo has published several autobiographical books (Da Sambuca all’Europa. A Firenze si cambia, Roma, Gangemi Editore, 1995; Guardale le sirene. Crescere nelle due Sicilie, Venezia, Marsilio, 2000; Navigazione in mare calmo. A tratti leggermente mosso, Milano, Guerini e Associati, 2011).

Barba-Letters, b. 4 Binder 4 contains: 36 letters from Marc Fumaroli to Barba and 11 letters from Barba to Fumaroli from 1966 to1974. (see Barba-Letters, b. 2; Barba-Lett-A, b. 1; Barba-Lett-A, b. 2 and Barba-Lett-A, b. 5). Fumaroli - Barba: no.1, 23.II.1966, Paris, 2 pages. Original handwritten no.2, 16.I.1967, Paris, 4 pages. Original handwritten

64 no.3, 31.IV.1967, 1 page. Original typewritten no.4, 20.V.1967, 1 page. Original typewritten no.5, 31.X.1967, Paris, 2 pages. Original typewritten no.6, 10.I.1968, Paris, 3 pages. Original handwritten no.7, 18.II.1968, Paris, 3 pages. Original handwritten no.8, 10.IV.1968, Paris, 2 pages. Original handwritten no.9, 16.IV.1968, Paris, 4 pages. Original handwritten no.10, 18.IX.1968, Paris, 2 pages. Original typewritten no.11, 12.X.1968, Paris, 4 pages. Original typewritten no.12, 26.X.1968, Paris, 1 page. Original typewritten no.13, 6.IX.1969, New York, 1 page. Original typewritten no.14, 9.IX.1969, Gstaad, 2 pages. Original typewritten no. 15, 20.IX.1969, New York, 2 pages. Original typewritten no. 16, 22.X.1969, New York, 3 pages. Original typewritten no.17, 29.X.1969, New York, 1 page. Original half typewritten half handwritten no. 18, 2.III.1970, Paris, 1 page and a half. Original typewritten + a copy of Les miraculeuses icons de Moscou no.19, 17.VII.1970, Paris, 3 pages. Original typewritten no.20, 9.IX.1970, Paris, 1 page. Original typewritten no.21, 16.IX.1970, Paris, 4 pages. Original typewritten no.22, 21.IX.1970, Paris, 1 page. Original typewritten no.23, 17.XI.1970, Paris, 1 page. Original typewritten no.24,??? 1971, Paris, 1 page. Original typewritten no.25, 11.I.1971, Paris, 5 pages. Original typewritten no.26, 1.II.1971, Paris, 1 page. Original typewritten no.27???, 1 page. Original typewritten no.28, 17.III.1971, Paris, 1 page. Original typewritten no.29, 22.II.1972, Paris, 2 pages. Original typewritten no.30,???, Paris, 1 page. Original typewritten no.31, 12.VI.1972, Paris, 1 page. Original typewritten no.32, Paris, 1 page. Original half typewritten, half handwritten no.33, Paris, 1 page. Original handwritten no.34, 6.IX. 1972, Paris, 3 pages. Original typewritten no.35, 23.XII.1973, Paris, 1 page. Original typewritten no.36, 7.I.1974, Gstaad, 2 pages. Original handwritten

Barba - Fumaroli no.1, 9.I.1967, Holstebro, 1 page. Carbon copy no.2, 14.IX.1970, 2 pages. Photocopy n.3, 28.IX.1970, Holstebro, 1 page. Carbon copy no.4, 8. XI.1970, Holstebro, 1 page. Photocopy no.5, 14.XI.1970, Holstebro, 1 page. Carbon copy no.6, 4.I.1971, Holstebro, 1 page. Carbon copy no.7, 18.I.1971, Holstebro, 1 page. Original typewritten no.8, 15.III.1971, Holstebro, 1 page. Photocopy no.9, 3.VII.1972, Holstebro, 1 page. Carbon copy no.10, 23.VIII.1972, Holstebro, 2 pages. Carbon copy no.11, 12.IX.1973, Holstebro, 2 pages. Carbon copy

65 Barba-Letters, b. 5 The binder contains a miscellany of letters from and to Eugenio Barba: the sociologist Mino Vianello for research on Scandinavian political theatre groups, later to be published in “TTT”, Giampiero Bozzolato, Raymonde Temkine, François Billetdoux, Franco Quadri, Richard Schechner (see also Barba-Letters, b. 12), Donna Surla.

Barba-Letters, b. 6 Binder of particular interest concerning some Danish writers. It contains letters from Christian Ludvigsen and Peter Seeberg (author of Ferai text), notes on some working meetings between Barba and Seeberg for future projects. Notes concerning a new play by Seeberg. Svantavit (unrealised project); Jagten (unrealised project). Notes and working material by Barba about Min Fars Hus; material for a collaboration (unrealised) with Leif Petersen (a writer who, after visiting Odin Teatret, wrote about it as a “theatre for illiterates”, i.e., that everybody can understand). Scenarios by Petersen for an unrealised collaboration. From Chr. Ludvigsen to E. Barba 5th of May 2008 Postcard from Chr. Ludvigsen to E. Barba 21st of March 2008 Postcard from Chr. Ludvigsen to E. Barba New Year 2008 Article by Chr. Ludvigsen on Ole Sarvig at Odin Teatret. Puplished in Hvedekorn nr. 4 1967 From Peter Seeberg to E. Barba 3rd of January 1970, Lourmarin, France. (incl. dramatical draft/outline in 20 scenes) Original and photocopy Handwritten notes, 13th of October 1970 (possibly by Chr. Ludvigsesn) From Chr. Ludvigsen to E. Barba, 10th of January 1970, handwritten (with attached letter from Chr.Ludvigsen to Peter Seeberg, January 1970, (with comments about Seeberg’s new manuscript)) From Peter Seeberg to E. Barba, 18th of April 1971, Viborg. (Mentioning the “History of Fjodor.” (Early stage of Min Fars Hus.)) From Chr. Ludvigsen to E. Barba, 19th/20th of September 1971. (Dramaturgical advice on what later becomes Min Fars Hus) Manuscript: Svantevits Plov, no date. (Typewritten, original) Manuscript: Svantevit, no date. (Typewritten, photocopy) Outline of scenes for Jagten, Peter Seeberg, no date. Manuscript: For store fødder, for små hænder, no date. (with handwritten corrections, photocopy) Working material for Min Fars Hus, 1971. (incl. cut-up text for the actors) From Leif Petersen to E. Barba, 28th of January, 1974. (with attachment of a letter from Leif Petersen to Chr. Ludvigsen). Material from Leif Petersen for three performances with students from a højskole. He invites Odin Teatret, 11th/19th of March 1974. (incl. a few pictures)

Barba-Letters, b. 7 Letter from Sanjukta Panigrahi to Eugenio Barba with an article by Sanjukta with her handwritten corrections (also to be found in the Fonds Odin Teatret, Series Activities, b. 3).

Barba-Letters, b. 8

66 The binder, organised by Barba, contains letters from: the anthropologist Kirsten Hastrup (protagonist of Talabot), and Martin Berg and Christian Ludvigsen. Christian Ludvigsen’s letters were spread in several binders, arranged by Eugenio Barba. We have chosen to keep in this binder Ludvigsen’s letters to Eugenio Barba after the creation of the archive and which Eugenio Barba handed over as he received them. The binder also contains a list prepared by Christian Ludvigsen in 2007 (Eugenio Barba asked him for a short history of their collaboration and their correspondence), a photocopy of the letters from Barba to Ludvigsen and Berg, a photocopy of the letters from Barba to Ludvigsen and returned to Barba by Ludvigsen in 2007. On the relationships between Barba/Odin Teatret and Ludvigsen/Berg, cf. Martin Berg’s Treklang. År med Odin Teatret 1968-84, København, Vindrose, 1986. Cf. also Franco Perrelli, Bricks to build a “Teaterlaboratorium”. Odin Teatret and Chr. Ludvigsen, Bari, Ed. di Pagina, 2013 A few letters from Christian Ludvigsen and Martin Berg have been added later. Another added item is a list of names (with their qualification next to each name) of Danish personalities from approximately 1968, prepared by Ludvigsen for a speech about Odin Teatret in 2010. In April 2013 the photocopy of a letter was added, dated 22.7.1966, written by the architect Villy Frei Krogh who, under Eugenio Barba’s directions, made a drawing for the renovation (which was later done by somebody else) of the theatre rooms made out of the farm buildings in Særkærgård. This photocopy was sent from Christian Ludvigsen to Eugenio Barba on 26 March 2013 and for this reason we decided to include it in the correspondence between Barba and Ludvigsen. In April 2013 a folder was added containing a short exchange of letters between Barba and Martin Berg in September 2012 (about Berg’s decision to give the section of his private archives concerning his relationship with Odin Teatret to the Royal Library in Copenhagen), and the photocopies of a 47-page typescript by Berg entitled Skæve billeder fra min fortid i Odins Hus. The original typescript was delivered to the Royal Library with Martin Berg’s provision, dated 31 October 2012, “Kun til internt brug må ikke offentliggeres”: which means that the consultation of the document is exclusively for internal use. Eugenio Barba gave these documents to the archives to be preserved together with the other documents about his correspondence and collaboration with Martin Berg, but he specified that the dates are not always reliable. Binder 8 1/3 contains 2 folders: 8 1/3 A and 8 1/3 B. Binder 8 2/3 contains 2 folders: 8 2/3 A and 8 2/3 B. Binder 8 3/3 contains 2 folders: 8 3/3 A and 8 3/3 B. Folder 8 1/3 A is photocopies of Chr.Ludvigsen’s collection of letters from and to E. Barba, incl. a few letters from Villy Frey Krogh, Ole Sarvig, Agnete Strøm and politicians. Binder 8 1/3 B, 8 2/3 A & B and 8 3/3 A & B are E. Barba’s collection of letters from and to Chr. Ludvigsen and H.M. Berg, incl. a smaller amount of letters to and from Ole Sarvig, politicians, lawyers, Marc Fumaroli, Jolanda Rodio, Tage Hind, Jess Ørnsbo, Sam Besekow, Lars Kleberg, K.E. Hermann, Tore Giljane, Ingrid Luterkort, Anne-Trine Grimnes, Institute for Dramaturgy at Århus University, Richard Gough and Thomas Bredsdorff.

67 Binder 8 1/3 A: Chr. Ludvigsen’s collection of letters From Villy Frey Krogh (Architect) to Odin Teatret, 22nd of June 1966 (copy with a handwritten note by Chr. Ludvigsen). From E.Barba to Chr. Ludvigsen, 8th of September 1964. From Chr. Ludvigsen to E. Barba 17th of September 1964. From E. Barba to Norges almenvitenskapelige Forskningsråd (Research committee of Norway), 18th of September 1964. From E. Barba to Chr. Ludvigsen, 23rd of September 1965. From E. Barba to Chr. Ludvigsen, 28th of September 1964. From E. Barba to Chr. Ludvigsen, 29th of September 1965. From Chr. Ludvigsen to E. Barba, ??? (page 1 is missing). From Ole Sarvig to Chr. Ludvigsen. 22nd of September 1965. (Handwritten) From E. Barba to Chr. Ludvigsen, 18th of October, 1965. From E. Barba to Allan Fridericia, 26th of October, 1965. (About the first guest performance in Århus, Denmark). From E. Barba to Chr. Ludvigsen, 29th of November 1965. (about the first Danish tour). From E. Barba to Chr. Ludvigsen, 15jan, 1966. From Chr. Ludvigsen to E. Barba, 2nd of March 1966. From Chr. Ludvigsen to E. Barba, 16th of March 1966. From E. Barba to Chr. Ludvigsen, 23rd of March 1966. (Handwritten) From Chr. Ludvigsen to E. Barba, 10th of May 1966. From E. Barba to Chr. Ludvigsen, 11th of May 1966. From Chr. Ludvigsen to E. Barba, 19th of May 1966. From E. Barba to Chr. Ludvigsen, 15th of June 1966. (Handwritten) From Chr. Ludvigsen to E. Barba, 19th of June 1966. From E. Barba to Chr. Ludvigsen, 23rd of June 1966. (Handwritten) From Chr. Ludvigsen to E. Barba, 25th of June 1966. From Chr. Ludvigsen to E. Barba, 7th of October 1966. From Chr. Ludvigsen to E. Barba, 11th of March 1967. From E. Barba to Chr. Ludvigsen, 6th of February 1967. From Chr. Ludvigsen to E. Barba, 27th/28th of November 1967. (Possibly without page 2). From E. Barba to Chr. Ludvigsen, 9th of December 1967. From E. Barba to Chr. Ludvigsen, 23rd of January 1968. From Kristen Helveg Petersen (Culture minister of Denmark) to E. Barba, 4th of June 1968. From E. Barba to Chr. Ludvigsen, 19th of December 1968. From E. Barba to Chr. Ludvigsen, 11th of July 1969. From Chr. Ludvigsen to E. Barba, 31st of July 1969. From Agnete Strøm to Chr. Ludvigsen, 31st of July 1969. From E. Barba to Chr. Ludvigsen, 2nd of August 1969. From Chr. Ludvigsen to E. Barba, 5th of August 1969. From Chr. Ludvigsen to E. Barba, 9th of August 1969. From Chr. Ludvigsen to E. Barba, 11th of August 1969 From E. Barba to Chr. Ludvigsen, 12th of August 1969 (Handwritten). From Chr. Ludvigsen to E. Barba 13th of August 1969. From Chr. Ludvigsen to E. Barba, 15th of August 1969. From E. Barba to Chr. Ludvigsen, 16th of August 1969.

68 From E. Barba to Chr. Ludvigsen, 25th of August 1969. (Handwritten) From Chr. Ludvigsen to The Jubilee Foundation of the Danish National Bank, 28th of August 1969. From Chr. Ludvigsen to Agnete Strøm, 4th of September 1969. From Chr. Ludvigsen to Århus City Council, 22nd of November 1969. From E. Barba to Chr. Ludvigsen, 29th of May 1970. (Mentioning TTT and with a handwritten note). From E. Barba to Chr. Ludvigsen, 29th of June 1970. From Chr. Ludvigsen to E. Barba 3rd of September 1970. From E. Barba to Chr. Ludvigsen, ??? (Handwritten) From E. Barba to H.M. Berg, 6th of October 1970. From E. Barba to Tage Hind, 14th of October 1970. (About TTT). From Chr. Ludvigsen to E. Barba, 21st of April 1971. From E. Barba to Chr. Ludvigsen, 22nd of April 1971. From Chr. Ludvigsen to E. Barba, 24th of April 1971. From Chr. Ludvigsen to E. Barba, 15th of August 1971. From E. Barba to Chr. Ludvigsen, 17th of August 1971. From Chr. Ludvigsen to E. Barba, 11th of November 1971. From E. Barba to Chr. Ludvigsen & H.M. Berg, 27th of September 1971. From Chr. Ludvigsen to E. Barba, 12th of November 1971. From Chr. Ludvigsen to E. Barba, 22nd of December 1971. From Chr. Ludvigsen to E. Barba, 9th of January 1972. From E. Barba to Chr. Ludvigsen, 13th of January 1972. (Longer than usual, 5 pages). From Chr. Ludvigsen to E. Barba, 7th of March 1972. From E. Barba to Chr. Ludvigsen, 8th of March 1972. From Chr. Ludvigsen to E. Barba, 7th of July 1973. Postcard from Chr. Ludvigsen to E. Barba, 4th of July, 1972. From E. Barba to Chr. Ludvigsen, 9th of July 1972. From Chr. Ludvigsen to E. Barba, 11th of July 1973. (with a handwritten note). Binder 8 1/3 B: The 25th of September 2012 H.M. Berg handed over his personal archive, concerning his relationship with Odin Teatret and Eugenio Barba, to The Royal Library of Copenhagen. The following letters are from E. Barba’s (Odin Teatret Archives) collection. From H.M. Berg to E. Barba, 3rd of April 2013. From H.M. Berg to E. Barba, 11th of September 2012. From E. Barba to H.M. Berg, 12th of September 2012. From H.M. Berg to E. Barba, 29th of October 2012. From H.M. Berg to E. Barba, 31st of October 2012. (With an appendix about H.M. Berg’s relationship with Odin Teatret and E. Barba, 47 pages (only for internal use)). Binder 8 2/3 A: Photocopies of E. Barba’s collection of letters. Some doubles of letters also to be found in binder 2. Postcard from Chr. Ludvigsen & Silvia to Odin Teatret, 12th of February 2006. From E. Barba to Chr. Ludvigsen, 27th of February 2007. (Handwritten) From Chr. Ludvigsen to E. Barba, 24th of July 2007. From Chr. Ludvigsen to E. Barba, 15th of August 1971. From E. Barba to Chr. Ludvigsen, 17th of August 1971. From H.M. Berg to E. Barba, 27th of June 1972.

69 From H.M. Berg to Erik Münter (lawyer) c.c. E. Barba, 27th of June 1972. From Erik Münter to Board of lawyers In Herning (about Jens Bjerre) c.c. Odin Teatret A/S, 23 December 1971. From E. Barba to H.M. Barba 1st of April 1971. From Jolanda Rodio to E. Barba 15th of March 1971 From E. Barba to Jolnda Rodio 7th of March 1971 Letter to Peter Seeberg (author of the text of Ferai), 9th of January 1971. From H.M. Berg to Erik Münter c.c. E. Barba and Chr. Ludvigsen 12th of January 1971 Letter from Tage Hind (teacher at the University of Aarhus) December 1970 (Handwritten). From E. Barba to Marc Fumaroli, 8th of November 1970 From E. Barba to Marc Fumaroli 14th of September 1970 From E. Barba to H.M. Berg 6th of October 1970 From H.M. Berg to E. Barba 31st of August 1970 From Chr. Ludvigsen to E. Barba 3rd of September 1970 From H.M. Berg to E. Barba 10th of June 1970 From H.M. Berg to E. Barba 1st of June 1970 (mentioning TTT) From Sam Besekow to E. Barba (no date) From E. Barba to Sam Besekow 29th of April 1970 From H.M. Berg to E. Barba c.c. Chr. Ludvigsen 12th of August 1969 From Chr. Ludvigsen to E. Barba 5th of August 1969 From E. Barba to Chr. Ludvigsen 2nd of August 1969 From Chr. Ludvigsen to E. Barba 31st of July 1969 (Chr. Talks about leaving Odin Teatret. TTT (Piscator publication) vs. salary to an administrator) Postcards from Ole Sarvig (author of the text of Kaspariana) to E. Barba: 8th of February 1969. 6th of June 1968. 27th of May 1968. 13th of June 1968

Letter from Jess Ørnsbo to E. Barba (no date) (Danish poet friend of Barba, previous editor of the magazine Vindrosen who had published fragments of a still unpublished Alla ricerca del teatro perduto in 1964) From Ole Sarvig to E. Barba, Maundy Thursday 1968. From Ole Sarvig to E. Barba, 20th of March 1967. Letter from Lars Kleberg (Swedish scholar/critic and author of one of the first important reviews of Odin Teatret in Stockholm) to E. Barba, 8th of February ??. Postcard from Ole Sarvig to E. Barba 25th of January 1967. Postcard from Ole Sarvig to E. Barba 11th of January 1967. From Ole Sarvig, 14th of December 1966. From E. Barba to K.E. Hermann (director of Arena publishing house asking Barba for a preface to Artaud’s The theatre and its double) 12th of December 1966. From K.E. Hermann to E. Barba, 5th of December 1966. From Tage Hind to E. Barba, 11th of October 1966 (handwritten). From Ole Sarvig to E. Barba, 17th of May 1966. Letter from Tore Giljane (sub-editor of “Bonytt”, a Norwegian magazine on architecture which published the first five issues of “TTT”) to E. Barba, 25th of July 1966. From Ole Sarvig to E. Barba, 7th of July 1966.

70 From Ole Sarvig to E. Barba and Judy (a copy of a letter to Chr. Ludvigsen and Silvia), 20th of September 1966. Letter from Ingrid Luterkort (Swedish director who went to Odin Teatret’s summer seminars) to E. Barba, 30th of June 1966. From Chr. Ludvigsen to E. Barba, 10th of May 1966. From ? to E. Barba 24th of November 1965 (in Polish and handwritten). From Lars Kleberg to E. Barba 10th of August (handwritten) Letter from Anne-Trine Grimnes (one of the founding actresses of Odin Teatret in Oslo) to E. Barba 7th of September 1966 (handwritten). From E. Barba to Ole Sarvig 12th of September 1966 From Ole Sarvig to E. Barba 22nd of February 1966 (with a handwritten note). From Chr. Ludvigsen to E. Barba 19th of November 1978. (copy of a letter to Arthur Ilfeldt (Head of the Theatre Council, “Teaterådet”)). From Chr. Ludvigsen to H.M. Berg, 7th of November 1978. From Chr. Ludvigsen to E. Barba, 7th of November 1978. From Chr. Ludvigsen to E. Barba & H.M. Berg, 10th of October 1978. From Chr. Ludvigsen to E. Barba, 12th of September 1978. (Handwritten). From H.M. Berg to Chr. Ludvigsen c.c. E. Barba, 25th of September 1978. From Chr. Ludvigsen to E. Barba (a letter to H.M. Berg), 24th of September 1978. (With a handwritten note). From H.M. Berg to Chr. Ludvigsen c.c. E. Barba, 15th of September 1978. From H.M. Berg to E. Barba (a letter to Chr. Ludvigsen), 21st of September 1978. From Chr. Ludvigsen to E. Barba, 21st of September 1978. (3 copies of correspondence between H.M. Berg and Chr. Ludvigsen attached). From Chr. Ludvigsen to E. Barba, 16th of September 1978. (2 letters from Chr. Ludvigsen to H.M. Berg attached). From E. Barba to Chr. Ludvigsen & Silvia, 12th of September 1978. From Chr. Ludvigsen to E. Barba, 27th of August 1978. From Chr. Ludvigsen to E. Barba (a letter from Chr. Ludvigsen to H.M. Berg attached), 20th of August 1978. From E. Barba to Chr. Ludvigsen, 17th of January 1978. From Chr. Ludvigsen to E. Barba, 13th of March 1978. From E. Barba to Chr. Ludvigsen, 14th of March 1978. From Cr. Ludvigsen to E. Bara, 2nd of April 1978. From Chr. Ludvigsen to E. Barba, 11th of May 1978. From Chr. Ludvigsen to E. Barba, 14th of August 1978. From Chr. Ludvigsen to E. Barba, 17th of December 1977. From Chr. Ludvigsen to E. Barba, 11th of January 1978. (Handwritten) From Chr. Ludvigsen to E. Barba (a letter to Eduardo Manet (?)25th of November 1977), 27th of November 1978. From Chr Ludvigsen to E. Barba, 25th of September 1977. From Chr. Ludvigsen to E. Barba (a letter to Arthur Ilfeldt attached), 22nd of September 1977. From Chr. Ludvigsen to E. Barba, 17th of April 1977. From Chr. Ludvigsen to E. Barba, 26th/27th of August 1977 From Chr. Ludvigsen to E. Barba, 15th of February 1976. From Chr. Ludvigsen to E. Barba, ?? 1977. From Chr. Ludvigsen to E. Barba, Christmas 1976.

71 From Chr. Ludvigsen to E. Barba, Christmas/New Year 1976/77. (Handwritten) From Chr. Ludvigsen to E. Barba, 29th of May 1984. From E. Barba to Chr. Ludvigsen, 25th of May 1984. From Chr. Ludvigsen to E. Barba, 24th of May 1984. From Chr. Ludvigsen to E. Barba, 15th of April 1984. From Chr. Ludvigsen to E. Barba, 3rd of April 1984. (Handwritten). From Chr. Ludvigsen to E. Barba, 8th of March 1984. A programme of a workshop by Richard Schechner (The Performance Group, Editor of The Drama Review and author of The End of Humanism etc. ) in Denmark together with Carol Martin (Tisch School of the Arts at NYU). ?? From E. Barba to Chr. Ludvigsen, 8th of March 1984. From Chr. Ludvigsen to E. Barba, 26th of February 1984. From Chr. Ludvigsen to E. Barba, 10th of February 1984. From E. Barba to Chr. Ludvigsen, 26th of January 1984. (About Richard Schechner, his book The End of Humanism and potentional Workshop with him.) From Chr, Ludvigsen to E. Barba, 24th of January 1984. From E. Barba to Chr. Ludvigsen, 22nd of January 1984. (Early plans of bringing Richard Schechner to Denmark and Århus University). From Chr. Ludvigsen to E. Barba, 8th of January 1984. From Chr. Ludvigsen to E. Barba, 6th of December 1983. From E. Barba to Chr. Ludvigsen, 13th of October 1983. From Chr. Ludvigsen to E. Barba, 12th of October 1983. From E. Barba to Chr. Ludvigsen, 30th of September 1983. From Chr. Ludvigsen to E. Barba, 27th of September 1983. From Chr. Ludvigsen to E. Barba, 15th of September 1983. From Chr. Ludvigsen to the Board of Odin Teatret, 15th of September 1983. From Chr. Ludvigsen to E. Barba, 14th of August 1983. From Chr. Ludvigsen to E. Barba, 25th of July 1983. From Chr. Ludvigsen to E. Barba, 7th of August 1983. (Reactions on the situation at Odin Teatret during E. Barba’s leave of absence, 4 pages). Fra E. Barba to Chr. Ludvigsen, 1st of July 1983. From Chr. Ludvigsen to E. Barba, 31st of July 1983. From Chr. Ludvigsen to E. Barba, 19th of May 1983. From E. Barba to Chr. Ludvigsen, 5th of May 1983. From Chr. Ludvigsen to E. Barba, 29th of April 1983. From Institut for Dramaturgi (at Århus University) to E. Barba, 8th of September 1983. (About the job as an external examinator) From Institut for Dramaturgi (Århus Universitet) to E. Barba, 7th of October 1982. From Chr. Ludvigsen to E. Barba, 1st of October 1982. From Chr. Ludvigsen to E. Barba, 22nd of September 1982. From Chr. Ludvigsen to E. Barba, 21st of September 1982. From Chr. Ludvigsen to E. Barba, 12th of September 1982. From Chr. Ludvigsen to E. Barba, 29th of August 1982. (Handwritten and without attachments as in the original). From Chr. Ludvigsen to E. Barba, 31st of August 1982. (Handwritten and without attachments as in the original). From Chr. Ludvigsen to E. Barba, 23rd of August 1982. (Without attachments as in the original).

72 From Chr. Ludvigsen to E. Barba, 22nd of August 1982. From Chr. Ludvigsen to E. Barba, 24th of June 1982. From Chr. Ludvigsen to E. Barba, 18th of April 1982. (Without the attachment of “L’Impromptu de Versailles” by Moliére translated into Danish by Chr. Ludvigsen). From Chr. Ludvigsen to E. Barba, 20th of March 1982. (With 2 attachments missing from the original: The annual report from Institute for Dramaturgi 80/81 and the rough draft of the annual report) Binder 8 2/3 B: Photocopies of E. Barba’s collection of letters. From E. Barba to Chr. Ludvigsen, 26th of February 1982. From Chr. Ludvigsen to E. Barba, 14th of February 1982. From Chr. Ludvigsen to E. Barba, 25th of January 1982. From Chr. Ludvigsen to E. Barba, 8th of July 1981. From Chr. Ludvigsen to E. Barba, 1st of November 1981. From Chr. Ludvigsen to E. Barba, 14th of June 1981. From Chr. Ludvigsen to E. Barba, 24th of May 1981. From Chr. Ludvigsen to E. Barba (attached a letter to E. Barba, H.M. Berg & Søren Kjems.), 26th of August 1979. From Chr. Ludvigsen to E. Barba, 21st of September 1980. (Attached; a letter (maybe 10th of September 1980), the German national anthem and maps of Germany). Postcard from Chr. Ludvigsen to E. Barba, 30th of May 1980. From Chr. Ludvigsen to E. Barba, 23th of February 1980. From Chr. Ludvigsen to E. Barba, 13th of January 1980. From E. Barba to Cr. Ludvigsen, 28th of November 1979. From Chr. Ludvigsen to E. Barba, 27th of November 1979. From Chr. Ludvigsen to E. Barba, 2nd of November 1979. From Chr. Ludvigsen to E. Barba, 27th of March 1979. From Chr. Ludvigsen to E. Barba, 24th of January 1979. From Chr. Ludvigsen to E. Barba (a copy of a letter to H.M. Berg), 24th of January 1979. From Chr. Ludvigsen to Ulrik Skeel & E. Barba, 22nd of April 200? (About Chr. Ludvigsen’s research in his own letter archive and corrections of the Odin Teatret poster of activities from 1965 to 1999). From E. Barba to Chr. Ludvigsen, 27th of August 2001. (Handwritten). From Chr. Ludvigsen to E. Barba & Marie Holte (Secretary), 26th of May 2001. (Fumaroli- research). From Chr. Ludvigsen to E. Barba, 8th of May 2001. From E. Barba to Chr. Ludvigsen, 7th of May 2001. (Handwritten). From Chr. Ludvigsen to E. Barba, 6th of May 2001. (About an article by Marc Fumaroli in Jyllands Posten about French theatre). From E. Barba to Chr. Ludvigsen, 22nd of November 1999. (Handwritten). From Chr. Ludvigsen to E. Barba, 3rd of October 1999. From Chr. Ludvigsen to E. Barba, 19th/21st of November 1999. From E. Barba to Chr. Ludvigsen, 19th of August 1999. (Handwritten). From Chr. Ludvigsen to E. Barba, 21st of June 1999. From Chr. Ludvigsen to E. Barba, 8th of June 1999. (3 pages). From Chr. Ludvigsen to E. Barba, 30th of March 1999. From Chr. Ludvigsen to E. Barba, 1st of February 1999. From E. Barba to Chr. Ludvigsen, 27 th of January 1999. (Handwritten). From Chr. Ludvigsen to E. Barba, 8 th of December 1998.

73 From Chr. Ludvigsen to E. Barba, 3rd of September 1998. From Chr. Ludvigsen to E. Barba, 28th of June 1998. From Chr. Ludvigsen to E. Barba, 4th of May 1998. Postcard from Chr. Ludvigsen to E. Barba, 7th of July 1997. From Silvia Ludvigsen to E. Barba, 5th of March 1997. From Silvia Ludvigsen to E. Barba, 22nd of January 1997. From E. Barba to Silvia Ludvigsen, 5th of February 1997. (Handwritten). From Chr. Ludvigsen to E. Barba, 31st of January 1997. Postcard from Chr. Ludvigsen to E. Barba, 24th of November 1996. Postcard from Chr. Ludvigsen to E. Barba, ultimo October 1996. From Chr. Ludvigsen to E. Barba, 6th of June 1996. From Chr. Ludvigsen to E. Barba, 14th of April 1995. (Handwritten). Postcard from Chr. Ludvigsen to E. Barba, 8th of January 1995. From Chr. Ludvigsen to E. Barba, 8th of January 1995. (Handwritten). From Chr. Ludvigsen to E. Barba, 9th of October 1994. From E. Barba to Chr. Ludvigsen, 6th of October 1994. (Handwritten). From Silvia & Chr. Ludvigsen to Odin Teatret, 5th of October 1994. Postcard from Chr. Ludvigsen to E. Barba, 26th of September 1994. Postcard from Chr. Ludvigsen to E. Barba, 14th of September 1993. From E. Barba to Chr. Ludvigsen 12th of September 1993. (Handwritten) Ffrom E. Barba to Silvia & Chr. Ludvigsen, 13th of August 1993. (Handwritten). From Chr. Ludvigsen to E. Barba, 24th of March 1993. From E. Barba to Chr. Ludvigsen, 13th of April 1993. From Chr. Ludvigsen to E. Barba, 6th of February 1993. Postcard from Chr. Ludvigsen to E. Barba, 27th of January 1993. Postcard from Chr. Ludvigsen to E. Barba, 28th of July 1992. Postcard From Chr. Ludvigsen to E. Barba, 23rd of February 1992. From Chr. Ludvigsen to E. Barba, 11th of February 1992. (Handwritten). From Chr. Ludvigsen to E. Barba, 8th of November 1991. From Chr. Ludvigsen to E. Barba, 16th of September 1991. From E. Barba to , 19th of September 1991. (Giving his support to the scientific research of Bent Holm). From E. Barba to Chr. Ludvigsen, 7th of May 1991. Postcard from Chr. Ludvigsen to E. Barba, 5th of May. (possibly 1991). From E. Barba to Chr. Ludvigsen, 5th of December 1990. (Handwritten). From Chr. Ludvigsen to E. Barba, 2nd of December 1990. From Chr. Ludvigsen to E. Barba, 18th of October 1990. From E. Barba to Chr. Ludvigsen, 1st of May 1990. (Handwritten). From Chr. Ludvigsen to Odin Teatret?, 26th of April 1990. From Chr. Ludvigsen to E. Barba, New Year 1988/89. (Handwritten) Postcard from Chr. Ludvigsen to E. Barba, 18th of October 1988. From Chr. Ludvigsen to E. Barba, 28th of August 1988. From Chr. Ludvigsen to E. Barba, 14th of August 1988. From Chr. Ludvigsen to E. Barba, 12th of September 1987. Postcard from Chr. Ludvigsen to E. Barba, New Year 1986/87. From Silva Ludvigsen to E. Barba & Judy, ? November 1986. From Silvia & Chr. Ludvigsen to E. Barba & Judy, 28th of October 1986.

74 From E. Barba? to Chr. Ludvigsen, 26th of May 1986. (Suggesting R. Schechner and Helmo Hernandez to give lectures at Århus University). Postcard from Chr. Ludvigsen to E. Barba, 23rd of March 1986 Postcard from Chr. Ludvigsen to E. Barba, New Year 1985/86. From Chr. Ludvigsen to E. Barba, 18th of August 1985. From Chr. Ludvigsen to E. Barba, 23rd of June 1985. From E. Barba to Chr. Ludvigsen, 8th of May 1985. From Chr. Ludvigsen to E. Barba, 16th of April 1985. (Reaction to the performance The Gospel According to Oxyrhincus). From Chr. Ludvigsen to E. Barba, 25th of February 1985. From E. Barba to Chr. Ludvigsen, 23rd of January 1985. From Chr. Ludvigsen to E. Barba, 22nd of January 1985. From Chr. Ludvigsen to E. Barba, 30th of October 1984. From E. Barba to Chr. Ludvigsen, 30th of November 1984. From E. Barba to Chr. Ludvigsen 17th of September 1984. From Chr. Ludvigsen to E. Barba, 17th of September 1984. From E. Barba to Chr. Ludvigsen, 28th of August 1984. From Chr. Ludvigsen to E. Barba, 27th of August 1984. From E. Barba to Chr. Ludvigsen, 2nd of August 1984. (Handwritten) From Chr. Ludvigsen to E. Barba, 26th of May 2005. From Chr. Ludvigsen to E. Barba, 26th/27th of February 2007. (Comments on the text about Chr. Ludvigsen by Franco Perelli, 4 pages). From Chr. Ludvigsen to E. Barba, 5th of January 2009. From Chr. Ludvigsen to Ulrik Skeel, 14th of January 2009. From Chr. Ludvigsen to the Grotowski banquet comitee, 8th of January 2009. ( Attached; an article about scientific theatre research). Binder 8 3/3 A: E. Barba’s collection of letters. (Originals) The letters from H.M. Berg are often about publishing and economical business from Odin Teatret, also after H.M. Bergs “retirement”, but they are also about more private subjects. H.M. Berg was taking minutes from the board meetings, therefore short notes on the minutes also appear in the letters to E. Barba. Some of the letters refer to budgets, which is not included in this correspondence. From E. Barba to H.M. Berg 9th of March 2008. (Handwritten) From H.M. Berg to E. Barba, 4th of March 2008. From E. Barba to H.M. Barba 29th of February 2008. (Handwritten). From H.M. Berg to E. Barba, 3rd of October 2007. (Handwritten). From E. Barba to H.M. Barba, 28th of September 2007. From H.M. Berg to E. Barba, 25th of September 2007. (Handwritten). From H.M. Berg to E. Barba, 7th of August 2006. From H.M. Berg to E. Barba, 20th of August 2007. (Handwritten). From E. Barba to H.M. Berg, 29th of May 2007. From H.M. Berg to E. Barba, 28th of May 2007. (Handwritten). From H.M. Berg to E. Barba, 22nd of October 2006. From E. Barba to H.M. Berg, 19th of November 2006. (Handwritten).

From Chr. Ludvigsen to E. Barba, 12th/14th of January 2007. (Chr. Ludvigsen is starting to organize the early correspondence, incl. grant applications, between him and E. Barba).

75 From Chr. Ludvigsen to E. Barba, 4th – 15th of January 2007. (Registrations of important letters sent between Chr. Ludvigsen and E. Barba 1964-69). “Set med mine øjne er det teaterhistorisk helt unikt i Danmark (og sikkert også andre steder) at vedtage en lov med teaterforskning i en særparagraf. Odin Teatret har jo i høj grad levet op til denne § - senest ved den direkte brobygning mellem Aarhus universitet og OT ved 40-års jubilæet.” – Chr. Ludvigsen. From Chr. Ludvigsen to E. Barba, 17th January 2007. From Chr. Ludvigsen to E. Barba, 6th – 14th of February 2007. (Registrations of important letters continued). From Chr. Ludvigsen to E. Barba, 27th of February 2007. From Chr. Ludvigsen to E. Barba, 6th April 2007.

From Chr. Ludvigsen to E. Barba, 15th of November 2006 From Chr. Ludvigsen to E. Barba, 13th of February 2007. (An overview of Chr. Ludvigsens/Odin Teatrets correspondence with the Danish ministry of culture, made by Chr. Ludvigsen himself and with attachments/copies). Attachments: From Chr. Ludvigsen to Henning Rohde, 10th of April 1967. From Henning Rohde to Chr. Ludvigsen, 14th of April 1967. Photocopy of private calendar of Chr. Ludvigsen dated November 1966, 2 pages. Kristen Helveg Petersen to E. Barba, 4th of June 1968. From Chr. Ludvigsen to Kristen Helveg Petersen, 17th June 1968. From Chr. Ludvigsen to Kristen Helveg Petersen, 9th of June 1968. (With appendix). From Willi Weincke to Chr. Ludvigsen, 17th of December 1968. From Kristen Helveg Petersen & Willi Weincke to Odin Teatret, 11th of April 1969. From Chr. Ludvigsen to Lennart Holten, 9th of March 1969. From Chr. Ludvigsen to Henning Rohde, 18th of January 1969. From Chr. Ludvigsen to Willi Weincke, 6th of January 1969. From Chr. Ludvigsen to L. Holten, 9th of January 1969. From Chr. Ludvigsen to E. Barba, 19th/20th of September 1971. From E. Barba to Chr. Ludvigsen, ?? 1971. (Handwritten). From Chr. Ludvigsen to Odin Ensemble New Year 1971/72. From E. Barba to Chr. Ludvigsen, 6th of March 1972. From E. Barba to Chr. Ludvigsen, 9th of July 1972.

From Chr. Ludvigsen to E. Barba, 9th of March 2009. From Chr. Ludvigsen to E. Barba, 18th of June 2007. From Chr. Ludvigsen to E. Barba, 9th of March 2007. (Rewritings of Franco Perelli’s manuscript for Bricks to Build a “Teaterlaboratorium”, 5 pages). From Kirsten Hastrup (Collaborator for the performance Talabot) to E. Barba, 10th of February 1989. From Kirsten Hastrup to E. Barba, 30th of September 1988. From Kirsten Hastrup to E. Barba, 24th of November 1987. From Kirsten Hastrup tE. Barba, 30th of April 1987. (With a handwritten note)). From E. Barba to Kirsten Hastrup, 28th of May 1987. From H.M. Berg to E. Barba, 25th of October 2004. From H.M. Berg to E. Barba, 6th of October 2004.

76 From H.M. Berg to E. Barba, 20th of July 2004. (Handwritten). From E. Barba to H.M. Berg, 2nd of June 2004. (Handwritten). From E. Barba to H.M. Berg, ???. (Handwritten). From H.M. Berg to E. Barba, 25th of October 2003. From H.M. Berg to E. Barba, 24th of October 2003. (Handwritten). From E. Barba to H.M. Berg, 24th of October 2003. (Handwritten). From H.M. Berg to E. Barba, 22nd of May 2003. (Handwritten). From H.M. Berg to E. Barba, ? December 2002. (Handwritten). From H.M. Berg to E. Barba, 7th of October 2002. From H.M. Berg to E. Barba, 15th of September 2002. From H.M. Berg to E. Barba, 19th of Setember 2002. (Handwritten). From H.M. Berg to E. Barba, 11th of September 2002. (Handwritten). From H.M. Berg to E. Barba, 7th of September 2002. From E. Barba to H.M. Berg, 5th of September 2002. (Handwritten). From H.M. Berg to E. Barba, 26th of August 2002. From H.M. Berg to E. Barba, 30th of August 2002. From E. Barba to H.M. Berg 22nd of August 2002. (Handwritten). From H.M. Berg to E. Barba, 15th of July 2002. (With a handwritten note). Postcard from H.M. Berg to E. Barba, 27th October 2000. From H.M. Berg to E. Barba, 26th of September 2000. From E. Barba to H.M. Berg, 21st of September 2000. (Handwritten). From E. Barba to H.M. Berg, 9th of August 2000. ( Handwritten). From H.M. Berg to E. Barba, 16th of June 2000. (With an attached draft for a letter to Richard Gough (Centre for Performance Research)). From H.M. Berg to E. Barba, 18th of April 2000. (With an attached draft for a letter to Richard Gough (Centre for Performance Research)). From E. Barba to H.M. Berg, 18th of April 2000. (Handwritten). From E. Barba to H.M. Berg, 16th of April 2000. (Handwritten). From H.M. Berg to E. Barba, 12th of January 2000. From E. Barba to H.M. Berg, 11th of January 2000. (Handwritten). From H.M. Berg to E. Barba, 9th of January 2000. From E. Barba to H.M. Berg, 7th of January 2000. (Handwritten). From E. Barba to H.M. Berg, 23rd of November 1999. From H.M. Berg to E. Barba, 21st of November 1999. From E. Barba to H.M. Berg, 2nd of September 1999. (Handwritten). From H.M. Berg to E. Barba, 30th of May 1999. From H.M. Berg to E. Barba, 14th of December 1998. From H.M. Berg to E. Barba, 20th of October 1998. (Handwritten). From H.M. Berg to E. Barba, 27th o October 1998. (Handwritten). From H.M. Berg to E. Barba, 14th of October 1998. (Handwritten). From E. Barba to H.M. Berg, 13th of October 1998. (Handwritten). Postcard from H.M. Berg to E. Barba, 15th of June 1998. From H.M. Berg to E. Barba, 17th of May 1998. From H.M. Berg to E. Barba, 3rd of July 1998. From H.M. Berg to E. Barba, 25th of March 1998. Postcard from H.M. Berg to E. Barba, 8th of December 1997. From H.M. Berg to E. Barba, 27th of October 1997. (Handwritten). From H.M. Berg to E. Barba, 19th of August 1997. (Memories of Sanjukta Panigrahi).

77 From H.M. Berg to E. Barba, 3rd of May 1997. From H.M. Berg to E. Barba, 10th of November 1996. From H.M. Berg to E. Barba, 28th of October 1996. (Handwritten). From H.M. Berg to E. Barba, 24th of September 1996. (Handwritten). From H.M. Berg to E. Barba, 7th of August 1996. From H.M. Berg to E. Barba, 1st of August 1996. From H.M. Berg to E. Barba, 15th of December 1994. (Handwritten). Postcard from H.M. Berg to E. Barba, 3rd of November 1994. From H.M. Berg to E. Barba, 28th of October 1994. (Handwritten). Postcard from H.M. Berg to E. Barba, 18th of September 1994. From H.M. Berg to E. Barba, 12th of August 1994. Postcard from H.M. Berg to E. Barba, ??? From H.M. Berg to E. Barba, 24th of February 1994. From H.M. Berg to E. Barba, 9th of November 1993. From E. Barba to H.M. Berg, 12th of November 1993. (Handwritten). From E. Barba to H.M. Berg, 31st of October 1993. From H.M. Berg to E. Barba, 21st of October 1993. (Handwritten). From H.M. Berg to E. Barba, 3rd of August 1993. From H.M. Berg to E. Barba, 24th of July 1993. From E. Barba to H.M. Berg, 4th of June 1993. (Handwritten). From E. Barba to H.M. Berg, 2nd of June 1993. Handwritten). From E. Barba to H.M. Berg, 1st of May 1993. (Handwritten). From H.M. Berg to E. Barba, 18th of May 1993. Speech by H.M. Berg at a festive dinner at Odin Teatret, 19th of March 1993. (6 pages). From H.M. Berg to E. Barba, 3rd of April 1993. (Handwritten). From H.M. Berg to E. Barba, 21st of March 1993. (Handwritten). From H.M. Berg to E. Barba, 9th of March 1993. From E. Barba to H.M. Berg 22nd of March 1993. (Handwritten). From H.M. Berg to E. Barba, 3rd of February 1993. From H.M. Berg to E. Barba, 28th of January 1993. (With a handwritten note). From H.M. Berg to E. Barba, 11th of November 1992. From H.M. Berg to E. Barba, 22nd of October 1992. From E. Barba to H.M. Berg 21st of October 1992. From H.M. Berg to E. Barba, 19th of October 1992. From H.M. Berg to E. Barba, 26th of July 1992. From H.M. Berg to E. Barba, 24th of September 1991. From H.M. Berg to E. Barba, 26th of September 1991. From H.M. Berg to E. Barba, 23rd of April 1991. From H.M. Berg to E. Barba, ??? (Possibly December 1990) From E. Barba to H.M. Berg, 21st of December 1990. From H.M. Berg to E. Barba, 8th of December 1990. From E. Barba to H.M. Berg 6th of December 1990. (Handwritten). From H.M. Berg to E. Barba, 15th of November 1990. From H.M. Berg to E. Barba, 11th of October 1990. From H.M. Berg to E. Barba, 16th of September 1990. From H.M. Berg to E. Barba, 19th of April 1990. From H.M. Berg to E. Barba, 7th of April 1990. (Handwritten). From H.M. Berg to E. Barba, 5th of January 1990.

78 From H.M. Berg to E. Barba, Christmas 1989. (Handwritten). From H.M. Berg to E. Barba, 21st of September 1989. From E. Barba to H.M. Berg, 29th of July 1989. From H.M. Berg to E. Barba, 3rd of February 1989. From H.M. Berg to E. Barba, 25th of October 1989. From H.M. Berg to E. Barba, 20th of October 1989. From E. Bara to H.M. Berg, 7th of October 1988. (Handwritten). From H.M. Berg to E. Barba, 13th of September 1988. From H.M. Berg to E. Barba, 5th of September 1988. From H.M. Berg to E. Barba, 30th of August 1988. From H.M. Berg to E. Barba, 24th of August 1988. From H.M. Berg to E. Barba, 10th of June 1988. From H.M. Berg to E. Barba, 3rd of June 1988. From H.M. Berg to E. Barba, 30th of May 1988. From H.M. Berg to E. Barba, 10th of May 1988. From H.M. Berg to E. Barba, 3rd of May 1988. From H.M. Berg to E. Barba, 18th of September 1987. (Handwritten). From H.M. Berg to E. Barba, 10th of July 1987. From H.M. Berg to E. Barba, 21st of May 1987. From H.M. Berg to E. Barba, 28th of April 1987. From H.M. Berg to E. Barba, 28th of December 1986. (Handwritten). From H.M. Berg to E. Barba, 17th of December 1986. From H.M. Berg to E. Barba, 30th of October 1986. From E. Barba to H.M- Berg, end of November 1986. From H.M. Berg to E. Barba, 14th of September 1986. From E. Barba to H.M. Berg, 13th of ? 1986. From H.M. Berg to E. Barba, 24th of March 1986. (With a handwritten note). From E. Barba to H.M. Berg 15th of February 1986. (Handwritten). From H.M. Berg to E. Barba, December 1985. From H.M. Berg to E. Barba, 23rd of January 1985. From E. Barba to H.M. Berg, 27th of October 1984. (With an attachment: A riddle from H.M. Berg to E. Barba on Odin Teatrets 20th anniversary). From H.M. Berg to E. Barba, 24th of September 1988. From H.M. Berg to E. Barba, ??? (Handwritten) From H.M. Berg to E. Barba & Søren Kjems, 16th of August 1984. From H.M. Berg to E. Barba, 14th of August 1984. From H.M. Berg to E. Barba, 2nd of August 1984. From H.M. Berg to E. Barba, 19th of March 1984. From H.M. Berg to E. Barba, 6th of March 1984. From H.M. Berg to E. Barba, 20th of January 1984. (With a handwritten note). From H.M. Berg to E. Barba & Søren Kjems, 30th of August 1983. From E. Barba to H.M. Berg 17th of August 1983. From H.M. Berg to E. Barba, 8th of September 1982. From E. Barba to H.M. Berg, 5th of September 1982. From H.M. Berg to E. Barba, 27th of July 1982. From H.M. Berg to E. Barba, 6th of June 1982. (Handwritten). From H.M. Berg to E. Barba, 19th of October 1981. From E. Barba to H.M. Berg, 20th of July 1981.

79 From H.M. Berg to E. Barba, 8th of July 1981. From E. Barba to H.M. Berg, ?? 1981. From H.M. Berg to E. Barba, 24th of April 1981. From E. Barba to H.M. Berg, 6th of April 1981. From H.M. Berg to E. Barba, 14th of November 1980. From H.M. Berg to E. Barba, 10th of November 1980. From H.M. Berg to E. Barba, 4th of November 1980. From E. Barba to H.M. Berg, 21st of August 1980. From E. Barba to H.M. Berg, 21st of August 1980. From E. Barba to H.M. Berg, 19th of August 1980. From H.M. Berg to E. Barba, 10th of June 1980. From H.M. Berg to E. Barba, 6th of June 1980. From E. Barba to H.M. Berg, 27th of May 1980. From H.M. Berg to E. Barba, 19th of March 1980. From E. Barba to H.M. Berg, 22nd of February 1980. From H.M. Berg to E. Barba, 22nd of February 1980. From H.M. Berg to E. Barba, 23rd of January 1980. From E. Barba to H.M. Berg, 28th of November 1979. From E. Barba to H.M. Berg , 13th of November 1979. From H.M. Berg to E. Barba, 4th of October 1979. From H.M. Berg to E. Barba, 25th of July 1979. From H.M. Berg to E. Barba, 25th of April 1979. From H.M. Berg to E. Barba, 19th of February 1979. From E. Barba to H.M. Berg, 22nd February 1979. From H.M. Berg to E. Barba, 29th of January 1979. (A copy of a letter to Chr. Ludvigsen about the economic situation of Odin Teatret). From H.M. Berg to E. Barba, 14th of November 1978. From H.M. Berg to E. Barba, 8th of November 1978. (A copy of letter to Chr. Ludvigsen about the employment of the new administrative consultant Søren Kjems). From Chr. Ludvigsen to E. Barba, 17th of October 1978. (About the very important Refusionsordning (repayment policy) from the Danish department of Culture). From H.M. Berg to E. Barba, 13th of October 1978. (With a copy of a letter to Chr. Ludvigsen). From H.M. Berg to E. Barba, c.c. Chr. Ludvigsen, 9th of October 1978. From H.M. Berg to E. Barba, 6th of October 1978. From H.M. Berg to E. Barba, 15th of September 1978. From H.M. Berg to E. Barba & Chr. Ludvigsen, 31st of August 1978. From H.M. Berg to E. Barba, Chr. Ludvigsen, Per Moth & Torgeir Wethal, 18th of August 1978. From E. Barba to H.M. Berg, 19th of August 1978. From H.M. Berg to E. Barba, 23rd of June 1978. From H.M. Berg to E. Barba, 14th of March 1978. From H.M. Berg to E. Barba, 15th of March 1978. From H.M. Berg to E. Barba, 9th of March 1978. From E. Barba to H.M. Berg, 4th of March 1978. From E. Barba to H.M. Berg, 22nd of February 1978. From H.M. Berg to E. Barba, 12th of January 1978. From H.M. Berg to E. Barba, 10th of January 1978.

80 From H.M. Berg to E. Barba, 21st of November 1977. (Handwritten).

Postcard from Chr.Ludvigsen to E. Barba, 12th of February 2006. From E. Barba to Chr. Ludvigsen, 21st of May 2005. (Handwritten). (For the next letters; see also Binder 8 2/3 B, also physical folder) From Chr. Ludvigsen to Ulrik Skeel & E. Barba, 22nd of April 200? (About Chr. Ludvigsen’s research in his own letter archive and corrections of the Odin Teatret poster of activities from 1965 to 1999). From E. Barba to Chr. Ludvigsen, 27th of August 2001. (Handwritten). From Chr. Ludvigsen to E. Barba & Marie Holte (Secretary), 26th of May 2001. (Fumaroli- research). From Chr. Ludvigsen to E. Barba, 8th of May 2001. From E. Barba to Chr. Ludvigsen, 7th of May 2001. (Handwritten). From Chr. Ludvigsen to E. Barba, 6th of May 2001. (About an article by Marc Fumaroli in Jyllands Posten about French theatre). From E. Barba to Chr. Ludvigsen, 22nd of November 1999. (Handwritten). From Chr. Ludvigsen to E. Barba, 3rd of October 1999. From Chr. Ludvigsen to E. Barba, 19th/21st of November 1999. From E. Barba to Chr. Ludvigsen, 19th of August 1999. (Handwritten). From Chr. Ludvigsen to E. Barba, 21st of June 1999. From Chr. Ludvigsen to E. Barba, 8th of June 1999. (3 pages). From Chr. Ludvigsen to E. Barba, 30th of March 1999. From Chr. Ludvigsen to E. Barba, 1st of February 1999. From E. Barba to Chr. Ludvigsen, 27 th of January 1999. (Handwritten). From Chr. Ludvigsen to E. Barba, 8 th of December 1998. From Chr. Ludvigsen to E. Barba, 3rd of September 1998. From Chr. Ludvigsen to E. Barba, 28th of June 1998. From Chr. Ludvigsen to E. Barba, 4th of May 1998. Postcard from Chr. Ludvigsen to E. Barba, 7th of July 1997. From Silvia Ludvigsen to E. Barba, 5th of March 1997. From Silvia Ludvigsen to E. Barba, 22nd of January 1997. From E. Barba to Silvia Ludvigsen, 5th of February 1997. (Handwritten). From Chr. Ludvigsen to E. Barba, 31st of January 1997. Postcard from Chr. Ludvigsen to E. Barba, 24th of November 1996. Postcard from Chr. Ludvigsen to E. Barba, ultimo October 1996. From Chr. Ludvigsen to E. Barba, 6th of June 1996. From Chr. Ludvigsen to E. Barba, 14th of April 1995. (Handwritten). Postcard from Chr. Ludvigsen to E. Barba, 8th of January 1995. From Chr. Ludvigsen to E. Barba, 8th of January 1995. (Handwritten). From Chr. Ludvigsen to E. Barba, 9th of October 1994. From E. Barba to Chr. Ludvigsen, 6th of October 1994. (Handwritten). From Silvia & Chr. Ludvigsen to Odin Teatret, 5th of October 1994. Postcard from Chr. Ludvigsen to E. Barba, 26th of September 1994. Postcard from Chr. Ludvigsen to E. Barba, 14th of September 1993. From E. Barba to Chr. Ludvigsen 12th of September 1993. (Handwritten) Ffrom E. Barba to Silvia & Chr. Ludvigsen, 13th of August 1993. (Handwritten). From Chr. Ludvigsen to E. Barba, 24th of March 1993.

81 From E. Barba to Chr. Ludvigsen, 13th of April 1993. From Chr. Ludvigsen to E. Barba, 6th of February 1993. Postcard from Chr. Ludvigsen to E. Barba, 27th of January 1993. Postcard from Chr. Ludvigsen to E. Barba, 28th of July 1992. Postcard From Chr. Ludvigsen to E. Barba, 23rd of February 1992. From Chr. Ludvigsen to E. Barba, 11th of February 1992. (Handwritten). From Chr. Ludvigsen to E. Barba, 8th of November 1991. From Chr. Ludvigsen to E. Barba, 16th of September 1991. From E. Barba to , 19th of September 1991. (Giving his support to the scientific research of Bent Holm). From E. Barba to Chr. Ludvigsen, 7th of May 1991. Postcard from Chr. Ludvigsen to E. Barba, 5th of May. (possibly 1991). From E. Barba to Chr. Ludvigsen, 5th of December 1990. (Handwritten). From Chr. Ludvigsen to E. Barba, 2nd of December 1990. From Chr. Ludvigsen to E. Barba, 18th of October 1990. From E. Barba to Chr. Ludvigsen, 1st of May 1990. (Handwritten). From Chr. Ludvigsen to Odin Teatret?, 26th of April 1990. From Chr. Ludvigsen to E. Barba, New Year 1988/89. (Handwritten) Postcard from Chr. Ludvigsen to E. Barba, 18th of October 1988. From Chr. Ludvigsen to E. Barba, 28th of August 1988. From Chr. Ludvigsen to E. Barba, 14th of August 1988. From Chr. Ludvigsen to E. Barba, 12th of September 1987. Postcard from Chr. Ludvigsen to E. Barba, New Year 1986/87. From Silva Ludvigsen to E. Barba & Judy, ? November 1986. From Silvia & Chr. Ludvigsen to E. Barba & Judy, 28th of October 1986. From E. Barba? to Chr. Ludvigsen, 26th of May 1986. (Suggesting R. Schechner and Helmo Hernandez to give lectures at Århus University). Postcard from Chr. Ludvigsen to E. Barba, 23rd of March 1986 Postcard from Chr. Ludvigsen to E. Barba, New Year 1985/86. From Chr. Ludvigsen to E. Barba, 18th of August 1985. From Chr. Ludvigsen to E. Barba, 23rd of June 1985. From E. Barba to Chr. Ludvigsen, 8th of May 1985. From Chr. Ludvigsen to E. Barba, 16th of April 1985. (Reaction to the performance The Gospel According to Oxyrhincus). From Chr. Ludvigsen to E. Barba, 25th of February 1985. From E. Barba to Chr. Ludvigsen, 23rd of January 1985. From Chr. Ludvigsen to E. Barba, 22nd of January 1985. From Chr. Ludvigsen to E. Barba, 30th of October 1984. From E. Barba to Chr. Ludvigsen, 30th of November 1984. From E. Barba to Chr. Ludvigsen 17th of September 1984. From Chr. Ludvigsen to E. Barba, 17th of September 1984. From E. Barba to Chr. Ludvigsen, 28th of August 1984. From Chr. Ludvigsen to E. Barba, 27th of August 1984. From E. Barba to Chr. Ludvigsen, 2nd of August 1984. (Handwritten) From Chr. Ludvigsen to E. Barba, 29th of May 1984. From E. Barba to Chr. Ludvigsen, 25th of May 1984. From Chr. Ludvigsen to E. Barba, 24th of May 1984. From Chr. Ludvigsen to E. Barba, 15th of April 1984.

82 From Chr. Ludvigsen to E. Barba, 3rd of April 1984. (Handwritten). From Chr. Ludvigsen to E. Barba, 8th of March 1984. A programme of a workshop by Richard Schechner (The Performance Group, Editor of The Drama Review and author of The End of Humanism etc.) in Denmark together with Carol Martin (Tisch School of the Arts at NYU). ?? From E. Barba to Chr. Ludvigsen, 8th of March 1984. From Chr. Ludvigsen to E. Barba, 26th of February 1984. From Chr. Ludvigsen to E. Barba, 10th of February 1984. From E. Barba to Chr. Ludvigsen, 26th of January 1984. (About Richard Schechner, his book The End of Humanism and potential Workshop with him.) From Chr, Ludvigsen to E. Barba, 24th of January 1984. From E. Barba to Chr. Ludvigsen, 22nd of January 1984. (Early plans of bringing Richard Schechner to Denmark and Århus University). From Chr. Ludvigsen to E. Barba, 8th of January 1984. From Chr. Ludvigsen to E. Barba, 6th of December 1983. From E. Barba to Chr. Ludvigsen, 13th of October 1983. From Chr. Ludvigsen to E. Barba, 12th of October 1983. From E. Barba to Chr. Ludvigsen, 30th of September 1983. From Chr. Ludvigsen to E. Barba, 27th of September 1983. From Chr. Ludvigsen to E. Barba, 15th of September 1983. From Chr. Ludvigsen to the Board of Odin Teatret, 15th of September 1983. From Chr. Ludvigsen to E. Barba, 14th of August 1983. From Chr. Ludvigsen to E. Barba, 25th of July 1983. (With an attachment of parts on a text about improvisation). From Chr. Ludvigsen to E. Barba, 7th of August 1983. (Reactions on the situation at Odin Teatret during E. Barba’s leave of absence, 4 pages). Fra E. Barba to Chr. Ludvigsen, 1st of July 1983. From Chr. Ludvigsen to E. Barba, 31st of July 1983. From Chr. Ludvigsen to E. Barba, 19th of May 1983. From E. Barba to Chr. Ludvigsen, 5th of May 1983. From Chr. Ludvigsen to E. Barba, 29th of April 1983. From Institut for Dramaturgi (at Århus University) to E. Barba, 8th of September 1983. (About the job as an external examinator) From Institut for Dramaturgi (Århus Universitet) to E. Barba, 7th of October 1982. From Chr. Ludvigsen to E. Barba, 1st of October 1982. From Chr. Ludvigsen to E. Barba, 22nd of September 1982. From Chr. Ludvigsen to E. Barba, 21st of September 1982. From Chr. Ludvigsen to E. Barba, 12th of September 1982. From Chr. Ludvigsen to E. Barba, 29th of August 1982. (Handwritten and with attachments). From Chr. Ludvigsen to E. Barba, 31st of August 1982. (Handwritten and with attachments). From Chr. Ludvigsen to E. Barba, 23rd of August 1982. (With attachments). From Chr. Ludvigsen to E. Barba, 22nd of August 1982. (With a handwritten note). From Chr. Ludvigsen to E. Barba, 24th of June 1982. From Chr. Ludvigsen to E. Barba, 18th of April 1982. (With the attachment of “L’Impromptu de Versailles” by Moliére translated into Danish by Chr. Ludvigsen).

83 From Chr. Ludvigsen to E. Barba, 20th of March 1982. (With 2 attachments: The annual report from Institute for Dramaturgi 80/81 and the rough draft of the annual report). From E. Barba to Chr. Ludvigsen, 26th of February 1982. From E. Barba to Chr. Ludvigsen, 26th of February 1982. From Chr. Ludvigsen to E. Barba, 14th of February 1982. From Chr. Ludvigsen to E. Barba, 25th of January 1982. From Chr. Ludvigsen to E. Barba, 8th of July 1981. From Chr. Ludvigsen to E. Barba, 1st of November 1981. From Chr. Ludvigsen to E. Barba, 14th of June 1981. From Chr. Ludvigsen to E. Barba, 24th of May 1981. From Chr. Ludvigsen to E. Barba (attached a letter to E. Barba, H.M. Berg & Søren Kjems.), 26th of August 1979. From Chr. Ludvigsen to E. Barba, 21st of September 1980. (Attached; a letter (maybe 10th of September 1980), the German national anthem and maps of Germany). Postcard from Chr. Ludvigsen to E. Barba, 30th of May 1980. From Chr. Ludvigsen to E. Barba, 23th of February 1980. From Chr. Ludvigsen to E. Barba, 13th of January 1980. From E. Barba to Cr. Ludvigsen, 28th of November 1979. From Chr. Ludvigsen to E. Barba, 27th of November 1979. From Chr. Ludvigsen to E. Barba, 2nd of November 1979. From Chr. Ludvigsen to E. Barba, 27th of March 1979. From Chr. Ludvigsen to E. Barba, 24th of January 1979. From Chr. Ludvigsen to E. Barba (a copy of a letter to H.M. Berg), 24th of January 1979. From Chr. Ludvigsen to E. Barba 19th of November 1978. (copy of a letter to Arthur Ilfeldt (Head of the Theatre Council, “Teaterådet”)). From Chr. Ludvigsen to H.M. Berg, 7th of November 1978. From Chr. Ludvigsen to E. Barba, 7th of November 1978. From Chr. Ludvigsen to E. Barba & H.M. Berg, 10th of October 1978. From H.M. Berg to Chr. Ludvigsen c.c. E. Barba, 25th of September 1978. From Chr. Ludvigsen to E. Barba, 12th of September 1978. (Handwritten). From Chr. Ludvigsen to E. Barba (a letter to H.M. Berg), 24th of September 1978. (With a handwritten note). From H.M. Berg to Chr. Ludvigsen c.c. E. Barba, 15th of September 1978. From H.M. Berg to E. Barba (a letter to Chr. Ludvigsen), 21st of September 1978. From Chr. Ludvigsen to E. Barba, 21st of September 1978. (3 copies of correspondence between H.M. Berg and Chr. Ludvigsen attached). From Chr. Ludvigsen to E. Barba, 16th of September 1978. (2 letters from Chr. Ludvigsen to H.M. Berg attached). From E. Barba to Chr. Ludvigsen & Silvia, 12th of September 1978. From Chr. Ludvigsen to E. Barba, 27th of August 1978. From Chr. Ludvigsen to E. Barba (a letter from Chr. Ludvigsen to H.M. Berg attached), 20th of August 1978. From Chr. Ludvigsen to E. Barba, 14th of August 1978. From Chr. Ludvigsen to E. Barba, 11th of May 1978. From Chr. Ludvigsen to E. Barba, 2nd of April 1978. From Chr. Ludvigsen to E. Barba, 13th of March 1978. From E. Barba to Chr. Ludvigsen, 14th of March 1978. From E. Barba to Chr. Ludvigsen, 17th of January 1978.

84 From Chr. Ludvigsen to E. Barba, 17th of December 1977. From Chr. Ludvigsen to E. Barba, 11th of January 1978. From Chr. Ludvigsen to E. Barba, 27th of January 1977. From Chr. Ludvigsen to E. Barba (a letter to Eduardo Manet (?)25th of November 1977), 27th of November 1978. From Chr. Ludvigsen to E. Barba 25th of September 1977. From Chr. Ludvigsen to E. Barba, 22nd of September 1977. (Attachment of A letter to Arthur Ilfeldt). From Chr. Ludvigsen to E. Barba, 17th of April 1977. From Chr. Ludvigsen to E. Barba, 26th/27th of March 1977. (4 pages). From Chr. Ludvigsen to E. Barba, 15th of February 1976. From Chr. Ludvigsen to E. Barba, ? January 1977. From Chr. Ludvigsen to E. Barba, ? Christmas 1976. (With a handwritten note). From Chr. Ludvigsen to E. Barba, Christmas/New Year 1976/77. (Handwritten). From H.M. Berg to E. Barba, 10th of March 2008.

Binder 8 3/3 B: E. Barba’s collection of letters. From Chr. Ludvigsen to E. Barba, 17th of March 2011. From Chr. Ludvigsen to E. Barba, 14th of February 2011. From Chr. Ludvigsen to E. Barba, 23rd of September 2011. (Handwritten). From Chr. Ludvigsen to Ulrik Skeel, 7th of March 2012. (Attached; a list of participants for the meetings about culture policy in Denmark in October and November 1968). From Chr. Ludvigsen to E. Barba, 14th of November 2010. (With handwritten notes). From Chr. Ludvigsen to E. Barba, 13th of April 2009. (About the first 5 years of Odin Teatret). From Chr. Ludvigsen to E. Barba, 10th of April 2009. (About the first 5 years of Odin Teatret, incl. a letter from the Danish Ministry of Culture, dated 11th of April 1969. Also a letter to the municipality of Holstebro 1967.) From Chr. Ludvigsen to E. Barba, 23rd of November 2009. From H.M. Berg to E. Barba, 21st of February 2010. From H.M. Berg to E. Barba, 15th of February 2010. From Chr. Ludvigsen to E. Barba, 22nd of April to 17th of May 2009. (8 pages with attachments about the actor as producing or re-producing artist). Incl. Chr. Ludvigsens own research about the early years. From H.M. Berg to E. Barba, 8th of December 2006. (Handwritten). From H.M. Berg to E. Barba, 23rd of June 2008. (Handwritten). From E. Barba to Thomas Bredsdorff, 11th of November 1980. From Thomas Bredsdorff to E. Barba, 10th of November 1980.

Barba-Letters, b. 9 Binder 9 contains: Correspondence Eugenio Barba - Antonio Tabucchi on the occasion of the preparation of the performance Salt, 2001. (On Salt, cf. binder 9 of the Series Performances of the Fonds Odin Teatret, Barba-Odin, binder 33 and binder 39).

Barba-Letters, b. 10 The binder contains an article by Jerzy Grotowski on Jean Vilar 1957; correspondence with Ian Watson 2004-2005 for a book Eredità (Legacy); the official letter from the Danish Ministry of Culture (2002) awarding a life annuity to Barba, given to artists in

85 acknowledgment of their contribution to the nation’s culture; letters from Renée Saurel about a book-homage to Barba 1987 with a handwritten article by Renée Saurel; letter from Giuliano Scabia enclosing a scenario written in 1973 when Barba invited him to perform in Holstebro; letter from René Hainaux in 2003; photocopy of a letter from Strehler to Barba in 1996; letters from Barba to Kirsten Unger, his oldest friend in Scandinavia, whom he met in 1953 in Copenhagen; photocopies of the letters from Bjørneboe to Barba; photocopies of the letters from Barba to Bjørneboe (cf. Barba- Letters, b. 1).

Barba-Letters, b. 11 The binder contains: Birthday messages for Eugenio Barba’s 60th birthday.

Barba-Letters, b. 12 It contains letters to and from Richard Schechner kept by Barba in his office. The second half of the binder includes various materials (letters, emails, ISTA presentations, drafts of contracts) for unrealised ISTA sessions (in Colombia 2000, with a budget of the expences for previous ISTA sessions; letters with plans and propositions for several ISTAs in Mexico, particularly in 1992 and 2002, with letters to the ISTA masters and the Mexican contact people, especially the critic and scholar Patricia Cardona and the theatre director and critic Bruno Bert; project for an ISTA in Utrecht in 1998, in Israel in 1999, in Brazil in 2001, in Barcelona in 2004); materials for the Festuge (Festive Week, the triennal festival organised by Odin Teatret in Holstebro since 1989); notes signed by Nando (Ferdinando Taviani) entitled Appunti per la fine del mondo. The first half of the binder contains letters to and from Richard Schechner between 1986 and 2009. Richard Schechner, theoretician and theatre director, founded the Performance Group in New York in 1967, a leading group of the new American theatre, which he directed until 1980 when it changed its name to Wooster Group. He is the editor of TDR - The Drama Review. (Barba came in contact with Schechner in 1963 when Schechner was the editor of The Tulane Drama Review in New Orleans and published a text by Barba on Grotowski’s Dr Faustus, the first article about Grotowski in USA.) Schechner teaches at New York University (2009). The letters between Schechner and Barba are practical. They deal mostly with conferences and lectures, invitations and air tickets. Many letters refer to articles to be published in TDR. They are a good illustration of a relationship which follows a thread of ideas, discussions about principles, with a curiosity about theories. Schechner’s letter from 13 September 2007 is particularly interesting and amusing. In it he rejects Barba’s essay The Ghost Room with detailed and pertinent motivations which do not concern the text itself but the appropriateness of publishing it in TDR. Their letters are worthy of note in order to understand a certain level of the relationship between two directors and their views on writing and publication. For the most part, their letters are affectionate and joyful. Some of them, like the one from Schechner of 1 May 1988, express an attentive and reflexive self-analysis. They reveal – especially from Schechner’s side – a great capacity to bring oneself up for discussion vis-à-vis the other. Their correspondence began in 1963 when Barba was in Poland and continued with the publication of Barba’s articles (among others the long essay on Kathakali) and on the occasion of Grotowski’s seminars in Holstebro (cf. the series activities in Fonds Odin, and Barba’s Land of Ashes and Diamonds). They met personally in Tokyo in 1980 during a symposium on Noh theatre without becoming close. They met again in 1982 in India during a festival in

86 Calcutta about Indian forms of theatre and dance. This time they established a deep personal relationship. Maybe because of this “Indian” origin or simply because of the artist’s skill, one of the threads which unites them (in addition to the bond to Grotowski) is the interest for the Indian Odissi dancer Sanjukta Panigrahi who collaborated with ISTA from its foundation until her early death in 1998. In this binder we find the explanation of the presence at Odin Teatret of photos of Sanjukta dancing as a child. They had been published in The Secret Art of the Performer (by Barba and Savarese) and Schechner asks them to illustrate Barba’s article The Steps on the River Bank (letter of May 1994). In particular there are two beautiful letters from Barba about Sanjukta, one of 25 May 1986 in which he recounts to Schechner that he has seen her dancing in a small village in front of thousands of spectators, after she had spent a whole night travelling on a slow train, and he had never seen her so “magnificent”. In the other letter, of 7 September 1998 Barba announces to his friend the death of the dancer - a sudden and painful blow because Barba was completely unaware of her deadly illness (cancer of the pancreas) and had spoken recently with Sanjukta who had concealed her illness. A few letters between Schechner and Barba have been added in which they speak of the death of Torgeir Wethal; also several letters concerning Schechner’s 75th birthday and Barba’s dispatch of a short video of good wishes. Cf. also b. 5 (Series Letters) of Fonds Barba, and b. 6 (Series Activities) of Fonds Odin Teatret.

Barba-Letters, b. 13 It is a binder organized by Eugenio Barba and contains a series of emails by and to Eugenio Barba and Mario Biagini, Thomas Richards, Grzegorz Ziolkowski between 2006 and 2008 concerning the problems related to the publication in Poland of the book by Jerzy Grotowski, Towards a Poor Theatre. To this has been added information concerning Odin Teatret’s sale of the rights of Towards a Poor Theatre to the Grotowski Institute in June 2009 on the occasion of the 50th anniversary of Jerzy Grotowski’s and Ludwik Flaszen’s taking over the direction of Teatr 13 Rzedóv in Opole.

Barba-Letters, b. 14 It is a binder organized by Mirella Schino and Francesca Romania Rietti to assemble various letters kept by Eugenio Barba in no chronological order. Binder 14 comprises 7 envelopes: ENV.1: A letter by Cristina Wistari Formaggia to Eugenio Barba, and sent by him to Nicola Savarese with the comment: “Caro Nicola, tristes tropiques…”. ENV.2: A couple of messages to/from Phillip Zarrilli concerning the preface for his book on “Psycho-physical acting” (published later by Routledge); Eugenio Barba’s correspondence on various subjects (P. Zarrilli, Trevor Davis, etc). ENV 3: A card of good wishes, dated December 2007 by Tony D’Urso (who died in 2009), for many years photographer of the Odin. ENV 4: An article by Nasser Hosseini-Meher, a scholar and actor from Teheran. Nasser has accompanied his article with three photos, a very beautiful and particular sequence. The first photo depicts him beside his teacher, the actress Mahin Oksoui (on the back are their names and the date of birth and death of the actress, 1930-2004). The second (the only copy, as he explains on the back) is a photo from 1971: Grotowski in Teheran together with Nasser’s teacher Mahin Oksoui. The third photo (cut out from a book) shows Mahin Oksoui in Moscow, at the GITIS, in 1953, together with Yuri Zavadski, the

87 great Russian actor who was the protagonist in Vachtangov’s Turandot and who had also been Grotowski’s teacher during his studies at the GITIS. ENV 5: A few letters from 1983-84 from Franco Quadri and copies of Barba’s answers. They are long affectionate letters. Quadri expresses thanks (3 July 1983) for the “beautiful text” Barba has sent him and comments on it. Barba writes to him two very interesting letters. In the first one (Holstebro 29 April 1983) he speaks of his sabbatical year:

Dear Franco, what a mysterious machine our brain is, able to keep so much in half closed drawers that suddenly open and spill out their contents. When I was in New York, your articles on “Sipario” came to mind when you, as its expert editor, published articles on American groups that I found so stimulating. I recalled the image of a calendar of anger that you published in “UBU” and which I used in “Teatrets Teori og Teknikk”. These shreds of memories and associations followed me in the Lower East Side, on the Bowery, while talking to Allen Ginsberg and Peter Orlovsky who were as two ghosts of an epoch that seems as distant as that of the dinosaurs. Still another image: I was at home in the woods cutting down trees when I felt as if somebody was approaching, calling me, and I imagined it was Jacopo [Quadri’s son] who had come back to the land of his inner mythology, but nobody was there, only my thoughts climbing on the branches. I have travelled in time and space since October, after a retreat of 12 months, letting my companions reorganise the group in my absence. I have often shaken my group in order to confront it with new situations. But my presence always represented a guarantee and a continuity. The new challenge was my disappearance for a whole year, leaving the actors to take over all of my functions and duties collectively. For months I have been living in that particular intoxication which comes from being responsible only for myself, free to follow my own rhythm, moving about and changing direction as I wish, just answering for myself. I work in the fields for ten hours from dawn to sunset, or I confine myself to the kitchen near the stove reading for three days a pile of books on Sabbatai Zevi, the false Messiah; I find myself totally anonymous with a rucksack, hitchhiking in the north of Japan or walking among Bauls near the frontier between India and Bangladesh. Sometimes it is as if I put on a bowler hat and a suit, wearing again my theatre mask, but in such strange places, so far from my usual ones that it appears to be a pubertal day dream.

5 August 1983, after Quadri has sent him an article he has written about him for a book to be published by Einaudi, Barba answers: Dear Franco, twenty years later…because we have known each other so many years – plus one month. Have we become what we wanted to be? I don't know if this is the right question. Perhaps the continuous turning back and looking amazed at each step we have taken, rediscovering new meanings and treasures, depend on the feeling that if I had to live again every second of these twenty years (and also the previous ten), I would do it in the same way. I would change nothing, although I have made many détours. I thought about this and many other things while reading your article that brings me back to a part of my life as you saw it. Although you cannot avoid hinting at your antipathy towards certain people of my entourage, on the other hand you are so transparently sincere that my sentimental side was touched. One of the motives that ties us - I think - depends on the fact the we are both very sentimental, to the point of feeling a lump in my throat on watching certain scenes at the movies or on television. Above all it is true that I do not forget. I think that it is this type of memory that for me makes friendship become a sacred value, the only bond.

- A letter from the Italian dramaturge Renata Molinari with two photos, a few days after Torgeir Wethal’s death. “Dear Eugenio, I don’t know where these pictures were taken. I believe in Bergamo or Lovere in the 1970s. They were taken by a young photographer who gave them to me. Since then, I have kept them in my my different houses […]”. The two pictures portray Torgeir Wethal in The Book of Dances. From a picture taken by Maurizio Buscarino the same evening (we can recognise the same faces in the audience) we can deduce that the two pictures were taken during Odin Teatret’s barter in Vilminore di Scalve (Bergamo) in April 1975. The name of the photographer is unknown.

88 - Photocopies of letters between Graciela Ferrari (actress, director and writer from Argentina) and Eugenio Barba, given to OTA by Lluís Masgrau who studied the relationship between Odin Teatret and Latin America. They are significant documents: Graciela Ferrari’s letter is very long and speaks of her theatre: the history of Libre Teatro Libre is the story of a few years of my life. My life was the group, nothing else existed or happened outside of it: the possibility of creating, the affections, the final and first decisions. But the group - first a large one and later a smaller one of three people, as you know - came to an end. Latin American group culture? Spontaneous, unmeditated group theatre? Third theatre from these latitudes? I don’t know. Maybe you can answer these questions, or Nando, or one of those lucid people who are occupied in conceptualising and organising into doctrines or coherent phenomena what most of us are simply living. What I know is that I, as an exile of an existential rather than political character, although also political, who was outside my country with no possibility of return, have kept going, without being able to stop anywhere for long.

ENV. 6: Letters from Françoise Ponthier (2010), wife of René Hainaux (see also binder 15 of the series Barba-Letters), Belgian actor, theatre maker and pedagogue, asking Barba to write the presentation for the biography, edited by the journalist Laurent Ancion, that she is planning for her husband, who is 91 years old and in bad health. René Hainaux invited to Belgium Piscator, Grotowski, Barba, Brook etc; - Email (2007) from Patricia Cardona about her book on Odin Teatret; - Letters from Yves Lebreton, 2008: Lebreton (who was a member of Studio II, an independent group born within Odin Teatret, see the inventory of the Fonds Odin Teatret) wrote to Barba about his preface to a book by Patrick Pezin about Decroux: Lebreton is very upset because Barba, “the stranger”, dared “to take the seat of the guest of honour” after infiltrating a family (presumably the mime tradition) that is not his own. He also expresses his irritation for Marco De Marinis, mime scholar, and for the “courtship” of intellectuals surrounding Barba etc. ENV. 7: A note from Françoise Ponthier (undated, year 2012), a feather and a letter on the occasion of René Hainaux's death and her homage ceremony on 29 June 2012.

Barba-Letters, b. 15 Binder 15 includes: - The typescript biography of a Belgian actor, René Hainaux, met by Barba in Poland in the early 1960s (he was one of the people that Eugenio Barba brought to see Grotowski's performance, cf. Barba's book Land of Ashes and Diamonds, and Barba-Letters, b. 14). Eugenio Barba wrote a letter-introduction to this biography, where he described the episode. The folder contains the (provisional) typescript for the book, Eugenio Barba's correspondence on the matter and his letter-preface; - Correspondence regarding the anthology about Odin Teatret edited by Erik Exe Christoffersen (Odin Teatret og det kreative laboratorium. At genopfinde teater, published by Klim, Århus, in the autumn of 2011). Cf. also b. 13, series Publications, of the Fonds Odin Teatret. - Correspondence 2008-2009 between Eugenio Barba and Grzegorz Ziółkowski, who at the time was one of the two directors of the Grotowski Institute. A particularly significant letter is the one sent by Barba on 15 October 2008 regarding Ziółkowski's book about Grotowski Sorcerer and Hermit. Barba read the book and offered several clarifications: he specified when and how Grotowski met the master Nō Hideo Kanze (Grotowski met him through Odin Teatret, not viceversa), pointed out the connection between the symposium “The art of the Beginner” (organised by Grotowski in ’78) and ISTA and,

89 more generally, the relationship between Grotowski and the Italian theatre groups of the 1960s, mostly mediated by ISTA and Odin Teatret.

Barba-Letters, b. 16 Eugenio Barba's letters to his mother, Vera Gaeta. Those that remain: most of the letters went missing. The letters cover the years from 1952 to 1959. Among these few letters there are also some of Ernesto Barba and Eugenio’s report cards (one of the report cards about Eugenio Barba states: “the pupil has all the possibilities to improve and pass the final examinations with merit but he needs to completely review and change his attitude towards discipline, which is not up to standards due to his carelessness and his arrogant negligence. He totally lacks structure, is intolerant and not serious”) and photographs. The binder also contains some letters sent from the ship “Talabot”, on which Barba worked as a sailor.

Barba-Letters, b. 17 The binder contains a group of ten letters from Eugenio Barba to his brother Ernesto, dated from 28 September 1964 to 26 September 1965. The letters were given to the archives by Nando Taviani, Odin Teatret literary adviser and Barba's personal friend, but we were unable to reconstruct how the letters ended up in his hands. Perhaps, after Ernesto's death they were sent to their mother, Vera Gaeta, with his books and papers, and after her death Barba found them and gave them to Taviani. These are very interesting documents because they were written in Norway during the year when Odin Teatret was founded (and Eugenio wrote about it to his brother Ernesto). The letters also show the relevance of some themes and studies on which Barba came back throughout his life at intervals (for example anthropology). Finally, Barba wrote extensively to his brother about his life, which at the time was hectic especially for his studies and writings. Francesco Marra, mentioned by Barba in the letter of 20 November 1964 is a pseudonym for Ernesto. Barba employs his taste for coded nick names with his brother too, the same that can be found in his letters of the same period to Grotowski and the Norwegian writer Bjørneboe. In these letters, his brother is Pasztor senior, Barba himself is Pasztor junior. These are characters in the novel I ragazzi della via Pál, and their stories appears relevant to understand the youthful imagery of the Barba brothers: the Pásztor brothers are important members of the gang of the Red Shirts (not the protagonists but the opposing gang in the novel). They are a dreadful pair and very feared, they look handsome and grim. They have admirable qualities, for example they can run very fast, they are somber and they always walk around with their chin on their chest and their hands in their pockets. They abuse the weak, they later show remorse and will in the end be forgiven. The eldest Pásztor brother is more important, he leads one part of the army and at one point he becomes the leader of the organisation after its defeat. As an example of the way Barba spoke of his theatre and of his hectic activity during those years, here is the transcription of the first letter, dated Oslo, 28 September 1964. The “via Paal di Montemario” mentioned by Eugenio Barba is the street where his mother lives in Rome. All the letters are typed: Dear Pasztor senior, you lament my silence, but what about your nerve to send me only postcards from more or less exotic places, as a vulgar boche pharmacist during a touristic trip through Italy? I forgive you but you could at

90 least write about the experiences of your exotic stay. My life has very few interesting aspects, just the great monotony of work (which does not mean monotonous work). 1. Study of social anthropology. In May I will take an exam on this subject. My interest for anthropology continues to grow, it is essential for my researches on theatre. The thesis I would like to prove is the following: originally theatre was not a cultural factor as we understand it in our current society. Theatre was a psychological necessity, a sort of group therapy where to let off one's repressed obsessions and emotions, breaking through rigid religious and social taboos. This specific psychological and sociological function of theatre got lost in its later development. If theatre wants to regain its vital function nowadays, if it wants to be something essential for society, it needs to regain this ritualistic and psychological aspect. 2. I want to demonstrate all this in a book about Indian classical theatre. The title: The physical techniques of the Kathakali actor. Develop the ritualistic elements of this form of theatre, place them in its social context, describe the technique of the actor researching its models in the patterns of physical behaviours of the society where this form of theatre developed. The book, or its essential traits at least, should be ready by the end of the winter. I would like to go back to India in June and stay for at least four months to expand my documentation and study some aspects that I overlooked during my first stay. For this reason I am studying Sanskrit and Malayalam, the dravidic language spoken in Kerala, the region where this form of theatre developed. The knowledge of these two languages is essential to me, not just to communicate (the actors do not speak English) but also to read a series of sutras on the theatre technique which were never translated to a European language. 3. Preparations for the theatre magazine. This work is exhausting. I need to do everything alone because there are no experts. Write tens of letters, contact people in different European countries, meet the strangest and most varied people, choose the materials, review the translations and compare them with the original. The Council for Norwegian Research is interested in my project and they are surely going to support it. I hope to publish the first issue before the end of the year. As the finances are secured, there is a good possibility to publish the magazine in English: this would be very positive because there are no other magazines of this sort in Europe (exclusively dedicated to the technical and pedagogical problems related to theatre) and because in English the magazine could have a much larger number of subscribers. 4. My personal work as director. I managed to put together a small group of actors and I found a space where to work. My career as “director” has started but this doesn't mean that it is guaranteed. For the moment I focus only on the trening of the actor. Physical and vocal exercices, pantomime and psychotechnique (concentration). I hope to prepare a performance by next year. These are my current activities in brief and I dedicate an equal number of hours to them every day. Every night from six to ten I work with my group of actors. I spend the morning reading and collecting materials for my book (from anthropology, linguistics, psychology, Eastern theatre techniques, sociology). My work rhythm is obviously interrupted by the different meetings and appointments for the magazine. Sometimes I need to write something for the newspapers to earn my living. An article every month, about 250 crowns. I'm waiting for the winter to come. It is the ideal season to focus on the work. The atmosphere of death and silence that engulfs nature seems to strangely reflect on the behaviour of the Norwegians. Winter in Scandinavia is a prolegomenon to the eternal requiem. I've sent you an English anthology of Islamic literature. I sent it by normal post so you should receive it in a couple of weeks. Let me know if you are interested in articles or essays about Islamism and Sufism. I often find them in literary magazines. On the other hand, if you come across Chinese classical theatre literature, send it to me. In Hong-Kong there should be a Chinese classical opera. Probably also technical literature. It would be very interesting to have a series of photographs showing the training of the actor in that opera. I am obviously not demanding this from you, but if you happen to lay your hands on them, grab and send them to me. Well, old Pasztor, the via Paal di Montemario awaits us. One day we will meet again, with our suitcases full of memories and tropical rheumatism on our backs. Take care - Eugenio The other letters of the first year of Odin Teatret are also interesting, filled with jokes between brothers, reproaches when Ernesto didn't write, mentions of past adventures or current nightmares (20 November 1964): […] I haven't touched a girl for exactly four months, nightmares visit my dreams while an obstinate cauchemar breaks my night rest: I am condemned to death and killed by revolver shot to the back of the neck. In the last days this nightmare has come back under different versions. Once the action occurred in

91 1911 and I was taken prisoner by the Turks who executed me as described above. I woke up sweating and panting to realise that I managed to escape once again and with a sigh of relief I closed my eyes to face again the darkness of my subconscious […]. In the letter dated 5 January 1965 (in which he announces his future wedding), Barba writes, half seriously, half ironically: When I look back at my past existence, I am satisfied and calm: I can die any moment without having any remorse. I’ve lived my life, every second of it, as I wanted, fully aware, with conscious choice. I think this is what is most important. Now I am tired of travelling, I want to create a theatre building that will remain in the history of theatre. Eugenio, theatre Mason, doesn't work for the theatre but for the history of theatre….Take care Ernestino little Chinese Brindisi fish […]

Barba-Letters, b. 18 (1/2 and 2/2) Containing two folders. The first folder (1/2) contains a copy of the correspondence between Zbigniew Osiński and Eugenio Barba from 1964 to 2013. Zbigniew Osiński, professor at the Institute of Polish Literature of the University of Warsaw and good friend of Eugenio Barba, is the historian who has most documented the various activities of Jerzy Grotowski. During the years 1966-1967 he collaborated with Teatr Ósmiego Dnia in Poznań, from 1973 to 1977 he was the literary director of the Stary Teatr Helena Modrzjewska in Cracow, while from 1978 to 1984 he followed the work of the Centre for Theatre Practices “Gardzienice”. He was the creator and the first director of the Centre for Study of Jerzy Grotowski’s Work and for Cultural and Theatrical Research, inaugurated in Wrocław in 1990, of which he was the artistic director until 2004. In 2014, Osiński deposited his correspondence with Barba at the Ossolineum Library in Wrocław, where the letters from Barba to Grotowski and other materials by Grotowski are kept. A CD was sent to Barba from Osiński and from the Ossolineum Library with a digital copy of the correspondence; we have printed these letters and kept them in this binder with the CD, the accompanying email, the email in which Barba requested a copy of the correspondence from the Library, and a message from Osiński. The second folder (2/2) contains another CD sent to Barba (October 2014) from the Ossolineum Library. The CD contains: letters between Barba and Osiński accompanying materials about Odin Teatret's activities that Barba sent to Osiński for information or to invite him to participate; messages and minutes by other members or collaborators of Odin Teatret sent to Osiński. Among the other documents, there are some brochures of the innovative Scandinavian seminars organised by Odin Teatret in the 1960s and 1970s, excerpts from the magazine «Teatret Teori og Teknikk», invitations to Osiński to participate in symposia, conferences, ISTA sessions or Odin Teatret's anniversary celebrations. We have printed the contents of the CD and kept them in the same folder.

Barba-Letters, b. 19 (1/2 and 2/2) Binders 19-22 concern the correspondence between Eugenio Barba and a group of Italian scholars (Ferdinando Taviani, Nicola Savarese, Franco Ruffini, Mirella Schino). The binders are arranged by correspondent: with each of them Barba cultivated a distinct and characteristic friendship. However, these four separate binders with letters make up a unit in themselves because the relationship that connected the scholars predated and was independent from their friendship with Barba; the four scholars collaborated with Ferruccio Marotti, lecturer at the University of Rome who saw Ferai at the Venice Biennale in 1968 and was deeply touched by it. Throughout the years, not only Barba cultivated a characteristic link with each of them but also with the group as a whole.

92 This paradoxical “group” of Italian scholars (who often name their group “Teatro e Storia”, from the name of the study journal that they have in common) is not limited to the four most prolific correspondents with Barba. Other names must be added: Fabrizio Cruciani (fouder of ISTA, he died in 1992 at fifty years old), Piero Giacché, Claudio Meldolesi, and Ugo Volli, the last one especially in relation to the Third Theatre encounter in Bergamo in 1977, the tour in Japan in 1980 and the first ISTA sessions. Within this wider group however, the four correspondents, besides Cruciani and partially Meldolesi, established a particularly strong relationship network among themselves and with Barba. The unique situation of a “group” of scholars sharing the habit of collective debate, more than common methodologies or points of view, was born a long time before they met Odin Teatret. In the 1960s Ferruccio Marotti (a lecturer at the University of Rome) and Alessandro d’Amico brought together Cruciani, Taviani, Ruffini, Clelia Falletti and later Savarese for the ambitious project of a collection in many volumes of documents about Italian theatre from the Middle Ages to the twentieth century (these were not theatre texts but documents related to literature, technique, scenography, sociology.) Eventually the project was not realised (the publisher Mondadori stopped the funding necessary for a project that looked extremely long). However the work led to the creation of a real «work group», with firm habits of collective debate, exchange of ideas, interest for each other's essays. For a few years the scholars shared a common studio, in via delle Isole Pelagie in Rome. They met Odin Teatret in 1970, during the Ferai tour in Rome. They followed with great attention the creation of the next performance, Min fars hus, through the work of a student, Angela Paladini. In order to write about these rehearsals as the subject of her graduation thesis, she learned Danish and was invited to Holstebero, where she stayed for several months whilst on a scholarship. In the early 1970s, Taviani, Cruciani, Ruffini and Savarese participated in the Odin residencies in Southern Italy (especially Taviani and Savarese during the stay in Carpignano salentino in 1974 and in Ollolai, Sardinia in 1975). They attended the first group theatre encounters in Belgrade and in Bergamo, and Taviani even went to Ayacucho in Peru in 1978. They were among the founders of the ISTA in 1980. They followed Odin Teatret's life during Barba's sabbatical year. In 1986 they founded the magazine “Teatro e Storia” (Mirella Schino, who is one generation younger, joined the ISTA scientific équipe and the editorial staff of the magazine some time later; since 2004 she is the coordinator of the magazine). From 1996 to 2011, Taviani, Ruffini, Savarese and Schino had a yearly meeting with Barba for the “Eurasian theatre University” organised mostly by Teatro Proskenion in Scilla and Caulonia in Calabria, Italy (on few occasions it was organised by Teatro delle Albe in Ravenna and teatro Potlach in Fara Sabina). Besides the other activities (including study projects) that linked them to Odin Teatret, all these scholars were connected to Barba by a long-lasting relationship of intellectual understanding, curiosity in the investigation and the habit of scientific collaboration. All of them were also special spectators and friends of the complete Odin ensemble. About the history of this group and its relationship with Barba and Odin Teatret, cf. the dossier Odin Fifty, published in no. 35 of the magazine “Teatro e Storia”. Within the Odin archives, cf. also the binders about the group theatre encounter in Belgrade in 1976, about all the ISTA sessions (in this fonds and in fonds Odin Teatret) and organised by Teatro Proskenion mostly in Scilla. See also fonds Odin Teatret, series Environment, sub-series “Nando” (binders 3-11).

93 Ferdinando Taviani has been a literary adviser at Odin Teatret since 1973 when he went to Holstebro to write the book Il libro dell’Odin. Nicola Savarese (who, like Taviani, is one of the founders of ISTA) is also the author with Barba of The secret art of the performer, the fortunate Dictionary of theatre anthropology which was reprinted in many different editions and translated to numerous languages. Mirella Schino, with Francesca Romana Rietti, set up the Odin Teatret Archives. Binder 19 contains the correspondence with Taviani, from 25 February 1975 to 17 April 2014. It was delivered to the archives in October 2014. About the history of his several decade long bond with Odin Teatret, see the introduction to the sub-series “Nando”, fonds Odin Teatret, series Environment, binders 3-11. Taviani was probably the biggest theatre historian in his generation. He was literary adviser at Odin Teatret and a personal friend of Barba. He also played an essential role, the scope of which is still probably difficult to evaluate, for: the performances of Odin Teatret as well as for the life and changes within the Danish group; the “Third Theatre” movement; the creation of ISTA and all its sessions; Barba's relationship with writing and with history. The correspondence mostly contains letters by Taviani (Barba probably didn't keep all his draft letters or answered by phone), it decreases after 2010, probably because the increasingly hectic life of the director pushed the correspondents to use the phone more than written communications. In April 2008, a heavy earthquake destroyed the town of L'Aquila, where Taviani had been teaching for many years at the University. The copy of their correspondence kept by Taviani was probably lost in the earthquake rubble. The “Nic” mentioned in the letters is Nicola Savarese, Franco is Franco Ruffini, Fabrizio is Fabrizio Cruciani. “Mirella” can be Mirella Alessandrini, wife of Taviani, or Mirella Schino, another member of the group and his colleague at the University of L'Aquila for fifteen years. Barba-Letters, b. 20 Eugenio Barba's correspondence with Nicola Savarese (see binder 19 in this series). Dated from 3 November 1980 to 25 October 2014. It was delivered to the archives in October 2014.

Barba-Letters, b. 21 Eugenio Barba's correspondence with Franco Ruffini (see binder 19 in this series). Dated from 22 December 1980 to 14 July 2014. It was delivered to the archives in October 2014.

Barba-Letters, b. 22 Eugenio Barba's correspondence with Mirella Schino (see binder 19 in this series). Dated from Octber 1986 to 22 June 2014. It was delivered to the archives in October 2014.

Sub-series * Barba-Lett-A Second group: letters arranged chronologically and in alphabetical order by Barba in binders covering a period of one or two years (December 2014: 24 binders assembling the correspondence between 1981 and 2009). Also this second type of letters was kept in a different place from the first: in the locked cupboards close to Barba’s office. The binders of Barba’s correspondence (the part in chronological order) from 1967 to 1980 were found in the storeroom of the Holstebro Museum together with other materials

94 concerning administrative and organisational aspects, which Odin Teatret had deposited there to gain space. They are the last to have been acquired by Odin Teatret Archives as regards the correspondence. They are also a different type. In the binders subsequent to Odin Teatret’s transformation into one of the leading groups of such a particular theatrical movement like the Third Theatre, characterised by an ethical, political and existential point of view, the letters addressed to Barba have a certain flavour of intimacy, making them “private”, although the letters are always motivated by work. The letters of the first fifteen years are very different. They also deal with work, but are interesting for the understanding of the rapid expansion of Odin’s fame, of the important network of contacts in New York and Paris (connected also with Grotowski), and in Italy (but in the Italian letters of this period Grotowski is only a background name) and of the cultural strategy pursued by the group. The series Barba-Lett-A is particularly interesting not only to reconstruct the story of Odin Teatret and its international ties of friendship and collaboration, but also to reconstruct networks of relationships and ways of thinking in the milieu of experimental and group theatre all over the world since the mid 1960’s. It is possible to consult the letters previous to 1978 upon agreement with Eugenio Barba.

Barba-Lett -A, b. 1 The binder contains letters (not private) to Eugenio Barba and a few of his replies from 1981 to 1983. The letters are in chronological order, but there is some confusion. The binder also contains a short autobiographical novel by Ernesto Barba (Eugenio’s brother) recounting the arrival of Eugenio Barba at the military school of “La Nunziatella”.

Barba-Lett -A, b. 2 The binder contains letters to and from Eugenio Barba 1977-1980 in alphabetical order.

Barba-Lett -A, b. 3 The binder contains letters to and from Eugenio Barba 1983-1985 in alphabetical order.

Barba-Lett-A, b. 4 The binder contains letters to and from Eugenio Barba 1986 in alphabetical order.

Barba-Lett-A, b. 5 The binder contains letters to and from Eugenio Barba 1987-1988 in alphabetical order.

Barba-Lett-A, b. 6 The binder contains letters to and from Eugenio Barba 1988-1989.

Barba-Lett-A, b. 7 The binder contains letters to and from Eugenio Barba in 1990.

Barba-Lett-A, b. 8 The binder contains letters to and from Eugenio Barba 1991-1992.

Barba-Lett-A, b. 9 The binder contains letters to and from Eugenio Barba 1992-1993.

95 Barba-Lett-A, b. 10 The binder contains letters to and from Eugenio Barba 1993-1994.

Barba-Lett-A, b. 11 The binder contains letters to and from Eugenio Barba 1994-1995.

Barba-Lett-A, b. 12 The binder contains letters to and from Eugenio Barba in 1995.

Barba-Lett-A, b. 13 The binder contains letters to and from Eugenio Barba in 1996.

Barba-Lett-A, b. 14 The binder contains letters to and from Eugenio Barba in 1997.

Barba-Lett-A, b. 15 The binder contains letters to and from Eugenio Barba in 1998.

Barba-Lett-A, b. 16 The binder contains letters to and from Eugenio Barba 1998-1999.

Barba-Lett-A, b. 17 The binder contains letters to and from Eugenio Barba 1999-2000.

Barba-Lett-A, b. 18 The binder contains letters to and from Eugenio Barba 2000-2001.

Barba-Lett-A, b. 19 The binder contains letters to and from Eugenio Barba 2002-2003.

Barba-Lett-A, b. 20: Correspondence with Latin America 1983-1993. The binder contains letters to and from Eugenio Barba; information about South American and Cuban groups, lists of the participants at meetings with Barba, reviews, programmes of the meeting in Ayacucho 1988, telephone numbers, programmes of meetings and workshops, project for an ISTA (i.e. : on candomblé). Documents organised by country.

Barba-Lett-A, b. 21: The binder, organised by Eugenio Barba, with the title Antropologer contains: newspaper cuttings, letters (i.e.: many to Peter Elsass, Helena Lindom, Jacques Lizot, Jean Malaurie, Nicole Revel-Macdonald). These are texts read by Barba by and about anthropologists referring to what later became the production Talabot whose protagonist was a living Danish anthropologist, Kirsten Hastrup (cf. the binders 13 and 15 of the Fonds Barba, series Odin, and the binder 11 of the Fonds Odin Teatret, series Odin-perf.); articles and books.

Barba-Lett-A, b. 22: The folder contains letters to and from Eugenio Barba, 2006-2009.

96 Barba-Lett-A, b. 23 The folder contains letters to and from Eugenio Barba 2004-2006.

Barba-Lett-A, b. 24 Letters from 2009 to 2011, in alphabetical order. These are e-mails and evidently just a selection of all the e-mails that Barba received in these years. These years are the last period for which the archives keep Barba's correspondence, the more recent e-mails will not be printed out.

97 * SERIES AWARDS

In December 2014, the series Awards consists of 10 binders. The series was organised by the archives, although Barba generally kept together all materials related to one award. The series includes 1) the sub-series Awards (a series of honorary doctorates, honours, acknowledgements, letters of introduction, prizes of various types; f. also Binder 22 of the Series Barba-Odin); 2) the sub-series Awards-A – actually organised by the theatre and not by Barba, it is included in this series for the sake of simplicity.

Sub-series * Awards These 9 binders contain materials related to honorary doctorates, honours, acknowledgements, letters of introduction, prizes of various types. Among these official documents, Barba has often kept articles of different kinds which we have noted. See also b. 22 of the series Odin which comprises most of the correspondence concerning honorary degrees, prizes, acknowledgements awards, etc. The official letters of the Danish ministry of Culture for bestowing a life annuity to Barba (2002), given to artists as acknowledgement for their contribution to the national culture, are kept in b. 10 of the series Barba-Letters.

Barba-Awards, b. 1 Binder 1 contains: acknowledgements and prizes to Eugenio Barba (among others: honorary membership of the Associazione “Festa te lu mieru” in Carpignano Salentino, Italy; prize for his career from the State of Zacatecas, Mexico; acknowledgement by the University John F. Kennedy in Buenos Aires, Argentina; acknowledgement from the government of Cuba; acknowledgement for scholarly merit from the University of Quebec in Montreal, usually given to scientists; honorary doctorate from the Academy of Performing Arts of Hong Kong; honorary doctorate from the University of Huamanga (Ayacucho), Peru; Eugenio Barba’s MA degree from the University of Oslo. Among these acknowledgements Barba kept Dag Halvorsen’s obituary (December 2008), a close friend from his student days at the University of Oslo and his stay in Poland.

Barba-Awards, b. 2 Binder 2 contains: Italian Honour of Solidarity; a medal and a prize for his career from the Egyptian Government; a Danish honour (Dronningens Ridderkors – the Queen’s Knight’s Cross) and the accompanying documents among which a rather official biography (written by Martin Berg); a medal and the honorary doctorate from Warsaw University in 2003 with the booklet published on this occasion. In May 2009 we have added two more documents concerning the Queen’s Knight’s Cross which Barba had handed over to the archive: the request to write a biographic profile and the result, a typewritten text written in the first person which Barba had asked Martin Berg to write.

Barba-Awards, b. 3 Letter dated November 2008 from Horacio-Pucho Medrano (IUNA, Instituto Universitario Nacional de las Artes of Buenos Aires) announcing to Barba the decision of the IUNA to bestow on him an honorary doctorate in December 2008. Confirmation letter by Sergio Sabater and Sandra Torlucci from IUNA. Official letters from IUNA,

98 dated August 2008 in which the Department of Artes Dramaticas motivates the honorary title to Barba. Laudatio by Sergio Sabater. Honorary Doctorate from IUNA. Honorary Doctorate from the University of Plymouth (England). Honorary Doctorate from ISA, Instituto Superior de las Artes of Havana (Cuba). Honorary Doctorate from University of Bologna (Italy). A photo from the Pirandello Prize (Palermo, Italy). Acknowledgement from the Danish educational institution “Kaospiloter”. Honorary Doctorate (parchment) from the University of Huamanga (Ayacucho) Peru; letters about the different prizes; congratulation letters; Barba's letter of thanks; guest list for the official lunch. Binder 3 also contains some photographs: portraits of Eugenio Barba at the University of Plymouth; photographs of the Pirandello prize.

Barba- Awards, b. 4 (1/2 & 2/2) Binder 4 is divided in 2 folders: 1/2 and 2/2. 1/2 contains: - Honorary Doctorate from the University of Århus; - Programme and a cassette with a concert by Holstebro Music School on the occasion of Odin Teatret’s 25th anniversary in 1989 ( one of the initiatives by the many cultural institutions in Holstebro to celebrate the Odin, which gave the idea of the Festuge); - Text of the song written by Frans Winther for Barba’s 70th birthday celebrated at Brecht’s home in Svendborg 13.09.06; - A drawing showing the way to Eugenio Barba’s home. Poem in Danish (Shamanen) written by the Danish poet Halfdan Rasmussen for Eugenio Barba; - Various documents concerning: the military college La Nunziatella, the postponement of military service, the scholarship in Poland, official documents, letters to and from his mother, CV, etc. - A paper envelope with the skydiving licence conferred to Eugenio Barba by the “Dansk Faldskærms Union” on 10.6.1990 and some colour photographs of Barba with the parachute; - A student poster produced by the military academy “Nunziatella”, where the young Barba studied. On the poster, the “De Officia Cappellonis” (in the military school's terminology, “cappelloni” are the first year students, upon whom the older students impose irreverent “rules”. Second year students are called “cappelle” and their duty is to be “invisible”) of the study term 1951-1954 (Barba's term). There are the students' signatures. Barba's signature is below right; - An envelope with Eugenio Barba's subscription card to Shanghai Seamen’s Club dated 1955; - Several sheets with the lyrics sung by the Odin actors in Carpignano Salentino in 1974. - An envelope containing letters of recommendation of various types for Eugenio Barba in the period 1951-1964 (it contains the Italian membership card of Youth Hostels, a certificate from a Polish sugar factory asserting that Eugenio Barba has worked as a welder, a certificate as guide for a group of Italian teachers during their excursion in Norway, letters to his mother, to his friend Rori Amodeo - cf. Barba-Letters, b. 3 -, a certificate for attending The Nordisk Sommeruniversitet in Oslo, a certificate for working two weeks in a Bulgarian circus, a certificate for working one month in a sociological research project at the Houilleres of the Bassin de Lorraine (France), a certificate from Warsaw theatre school, a certificate signed by Eigil Winnje that Eugenio Barba has worked as a welder at his workshop, a certificate for advanced welders from the

99 Norwegian Statens Teknologiske Institut, a certificate of inscription at Oslo Music Conservatory, a student card from the University of Oslo, a Norwegian sailor’s papers, an envelope which contained his salary as a welder, a letter of recommendation from a University professor in geography, a letter of recommendation from an Australian doctor working at the Immigration Office at the Australian Embassy in Rome (friend of the brothers Ernesto and Eugenio), a certificate from the University of Warsaw signed by the well known critic and professor Jan Kott testifying that he is the adviser for Eugenio Barba’s doctorate on Grotowski’s psycho-dynamic theatre. (In reality Barba had not yet finished his MA in Norway, but he and Grotowski think it a good idea to make contact with Jan Kott who at that time could not stand Grotowski, therefore Barba pretends to be in an advanced phase of an academic career). Barba kept, requested and continually used these “introduction” letters, insignificant in themselves, especially at the time when he was trying to make Jerzy Grotowski's theatre known. B. 4 1/2 also contains some photographs: 8 colour photographs of Eugenio Barba skydiving with a parachute. Binder 4 2/2: The binder, organised by Eugenio Barba, contains letters and materials concerning the Sonning Prize awarded to Eugenio Barba by the University of Copenhagen in 2000.

Barba-Awards, b. 5 The binder contains “Gold Gloria Artis” medal given to Eugenio Barba in Wroclaw (Poland) in 2009 by the Minister of Cultural and National Heritage and one email with the information about the Polish Prize. The certificate of participation in “9 Encuentro Internacional de Teatro de Grupo”, Ayacucho (Peru), 1998. The certificate of participation in “11 Encuentro Internacional de Teatro de Grupo”, Ayacucho (Peru), 2008. Documents about the honorary doctorate from the Estonian Academy of Music and Theatre in Tallinn in 2009. In February 2011 we have added Barba’s speech for his honorary doctorate in Tallinn.

Barba-Awards, b. 6 The binder contains Barba’s speeches of thanks for various honorary degrees and awards (Ayacucho 1998, Bologna 1998, Copenhagen 2000 (Sonning Prize) Havana 2002, Varsaw 2003, Plymouth 2005, Hong Kong 2006, Buenos Aires 2008, Tallinn, 2009).

Barba-Awards, b. 7 Original document of the doctorate honoris causa in human sciences to Eugenio Barba from the University of Warsaw, 2003. Original document of the Order of Third Class “Star of Italian Solidarity” from the Italian Republic (27.12.2001), with written motivation. Original document for First Prize from BITEF, Belgrade International Theatre Festival for the performance The Gospel according to Oxyrhincus. Official communication and correspondence for The Prize of Hope, conferred to Eugenio Barba and Odin Teatret 28.5.2011 in Denmark. Diploma to Eugenio Barba from the Escuela of Cinema and Television, San José, Costarica.

100 Leaflet about the ten years (1991-2000) of the “premio Vrani”, a Salento prize “for Salento people”, awarded in 1996 to Eugenio Barba.

Barba- Awards, b. 8 Binder 8 contains: - Materials regarding the Gozdanin Kikot prize (Mostar, 24-02-2001): International award for contribution to the development of drama education; - Materials regarding the Otto René Castillo Awards for Political Theatre (October 2003).

Barba- Awards, b. 9 Binder 9 contains: - A folder with documents regarding the honorary doctorate granted to Eugenio Barba by the University Babeş-Bolyai in Cluj-Napoca (Romania) on 2 November 2012; a blue velvet cylinder with the “doctor honoris causa” diploma by the same university; a folder of the theatre Festival of the town of Sibiu (Romania), containing documents about the prize “Award of Excellence” conferred to Eugenio Barba by the festival on 15 June 2013; the programme for the day when the prize was awarded; a red velvet box with the plate “Sibiu Walk of Fame”, by the same festival dated 2013; a blue box with the badge “Editia 20 1994-2013”, containing a gold coin given by the festival to Eugenio Barba; - A certificate of residency given to Eugenio Barba by the “Wuzhen West Community” (China) in 2013, during Odin Teatret's tour in China; a diploma by the “Escuela Internacional de Teatro de América Latina y el Caribe”, conferred to Eugenio Barba, dated October-November 1989 and signed by Osvaldo Dragún; a certificate of attendance to Eugenio Barba to the “Taller de Antropología y Dramaturgia del Actor y el Director” given by him during the Festival Internacional de Teatro “San José por la Paz” (Costa Rica) in November 1989; a certificate of attendance by the Universidade Estadual de Londrina to Eugenio Barba for the eigth ISTA session in Londrina in 1994; the award diploma for the Carreer Prize conferred to Eugenio Barba by the Istituto di Studi Teologici e Storico-Sociali in Terni-Narni-Amelia (Italy) during the IX Film Festival Popoli e Religioni; medal-prize Delmira Agustini, conferred by the Uruguayan Ministry of Culture to Eugenio Barba in October 2013. Documents concerning the award of the honorary citizenship to Eugenio Barba by the town of Gallipoli (Italy) on 26 September 2014: certificate; text of the laudatio by the mayor Francesco Errico and text of the thanking speech by Eugenio Barba; poster with the complete programme of the celebratory events in Gallipoli. Documents and medal concerning the award to Eugenio Barba of the title of “commendatore” of the Italian Republic in June 2008, delivered to Barba in November 2014 in Holstebro.

Sub-series * Awards-A It contains the press reviews about Barba's prizes, books and honorary doctorates.

Awards-A, b. 1 A folder containing the press reviews about the numerous awards and honorary doctorates conferred to Barba. It was organised by the theatre and not by Barba, it is included in this series for lack of another context of reference.

101 In addition to press clippings, it includes several speeches given by Barba on the occasion of different prizes, awards etc. (other speeches are kept in the series Awards, b. 6, or in the complete series of Barba's writings, still to be included in the inventories).

102 * Series Publications

The documents in the series Publications were not kept all together by Barba, as instead is the case for the letters or the series Grotowski; the binders were arranged by Barba, and we organised them in one series. In December 2014, the series Publications includes 7 binders and is divided in two sub-series: Publications (3 binders) and Publications-A (4 binders). The first one is a collection of materials about Barba's writings (the binders, organised by Barba, contain books, essays, fragments of previous works that Barba gathered while working on a new publication. Some letters. Typescripts with corrections, first versions etc.). The second sub-series is a collection of typescripts by scholars who were very close to Barba, generally kept by Barba in “monographic” folders, with materials from one single scholar or about one single work subject. The essays are mostly about the work of Odin Teatret, and in general another copy of the same essay is kept in another section of the archives. Nonetheless, we considered that the conservation of these folders was important because they reveal the relationship of collaboration, trust and mutual intervention on each other's writings that apparently existed between Barba and some scholars.

Sub-series * Publications The materials, kept in an envelope, given to the archives by Eugenio Barba in September 2011, were previously kept in his home. They are Barba's articles, writings and drafts for books that were later published, arranged in one collection. The interest in these documents lies mainly in the annotations and handwritten notes by Barba himself, in the presence of preparatory materials and documents for the composition of a book that reveal the wide richness of sources (The Paper Canoe) or the profound differences existing between the various drafts of a book and the last version published (Burning the House).

Publications, b. 1 Binder 1 is a very big envelope that we divided into three folders, following Barba's sequence. 1/3 (on the spine: “Periodo Canoa di carta, testi-appunti EB”): It includes texts and notes collected by Eugenio Barba during the preparation (according to Barba between the 1980s and 1990s) for the book The Paper Canoe (its first edition was in Spanish, published in Mexico in 1992 by Escenología). This collection of documents, extremely interesting to reconstruct the origins of the book and discover its sources, confirms what Barba wrote in the Preface to the book: “I wrote this book in Holstebro, but I conceived it during long, silent rehearsals and on journeys, while seeing performances and meeting theatre people from various continents. […] A friend, gentle and insistently curious, made me sit down and put everything on paper. From then on, my room was invaded by books, by memories of and dialogues with my ‘ancestors’”. Folder 1/3 contains: - photocopies of the book by Charles Dullin, Souvenirs et notes de travail d’un acteur (extracts from the chapter Conseils a un jeune élève); - photocopies of the poem by Rudolf Nilsen (Norwegian writer): Revolusjonens røst; - photocopies from one of Eugenio Barba's notebooks; - photocopies of Nando's typescript Taviani Visibile-Invisibile nella storia del teatro; - photocopies of the article by Nicola Chiaromonte La rivolta degli studenti (1968); - photocopies of the article (fragments) The Impact of Working Conditions upon Acting Style, with one page of Barba's handwritten notes; - typescript entitled “Informazioni sulla biomeccanica” (1 page), followed by a letter (11.8.1989) in Danish sent from “Henning” with notes on biomechanics and the photocopy of some excerpts from the book David A. Winter, Biomechanics of human movement; - fax (dated 1993 and probably sent by Nando Taviani, as can be recognised from the handwriting of some notes) with excerpts from the book by Ernst Robert Curtius, Letteratura europea e Medio Evo latino; - photocopy of one page from Brecht, Sviluppo del personaggio, with Barba's handwritten notes and photocopy of one passage from a text in French, probably by Mejerchol’d; - article from “Tulane Drama Review”: Bertolt Brecht, Notes on Stanislavski; - photocopies: excerpts from the text by Søren Kierkegaard, Krisen og en Krise i en Skuespillerindes Liv; - photocopies: excerpts from letters and texts by Antonin Artaud; - photocopies: article by Adrian Brine: Etienne Decroux. L’animal et le vegetal; - photocopies: article Grotowski: le corps sait; - photocopies: entry “Scuole” from the encyclopedia Enciclopedia dello Spettacolo; - one page with Barba's handwritten notes entitled “Maschera”; - photocopies of a typescript with Barba's handwritten notes of a fragment of preparatory materials for The Paper Canoe (it is a passage about Mejerchol’d); - a folder, organised by Barba, with photocopies of texts, mostly about Mejerchol’d, glued on white pages with handwritten notes. At the beginning of the folder, there is a note about these subjects: grotesque – contrasts (oppositions); (refined) outline of movement – pre-expressive; rhythms/levels that do not match – plasticity that does not correspond to movement; otkaz (refusal) – sats or the principle of negation – time that acts on space – immobility/pause as progression/energy/time/space; - typescript in Italian entitled “Dessin des mouvements con frammenti da testi di Mejerchol’d”; - photocopies in Russian with the note: “fra Uffe Eiler”; - typescript with Barba's notes entitled “Montaggio-Composizione-Drammaturgia comprendente: 1) montaggio drammaturgia dello scrittore 2) drammaturgia dell’attore 3) drammaturgia del regista 4) miscellanea (appunti dai miei quaderni grigi)” [“Montage- Composition-Dramaturgy including: 1) montage of writer's dramaturgy 2) actor's dramaturgy 3) director's dramaturgy 4) miscellanea (notes from my grey notebooks)”]; - typescript entitled “Artaud I La metafisica”, with Barba's notes about Artaud and excerpts from his texts; - typescript entitled “Artaud II Un atletismo affettivo”, with Barba's notes about Artaud and excerpts from his texts; - typescript entitled “Mejerchol’d II La biomeccanica” with Barba's notes about Mejerchol’d and excerpts from his texts; - typescript entitled “Artaud sur le théâtre balinais”, with Barba's notes about Artaud and excerpts from his texts; - photocopies of the text by Artaud Sur le théâtre balinais; - typescript with Barba's notes on the subject “ostacolo”; - folder about the subject “kata” containing typescripts with Barba's notes and excerpts from texts by Grotowski, Mejerchol’d, Craig, Stanislavskij e Brecht; - typescript with Barba's notes on the subject “ethos-agem-haltung-atteggiamento”; - photocopies: excerpts from texts by Mejerchol’d with notes handwritten on the side by Barba on the subject “la finzione pedagogica”; - photocopy of the text by Brecht Il Galileo di Laughton. Lettera all’attore Charles Laughton relativa al comune lavoro sul dramma “Vita di Galileo”; - photocopy of an excerpt from an article from the “Asian Theatre Journal”, 1991, about women who act on stage as men (The Takarazuka Touch); - photocopies of a couple of pages from the book Livre de A.S. Tairov metteur en scène with a glued typescript note: “tutta la ricerca sulla plastyka, sul movimento, sul come muoversi in scena risale a L. Da Vinci II, 72” [“the whole research about plastyka, about movement, about how to move on stage comes from L. Da Vinci II, 72”]; - photocopies of excerpts from the third chapter of the book Noh. The Classical Theater by Yasuo Nakamura; - photocopies of excerpts from Charles Dullin, Souvenirs et notes de travail d’un acteur; - photocopies of excerpts from Louis Jouvet, Le comédien désincarné; - photocopy of one page from the book by Zeami, La tradition secrète du Nô; - photocopy of a letter from Roger Blin to Antonin Artaud (12 April 1948); - photocopy of one page from the book by Wanda Kérien Louis Jouvet, notre patron, Paris 1963; - photocopies of excerpts from the book Actors on Acting (edited by Toby Cole ed Helen Krich Chinoy) with particularly interesting notes on the margins by Barba; - photocopies of excerpts from the book by Béatrice Picon Vallin Mejerchol’d, Paris, CNRS, 1990 (Les Voies de la création théâtrale); - two pages of Barba's handwritten notes; Barba must have added them after writing The Paper Canoe because they are preparatory to his text The Ripe Action (contribution for the conference in honour of Leonard Pronko, Pomona College, USA, April 2002). At the top of the first page there is the note: “PRONKO. The Ripe Action. Thoughts on the European Reformers meeting with Asian Theatre forms”. Two questions follow:

1) Why is European theatre mostly ignorant about or uninterested in Asiatic theatre? 2) Why were some reformers – a minority – obsessed by it? As a reference point, as a model to be emulated? What can be emulated?

- a series of typescripts built as collages, with excerpts from various texts added, and notes on the side by Barba. Almost every page has a title/subject, here listed with translation in straight parentheses: attore-spettatore [actor-spectator] attore-spettatore 2 [actor-spectator 2] l’attore: qualcuno che mostra e mostra di mostrare [the actor: someone who shows and shows to be showing] Brecht costruzione del personaggio [building of the character] critica dell’immedesimazione [critique of identification] Craig fare e non fare [to do and not to do] drammaturgia [dramaturgy] gesto [gesture] haltung lingua di lavoro [work language] straniamento [estrangement effect] straniamento 2 [estrangement effect 2] teatro epico [epical theatre] Brecht e Stanislavskij Brecht e Stanislavskij ultimi anni [Brecht e Stanislavskij the last years] 3 pagine su Stanislavskij [3 pages about Stanislavskij] tracce storiche [historical traces] - photocopies of a typescript entitled: “Appunti - Grotowski”. Folder 2/3 contains: photocopies of excerpts from texts by Decroux handwritten by Ingemar Lindh; a text in Spanish by Nando Taviani, Historia del Odin Teatret, with corrections by Barba; three letters (25 February, 4 April, 8 April 1996) in Danish from Eugenio Barba to Thomas Bredsdorff, in which Barba explains his concept of the actor; Quel che gli adulti chiamano neve [What adults call snow]: transcription of Eugenio Barba's final speech at the ISTA session in Montemor-o-Novo in 1998 dedicated to the subject of organicity. The text is introduced by: an email (February 2001) from Cristina Wistari Formaggia who answered Barba's request to check all the definitions and terms related to Balinese theatre-dance; photocopies from Roberta Carreri's work diary during the ISTA session in Montemor-o-Novo; a text by Julia Varley, Presenza e vita scenica. Attore organico [Presence and stage life. The organic actor]. These materials were kept all together and were meant for a broader project that Barba wished to realise about the subjects addressed in the ISTA concluding speech; the project however was never completed. Folder 3/3 contains: Some preparatory materials collected by Barba for the book On Directing and Dramaturgy: Burning the House (the first edition is the Italian one published in 2009 by Ubulibri) and two previous versions (Il rituale del disordine. Drammaturgie contigue: attore, regista, spettatore, – The Ritual of Disorder. Contiguous Dramaturgies: Actor, Director, Spectator –, dated 28.1.2003 and Il libro delle gemme. Drammaturgie e origini – The Book of Gems. Dramaturgies and Origins –, undated, with a note: “original – first corrections”), substantially different from the final version. This book about dramaturgy had a very long genesis and an enormous number of different versions. In the last pages ofBurning the House Barba wrote: “First Will, The Ritual of Disorder, The Book of Gems, Dramaturgical Recipes, Origins and Dramaturgies, Under the Theatres Skin… These are all titles of the various versions through which I have filtered this book before arriving at the most appropriate one. I have burnt its architectural plan several times. Each time I came closer to the point of departure, because dramaturgy is not a single technique, but merges the different techniques of the theatre. And, finally, dramaturgy identifies with the person who does the merging, with his or her biography”. The preparatory materials for the book were collected by Barba in two sets. The first set, “disorder”, contains photocopies with excerpts from texts; a typed page with different definitions of the term “dance” with a note, “carnet (intermezzos)”; photocopies of excerpts from the text by Isaak Babel Racconti proibiti e lettere intime (Milano, Feltrinelli, 1961); photocopies from an interview with Giorgio Strehler published in a French newspaper in September 1995. The second set, entitled “dramaturgy”, contains an article by Tage Hind, Hvad er dramaturgi ( “Jyllands-Posten”, 26 January 1966); a booklet by Hrefna Sigurjónsdóttir and Sólrún Hardardóttir, Spiders. Behavioural Studies for Schools, Manchester, Association for the Study of Animal Behaviour, 1997; photocopies of a French text Exposition Universelle 1855 (Ch. Baudelaire, Œuvres complètes, Paris, Gallimard, 1954); the typescript of Bruciare la casa with handwritten corrections.

Publications, b. 2 Labelled “Forlag EB utgått estinguished”. Correspondence with translators and editors. These are mostly contracts, or correspondence related to a publication. There are also some significant letters to translators with discussions about how to translate some key phrases in Barba's writings (e.g. “body-mind”).

Publications, b. 3 Labelled “England: Secret Art + others. Brazil: Cesar Huapaja + Martins. Hucitec”. Correspondence with translators and editors. (cf. Publications, b. 2).

Sub-series * Publications-A The sub-series Publications-A collects 4 envelopes with typescripts by scholars who were very close to Barba, generally kept by Barba in “monographic” folders, with materials from one single scholar or about one single work subject. The essays are mostly about the work of Odin Teatret, and in general another copy of the same essay is kept in another section of the archives. Nonetheless, we considered that the conservation of these folders was important because they reveal the relationship of collaboration, trust and mutual intervention on each other's writings that apparently existed between Barba and some scholars. Before being acquired by the archives in 2012, the documents were kept in a cupboard in the workshop next to the “white room” in Odin Teatret.

Publications-A, b. 1 It contains materials handed over by Barba in 2004 to CTLS (Centre for Theatre Laboratory Studies, originally supposed to organise an online archive for Odin Teatret and other laboratory theatres). 1) “Pavis”. A folder with three typescripts by Patrice Pavis (French scholar from the Université Paris 8, one of the scholars who attended many ISTA sessions): - Un canoë à la dérive? (typescript with corrections of the author and a note by Julia Varley “from Pavis with penitent corrections after talking to you”); - M(o)uettes (photocopies, theatre play); - Possibilità e limiti del teatro interculturale (photocopies). 2) “Janne”. A folder with typescripts by Janne Risum (Danish scholar from the University of Århus. She took part in several ISTA sessions): - Om blomster og stier hos Ibsen og i Kabuki (typescript); - The Odin Actors; - An excerpt from the essay Satori; - Experimenter; - Skyd ikke iguaner; - Irving’s Poetic Dance. A Slow Exposure Across Time; - High Density Actions, High Density Terms; - L’acteur de la savane. 3) “Janne-2”. A folder with a long typescript by Janne Risum (Danish scholar from the University of Århus. She took part in several ISTA sessions): Odin Sonate. With a page of notes by Eugenio Barba. 4) “Diverse”. Folder with essays by different authors: - A letter from Janne Risum to Patrice Pavis and Ferdinando Taviani dated 12 December 1996; - Josette Féral, Pour une théorie des ensembles flous; - Josette Féral, Que peut (ou veut) la théorie du théâtre?; - Peter Elsass, Floating Islands in Suriname (an “open letter” to Barba).

Publications-A, b. 2 It contains materials given by Barba in 2004 to CTLS (Centre for Theatre Laboratory Studies, originally supposed to organise an online archive for Odin Teatret and other laboratory theatres). 1) Nicola Savarese, Storie emergenti del teatro eurasiano: la tragedia greca e l’arte dei cantastorie; The Performer and Rodin’s Elbow. 2) Mirella Schino, La semina del riso; Laugher. Reflections on the ISTA; “Sakuntala” tra gli olivi. 3) Fabrizio Cruciani, Scappare dal centro. Storia di Copeau. Conferenza a Malta il 7 maggio 1992. 4) Franco Ruffini, Artaud to the Letter; The Scenic Environment; a story (I verbi dell’amore, dated 6-1-1987); “Precisione e corpo-mente”, typescript with corrections. 5) Ferdinando Taviani, Odin Story (different versions, different translations, cuts and corrections); Contraria sunt complementa (typescript with corrections); Negli anni Ottanta.

Publications-A, b. 3 It contains materials handed over by Barba in 2004 to CTLS (Centre for Theatre Laboratory Studies, originally supposed to organise an online archive for Odin Teatret and other laboratory theatres): 1) “Materials for ‘Bouffonneries’. Edited by Fabrizio Cruciani”. It includes several essays, by Barba, Odin actors, by scholars and masters of the ISTA. It also contains essays by the master directors of the beginning of the twentieth century. It includes an introduction by Cruciani, and short connecting passages written by him. The materials were prepared for an issue of the French journal “Bouffonneries”. In 1992 Fabrizio Cruciani died and the materials prepared for “Bouffonneries” were not published. In September 1992 almost the same selection of essays was published in the Mexican journal “Máscara”. 2) Folder “Improvisation. Materialer af Nando till Quehacer”. “Quehacer Teatral” is a Colombian journal and in 1984 it published an issue (n. 2) dedicated to improvisation. The folder contains a selection of preparatory materials edited by Ferdinando Taviani who chose the texts and wrote the introduction for some of them (materials by: Taviani, Goethe, M. Sand, Stanislavskij, Boris Zakhava, Copeau, Dullin, M. Čechov, Piscator, Béla Balázs, Barba, Bandettini, Guarino, Savarese, the transcription of Pepe Robledo's demonstration at the ISTA session in 1981).

Publications-A, b. 4 It contains materials delivered by Barba in 2004 to CTLS (Centre for Theatre Laboratory Studies, originally supposed to organise an online archive for Odin Teatret and other laboratory theatres): 1) Extensive correspondence and materials about a project with the sociologist Mino Vianello for a survey related to the seminar organised by Odin Teatret in 1970 Mito del teatro politico e il fenomeno del teatro di gruppo in Scandinavia [The Myth of Political Theatre and the Phenomenon of Theatre Groups in Scandinavia], published on issue 17 of Odin Teatret's journal “Teatrets Teori og Teknikk” (see also: Fonds Barba, Barba- Letters, b. 5, and Barba-Odin, b. 11; Fonds Odin Teatret, TTT, b. 8, and Activities, b. 23 and b. 34); 2) A folder with an essay by Marco De Marinis (from the University of Bologna, he took part in several ISTA sessions), Dalla pre-espressività alla drammaturgia dell’attore. Saggio sulla “Canoa di carta”, and its English version; 3) Articles by Piergiorgio Giacchè (anthropologist from the University of Perugia, he took part in several ISTA sessions) and Jean-Marie Pradier (from the Université Paris 8, he took part in several ISTA sessions): - P. Giacchè: Aux confins du théâtre. Sur la relation entre théâtre et anthropologie; Il teatro fuori dai teatri (memoria di uno spettatore di provincia); - J.-M. Pradier, Ethnoscenology: the Flesh is Spirit; Théâtre et sociétés. * Series Miscellaneous

Labelled: Barba- Miscellaneous In December 2014 it consists of 7 binders. This Series comprises material of various types not closely connected to the work of Odin Teatret and ISTA, or to the relationship with Poland and Grotowski. These are documents, typewritten texts and other personal materials concerning Barba, such as, for instance, a notebook-journal, or a short story written by his elder brother Ernesto.

Barba-Miscellaneous, b. 1 B. 1 includes 6 envelopes in the following order: ENV. 1: A Polish card with the illustration of the stage design for J.Osterwa’s (Reduta) Księcia Niezlomnego (The Constant Prince) on the occasion of the ITI Congress in Warsaw in June 1963. ENV. 2: Photocopy of Akakia Viala’s dedication to Eugenio Barba with an explanation by Nando Taviani. ENV. 3: Documents about his great grand-father, Emanuele Barba (cf. also Miscellaneous b. 3), deceased in 1887, with a brochure and an article about this patriotic follower of Garibaldi. Article about Emanuele Barba, “Il Paese nuovo”, 9 April 2010; a letter from Erminia Barba. ENV. 4: A short story by Eugenio Barba’s brother Ernesto, Il pineto (The Pine Wood), and a letter from Stefano Spinola, Ernesto’s childhood friend in Gallipoli, describing the context and the origin of the short story. (About Ernesto Barba cf. also Ernesto Barba, figlio del sole, edited by Rosario Amodeo, Maurizio Nocera and Franco Pisanello, Gallipoli 2007, and the book of short stories by Ernesto Barba Il kepì dell’allievo Clarì). ENV. 5: The text of a play by the Colombian author and director Juan Monsalve from 2008, entitled Huggin y Muninn, cuervos de Odin. ENV. 6: A box that originally contained a ring (a present for Barba) and an accompanying letter and now contains only the letter. It is from a young Iranian actor/director, Ain Alavi, who visited Odin Teatret during an Odin Week and before leaving left this box outside Eugenio Barba's office, without talking to him. It is a very intense letter, a good example of the kind of feelings and values that can be found in theatre (and not exclusively in the relationships with Barba); for an external and detached observer, these feelings could appear emphatic or disproportionate, like a sort of personality cult. A letter from the architect and scenographer Luca Ruzza to Eugenio Barba, which we found in the envelope with paper photographs of Brecht's Ashes. Ruzza drew some sketches for the performance Brecht's Ashes and in the letter he commented the stage layout of the performance.

Barba-Miscellaneous, b. 2 This binder, handed over by Barba (October 2008) contains preparatory materials for a book whose provisional title was The Golden Age of Theatre edited by Eugenio Barba and Nicola Savarese; agreements with publishing houses regarding this book; drafts for an agreement to be made between the University of Bologna and the University of Eurasian Theatre; a contract with Claudio Coloberti, Cristina Nutrizio and other people concerning the realisation of a film; materials and letters about other films; correspondence with Roberto Bacci and other documents on the film dedicated to Odin Teatret On the Way Through Theatre, made by Exe Christoffersen, and part of a cycle of documentaries by Italian Rai- TV entitled I cinque sensi del teatro. Several brochures and programmes from international meetings attended by Barba between 2008-2010 (Poland, Mexico, etc.).

Barba-Miscellaneous b. 3 The binder was given by Eugenio Barba to the Odin Teatret Archives in September 2011; it contains documents, articles, books, magazines and other materials concerning Barba's family, collected throughout the years by Vera Gaeta, Eugenio Barba's mother and later gathered and kept by Barba in his home in Denmark. The documents mainly concern two figures in Eugenio Barba's family: his brother Ernesto (1934-1994), a director of luxury hotels (among others, the Lhasa Hotel in Tibet) in different countries and author of poems which he published under the pseudonym Francesco Marra; his great grandfather Emanuele (1819-1887), an important personality in Gallipoli, follower of Garibaldi, doctor, owner of a very strange library and founder of a museum still open in Gallipoli. The documents concerning the Barba family were collected and sent to Barba or his mother by Rosario Amodeo (fellow student of the Barba brothers at the military school “La Nunziatella” in Napoli from 1951 to 1954) and by Maurizio Nocera, an intellectual from Lecce who is the author of texts about Ernesto and Emanuele Barba (as can be seen from some notes kept among the documents). Rosario Amodeo also donated to the archives his correspondence with Barba during the 1960s (cf. Fonds Barba, series Letters, b. 3). Letters from Rosario Amodeo are kept in Barba's correspondence arranged by year (Letters-A). The section dedicated to Ernesto Barba (b. 3-1/2) contains five books: Ernesto Barba. Figlio del sole, edited by Rosario Amodeo, Maurizio Nocera and Franco Paisanello, Gallipoli, Associazione Culturale “L’uomo e il Mare”, 2007; Ernesto Barba, Il Chepi’ dell’allievo Clari’, Napoli, A.N.N., 1996; Francesco Marra, Sistole e diastole, Taipei, Formosa, Edizioni Siddharta, 1973; Francesco Marra, A sud di Palermo, Edizione Karma System, undated; Ernesto Barba, Basics of food & beverage service, Clifton Beach Complex, undated, a comic strip booklet, Acapulco. Good vibrations or how to spend a perfect Holyday in Endless Summer, script by Ernesto Barba, artwork by Hans Münch & Carlos Morales, Acapulco, Condesa del Mar, undated. Three magazines: two issues (nr. 2-3, May – December 1995 and nr. 1-2, January – August 1996) of “Nunziatella” – four- monthly periodical of the Associazione Nazionale Nunziatella containing articles by Rosario Amodeo about Ernesto Barba, three issues (nr. 02, 03, 04 December 2004) of “Apulia” – three-monthly review of the Banca Popolare Pugliese with articles by Maurizio Nocera about Ernesto Barba, an issue (nr. 2 December 1995) of the magazine “Concittadini” with posthumous biographical memories about Ernesto Barba. An undated and handwritten notebook with poems by Ernesto Barba. There are also press clippings with articles about Ernesto Barba or about some of his poems, photocopies of a poetry anthology about Love featuring poems by Ernesto Barba, a typescript by Maria Jatosti (editor of the book Il Chepi’ dell’allievo Clari’) with the title Un poeta della vita, an article by Maurizio Nocera with the title Sempre figlio del sole io resto. The section dedicated to Emanuele Barba (b. 3-2/2) contains three books: Emanuele Barba, Proverbi e motti del dialetto gallipolino, Galatina, Mario Congedo Editore, 2010; bound photocopies of the book by Cesare Teofilato, Giulio Cesare Vanini, Milano, Tipografia Editrice “La Stampa d’Avanguardia”, 1921, (Vanini was a man from Gallipoli who was burnt in Toulouse because he was considered an eretic), bound photocopies of the book by Maurizio Nocera, Garibaldi e il Salento. Ricordi garibaldini di Emanuele Barba, Galatina, Arti Grafiche Mariano, 1982. A booklet by Maurizio Nocera, Bonaventura Mazzarella in the unpublished writings by Emanuele Barba and numerous other press clippings, mostly from the newspaper Il Corriere Nuovo, with articles about Emanuele Barba, his museum-library in Gallipoli, photocopies of newspapers from the time of Emanuele Barba's death, photocopies of writings by Emanuele Barba; there are also photocopies of birth, baptism and death certificates of other members of the Barba family (the genealogy of the two Barba brothers is as follows: Ernesto, Eugenio, Carmelo and Gustavo were born from the greatgrandfather Emanuele; Emanuele and Aldo were born from grandfather Ernesto and Emanuele and Eugenio were born from father Emanuele) and an article about the grandfather Ernesto, poet and journalist, founder of a socialist magazine in Gallipoli. A book in Tibetan style Poemi del sesto Dalai Lama, translated by Francesco Marra, Lhasa 1992: a “1992 Christmas present for my Italian friends”. Francesco Marra is the pseudonym for Ernesto Barba. Before the poems there is a long autobiographical introduction by Ernesto, containing the story of his encounter with Tibet.

Barba-Miscellaneous, b. 4 A series of notebook-journals delivered by Barba to the archives in the spring of 2012 (cf. also Barba-Odin, b. 39); they contain: notes from books; fragments of books cut out and glued (mostly without bibliographical indications), notes, long lists of theatre terminologies, postcards, small drawings, comments, quotations, remarks etc.. Barba always had the habit of transcribing, copying or glueing on his notebooks fragments or images apparently unconnected to theatre that however, by association, reveal to him something about theatre (in the case of the notebooks delivered in 2012, there seems to be a strong relationship especially with Theatre Anthropology and ISTA, the International School of Theatre Anthropology). This makes the notebooks a wonderful document that is difficult to decode. Binder 4 contains: - A group of pages kept together, labelled “Antropologi Teatro Orientale Teatro Occidentale” (from 1977 to 1979); - Two notebooks with grey cover (labelled 1 and 2). At the beginning of the first one there is a date: January 1981; - A green notebook about Barba's sabbatical year (1982); - A notebook (cover: a blue and white striped man's shirt with a yellow tie), undated; it starts with the notes about a meeting in the Venice Biennale in 1985, on the occasion of the showing of the performance Oxyrhyncus. The notebook seems to cover the years until 1992 (the notes apparently concern the various ISTA session); - A notebook (“Scholar college notebook”): on one of the inside pages there is the date 1987, it refers to the period of the performance Talabot. With this notebook a poem dedicated to “A Eugenio – César [Brie]”. Barba added: 1988 circa; - A brown notebook “Organicità, Oriente”: there is no date but from the notes about the “O effect” (organicity effect) the notes appear related to the Montemor-o-Novo ISTA(1998); - A small notebook “Japan 1”, probably about one of Barba's journeys to Japan, with lists of Japanese theatre terminology and explanations; - A group of pages that starts with “Ranka Bijeljac-Babic”, without dates; - A small flower notebook labelled May 2005; - A small diary 1958: it is a sort of micro-diary with comments, remarks, description of events etc., in different languages, mostly in French. It concerns Barba's period in Norway. Eugenio Barba was used to writing these small diaries with daily notes about what was happening to him on a personal level; all other diaries went missing, this is the only one that he kept. To this day Barba has the habit of keeping a notebook-journal, but he only writes about professional matters. The most interesting thing about this Norwegian notebook is that it has been preserved. Like the correspondence, it may not be read for the next thirty years.

Barba-Miscellaneous, b. 5 A folder with press clippings gathered by Ferdinando Taviani and later sent by him to Eugenio Barba. The press clippings are mostly taken from Italian newspapers and (mostly) they mention Odin Teatret only marginally. They are interesting because most are about the Venice Biennale in ’75, attended by both Grotowski and Barba. The journalists often connected the two artists, like the spectators often remembered them together. The press clippings concern: Grotowski; 1975 Biennale; Ferdinando Taviani's book Il libro dell’Odin; the film In Search of Theatre. Most articles are in Italian. A particularly interesting article is the one about Grotowski by Nicola Chiaromonte (Una voce tra le macerie, “L’Espresso”, 14-2-1971):

Jerzy Grotowski was recently in New York, and during a public debate he solemnly declared: “Theatre is in agony”. This fact has been established for several years. Theatre dies, or is dead, in the same sense that we can say that God is dead, or art is dead, or culture is dead, and that a whole civilization is dying. And yet “it keeps fighting” […]. Apparently theatre can't accept the idea of dying, just like the other above mentioned entities. Together with theatre, they are replaced by surrogates, imitations, forgeries. But “diabolus simia Dei”… The need for falsification is the evidence for the genuine fact and its vitality, however clandestine. Leaving this aside, what did Grotowski mean by his statement? From the rest of his speech (its core was described by ‘Le Monde’ on 28 January), he apparently wanted to disconcert the current interpretations of his theatre, including the one of the interviews and articles in the book just published in Italy (Jerzy Grotowski, Per un teatro povero, Bulzoni Editore, 1970). Celebrities, in theatre and beyond, often allow themselves such jokes. On the other hand, the Polish director-ascetic rightly intended to free himself from the labels that were forced on him as soon as his name and work came to the fore on the semi-empty stage of contemporary theatre life. He wanted to clarify himself and his clarifications deserve to be quoted and commented. “People tend to think – he said incidentally – that a director should ‘teach’, like a choreographer. Actually, all that he can do is create the conditions that allow the actor to be sincere. There is no such thing as a ‘Grotowski system’, and I made a serious mistake if in my writings I gave the impression that one could find such a method, which is the opposite of the theatre I try to create. A method claims to arm not to disarm. It urges people to hide behind concepts, screams, violence and chaos: what I call weapons. We arm to hide. Nudity, in American theatre, is almost always a weapon of this kind…”. He continued with the frank statement: “I believe that theatre, as an art form, is in agony. And I cannot be the one who gives faith because I myself don't have it”. Additionally, Grotowski included in his speech statements addressed to those, like Joseph Chaikin or Peter Brook, who accused him of making “religious” theatre. It is not very clear what they meant. Grotowski's theatre is esoteric, without doubt. But why religious? Perhaps for the search of some sort of expressive absolute and of something beyond communication, of a communion between the actor and his public? And where then would the mistake lie today in searching for the equivalent of what religious theatre was? Certainly not the theatre of the religious plays, which were often folkloric and pious (and sometimes not even pious) more than religious. The only religious theatre that we as Westerners can know about and understand is the Greek theatre. Obviously we cannot recreate it. But we can study it, examine its foundations and structure: there is a lot to learn. In his speech Grotowski also mentioned an idea of theatre that is less esoteric than the one he has researched and practised to this day. Always taking the actor as a starting point, he said that theatre, with its agony, is still the only space where the individual can “discover himself”: discover himself and, thanks to this discovery of the self, take off the masks that hide him from others in daily life. “In other words – concluded the famous director of Wrocław Laboratory Theatre –, theatre offers the possibility not to lie, not to act…”. We are here faced with one of those subtle black mass reversals, also known as sophisms, to which modern artists, aesthetes and modernists seem to be compelled by their situation. Here Grotowski is actually expressing what has represented the core of modern theatre since Ibsen, with an invertion of terms: to say that theatre allows the actor (and the author) to discover himself and take off the masks that hide his real face in daily life is not different from the statement of the will for truth of which Ibsen was the relentless and somber herald to say that the individual in theatre can take his mask off is like repeating Pirandello's motto “naked masks”. However, to say at the same time that this means that in theatre, differently from daily life, one has the possibility not to act because one can not lie, is simply a witty remark. The reality is that on stage one has the possibility to say the truth precisely because one is acting; that is to say, because one is wearing a mask and entering the unassailable world of fiction, or poetic freedom, or “poiesis”: the freedom to create “by doing”. We can never emphasize this point enough because this is the crossing point and the essential element of contemporary intelligence: the choice between “doing” and “acting”. “Doing” creates because it believes in the truth of an invisibile and imaginary world that can only be understood by access; while acting looks for truth in the exasperated expression of an unreacheable (because inexistent) essence of the individual, of a self that is the dull shadow of all the masks that we impose on ourselves as much as others do. The artistic principle of acting does not create: it remains for ever prisoner of that frenzy of “concepts, screams, violence and chaos” that Grotowski rightly denounces.

In retrospect, Grotowski's statements about the agony of theatre can be connected to his decision, taken during those months, to leave the theatre environment. An article from “Osservatore romano”, 8-3-1972, Visita all’Odin. Barba: il teatro dell’identità di Enzo Natta:

To reach it you need to travel through half of the Jylland peninsula. Kilometers through beech and birch woods, a uniform and monotonous landscape. But it is worth it. I am accompanied and guided by my friend Rasmussen, critic and lecturer of performance history at the University of Copenaghen. Holstebro is a rather small town of about twenty thousand inhabitants, close to the North sea, agricultural economy. All the characteristics for a rather limited cultural life. But what we call regional cultural initiatives are in Denmark a well established reality. City and district councils are in charge of the initiatives and have moved to the periphery those cultural activities that for obvious reasons occurred mainly in big cities. This was made possible by a legislation that favours these initiatives and by special funding. The most resounding of these “escapes from the city” was that of Eugenio Barba and his Odin Theatre that left Oslo and moved to Holstebro invited by the local administration.

The article details Barba's life, the Nunziatella academy, the emigration to Scandinavia, his stay in Poland etc. There is a quote by Barba about the name they chose for the theatre: “Odin was the god of war, the great infuriated god who fought against demons. In the same way we, actors and spectators, gather to evoke that ‘ordinary’ side which lurks in the darkness inside of us: this is the only way we can discover ourselves”. A theatre of introspective research, Odin Theatre, thus becomes a theatre of identity. “We do not have the intolerable presumption of discovering others, – Eugenio Barba continues – this is generally a pleasant alibi to avoid discovering oneself. It is true that our performances present a critical attitude but the criticism is always directed to ourselves”.

This is the place for those who are looking for spiritual engagement in our times – says Eugenio Barba. – Here the work of the actor becomes a social meditation on himself, on his human destiny, on those phenomena that touch him deeply. The actor here is mainly looking for the truth about himself. First of all he or she tries to discover if they really want to be actors and renounce everything. If their answer to this question is yes, that means that they are aware of the fact that many other people are looking for them because they need them.

An article by Mino Doletti about the film In Search of Theatre by Ludovica Ripa di Meana (“Il Tempo”, 10-12-1975). The article is strongly disapproving (“Il Tempo” is a right-wing newspaper):

The pupils of Eugenio Barba's Danish Odin Teatret, on holiday in Salento, showed their oddities with tightrope walkers, clowns and hieratic gestures to the bewildered population of the small village of Carpignano (Lecce), who reacted with involuntary amusement and necessary confusion: the result is a minestrone without taste, because it tried to have too many tastes.

Another article about the same film, published in the newspaper of the Italian communist party, “l’Unità” (13 December 1975), is decisively positive. A beautiful article by Franco Quadri about Grotowski at the Venice Biennale, in “L’uomo vogue”, December 1975-January 1976.

I met Grotowski in Venice after a long time; behind his pointed beard, in his neurotic figure covered in leather carrying a bulging globetrotter backpack, in his outdated but cosmopolitan hippy style, I looked in vain for the conscious and superior “master” I had once met. I suddenly discovered that he could laugh, mostly about himself, and that all traces of awkwardness had vanished from him, even in the way he gave his hand, no longer plumpy and weak, or in the way he looked from behind his short-sighted glasses that he no longer used as a protective barrier. His whole body lost the clumsy weight reminiscent of Maria Callas before her treatment and with it, the sidereal detachment of the annoying know-it-all professor.

He writes about his first encounter with Grotowski: the moment when an “ex-sailor and ex-theology student abducted from the world by the Word of such a master”, meaning Barba, came to propose an article about Polish theatre in his magazine. The article also describes his first meeting with Grotowski, a few years later, during a conference tour where he presented the techniques of his laboratory “through explanatory exercices of his outstanding first actor, Ryszard Cieślak, obliged to show how you can stretch the arches of the body and give independence to each organ and use the most secluded resonators to extract surprising voices from the most unsuspected and mysterious places”. He remembers Grotowski in Spoleto, for The Constant Prince, and the disappointment of that meeting, which mainly consisted in going around pharmacies looking for a pill for the director. He remembers Grotowski's presence at the important Bitef festival in Belgrade, when during a meeting he savaged Dyonisus in ’69, the famous performance by Schechner (who had recognised him as master and inspiration). Now he meets him again in Venice. He has become “a Master”, Quadri says. “Transformed even physically, with the new face he managed to construct, an unprecedented irony and a surprising appeal”. He then writes about Grotowski's meetings with several theatre groups on a deserted island in the lagoon, where his last performance was presented, Apocalypsis cum figuris. An article by Mario Raimondo, Grotowski a Venezia, “Mondo operaio”, December 1975. This is an interesting article, a very clear testimony about how the issue of the theatre- laboratory was experienced in Italy during those years, as indicated mainly but not exclusively by the pair Grotowski-Barba: a place where the group closes itself in its private research, or a place from where the group opens up to the risk of meeting and communication. It may appear like a trivial problem but at the time it was much debated, especially from a political point of view (this is clear from the article by Raimondo, who was an old friend of Grotowski and the Odin, director of RAI Experimental Services and a socialist, therefore politically not belonging to the extreme left. The previous articles are also interesting from this point of view). According to Mario Raimondo, the Biennale was built on the basis of a precise question: “In all simplicity, but with awareness of its importance, the question was: this is the point reached by the great protagonists of the theatre heresy of the 1960s. What kind of theatre exists behind, in front of or around them? The question built and permeated every proposal of the Biennale (it could be observed even behind the admirable didactic recital L'Age d’or by Ariane Mnouchkine), and it finally exploded on contact with Jerzy Grotowski's work, called Special Project”. Raimondo points out that a total of about 3.000 spectators participated in the 19 showings of Grotowski's performance, and a group of around 400 people took part in the meetings with Grotowski and his group: this is not an elitist theatre. There is however a controversy involving Grotowski, which according to Mario Raimondo is not limited to the bourgeois prejudice of the disappearance of a “normal” performance. In Raimondo's view there is also a left-wing controversy that also expresses nostalgia for a “normal” theatre or performance, in the service of the people for a staging of Brecht or other similar plays. Besides this nostalgic aspect, the left-wing controversy often focuses on the laboratory and non-performative aspect of the current Grotowski, which reveals a mystical-ascetic closure “that risks collaborating with the restoration”. As Raimondo points out, this is a typically Italian controversy. Raimondo's proposal is to think of Grotowski's paratheatrical action in terms of “gratuity” and “waste”. This article is interesting because it analyses theatre in terms strongly rooted in the political debate, which was another typically Italian trait during those years. These questions are not only relevant to the theatre in Italy: perhaps here could be found one of the roots for a tendency in theatre studies, the contrast between “theatre” (meant as theatre culture) and performance, especially typical of the group of scholars close to Barba and Grotowski (Taviani, Cruciani, Ruffini). Another article deals with these same themes (by Giuliano Zincone, “Biblioteca della libertà”, July-October 1975), less clearly and, differently from Raimondo, showing hostility. “Basically, from what we observed in Venice, groups like Barba's (Odin Teatret), Grotowski's (Laboratory Theatre) or Serban's (one of the numerous departments in La MaMa Theatre) are not aimed at ‘reciprocity’ at all. They rather tend to make their theatre as a perfect and closed system, a place of harduous formal researches, to be offered to those who ‘accept’ it as a privileged form of expression, and most of all as a life choice, a self-sufficient ideology”. Barba-Miscellaneous, b. 6 A collection of documents kept by Eugenio Barba in his office and given by him to the Odin Teatret Archives in September 2013. It contains: two issues of the magazine published in 2003 by the Peruvian theatre group Yuyachkani, directed by Miguel Rubio Zapata; a black and white photograph (20x30 cm) by Horst E. Schulze portraying Bertolt Brecht; a colour photocopy of a group photograph of Odin Teatret (second half of the 1970s) with on the back the text of an autograph letter in French sent to Eugenio Barba and signed Marie; a leaflet of a festival in India in January 1986 entitled “Theatre Encounter East West” attended by Eugenio Barba, with the presentation of the performance Marriage with God and the work demonstration Moon and Darkness; a leaflet with the presentation of the book Viaggi con l’Odin Teatret/Voyages with Odin Teatret photographs by Tony D’Urso, texts by Eugenio Barba, Brindisi, Editrice Alfeo, 1990; a leaflet with the invitation to the “Åbent Hus [Open House] på Odin Teatret” from 23 to 25 November 1990; a leaflet of the Centre for Performance Research (Wales) on the occasions of Odin Teatret's tour in Cardiff in September 1990; a leaflet of a series of activities (festivals and conferences) about Poland and Jerzy Grotowski organised in Turin and Rome from November to December 2005; a leaflet, undated, about an “International Theatre Symposium” organised by the Centre for Performance Research (Wales) entitled “Points of Contacts. Theatre, Anthropology & Theatre Anthropology” attended, among others, by Richard Schechner and Eugenio Barba; the photocopy of a press clipping (only half) published in an Argentinian newspaper in April 1986 on the occasion of a tour in Buenos Aires by Eugenio Barba and the group Farfa. On that occasion Eugenio Barba was invited to give a speech at Teatro San Martín but, due to the high number of participants, he decided to give the speech in the open on the Avenida Corrientes to allow everybody to listen. The authors of the article, who worked for the Argentinian publisher Firpo & Dobal, were among the passers-by. Thanks to this same conference, Eugenio Barba's book Más allá de las islas flotantes was published by Firpo & Dobal in 1987. Binder 6 also contains a paper folder with badges, pins and keyrings from international festivals and conferences attended by Barba, useful to date at least some of his activities. There is also a calendar-diary that belonged to Eugenio Barba (produced by Maison des Cultures in Paris), useful to reconstruct some activities of Odin Teatret and of Barba's travels from 1989 to 1994. Two calendars of 1993 and 1994 that belonged to Eugenio Barba.

Barba-Miscellaneous, b. 7 Binder 7 contains the copy of a document file (the originals are kept at the Polish archives) about Barba, produced by the Polish police (“Personal records of the foreign citizen Barba Eugenio”). To these documents we added the letter from a young Polish scholar, Sylwia Fiałkiewicz, who explains to Barba that she found a file about him during her PhD research. The letter also specifies the catalogue number of the documents in the Polish archives. The document file kept in this binder was sent to Barba by Zbigniew Jędrychowski, from the Grotowski Institute, and included in the folder is also his e-mail (translated by Barba into Italian). (About Barba's stay in Poland cf. Barba, Land of Ashes and Diamonds, Black Mountain Press, 1999). Among these documents there is the visa for Barba's stay in Poland. There are also many requests or permits to go abroad for a few months (to Sweden, Berlin, Finland, Norway…) and come back to Poland. Barba quickly read the documents for the archival staff (the numbers used below refer to the number of the document here summarised): Barba arrives in Poland in January ’61. He requests a scholarship meant for post-graduate studies. He hasn't graduated yet but he asks his professor for a certificate (in Norwegian) stating that he has almost completed his studies. Then again, nobody requests scholarships for Poland and he obtains it without problems. It is a scholarship for the University of Warsaw, Department of Philology. Once there, Barba asks to enrol in the theatre School (this is not possible: he should have taken an exam etc.). However, the school dean, Bohdan Korzeniewski, allowed him to attend the school courses as an external student and to present a project (a staging of the Oedipus the King that should end with the people taking the power from Creon. In Land of Ashes and Diamonds Barba gives a different version from the one he gave while going through these documents: the staging of Oedipus was the admission test for the school; Bohdan Korzeniewski made fun of the technical problems of his finale and admitted him to the school). The professor suggested he should go and see rehearsals and performances of great Polish directors (also because his poor knowledge of the Polish language made it difficult for him to follow the lectures). This way Barba started to meet Polish artists whom he would later contact when he began to write essays and articles for magazines about Polish theatre. All this (as well as his transfer to Grotowski later on) was possible because his professor at the University of Warsaw was Jan Kott, who was not very interested in guiding him and therefore left him great freedom of action (the only real advice he gave him was not to go to Grotowski because he was worthless). There are several documents about Barba's short stay in a sugar factory as a worker. An informer stated that Barba worked in the sugar factory, wondered how he ended up there and why, although he had a degree, he didn't accept an intellectual job. He mentioned the name of the engineer who found the job for Barba (he was really a casual acquaintance, the boyfriend of an Iranian friend of Barba's). Barba was curious about the different aspects of life in that country and he had worked as a welder in Norway, so he managed to be employed in the factory for some months. The informer also declared that Barba was in Berlin, where he met the engineer. There are many other letters and statements by informers about this episode, complicated by the fact that Barba often travelled to a nearby town (where he had a girlfriend at the time), and other requests for information (about the girl, also investigated by the police, about the fact that Barba declared he was a member of the Italian communist party but didn't have a membership card etc. See pp. 38-39 of the file; the catalogue numbers were not chosen by us and are very irregular). In January 1962, Barba moved to Opole, at Grotowski's theatre. This transfer required a series of application forms and certificates, for example permits from the theatre School and the University. There is also a statement signed by Grotowski, saying that Barba will work at the Theatre of 13 Rows as assistent director and that he was sent there by the Warsaw school (p. 36). From this point onwards begins the life of Barba linked to Grotowski and to the interests of the Teatr-Laboratorium. For example: Barba's request to go to Finland (p. 32) to organise a workshop for young directors. In reality, he wanted to go to Finland because Grotowski was going too; p. 43 (with the stamp of Teatr 13 Rzędów): statement by Grotowski (Barba works in our theatre, he was sent by the theatre school, he wants to travel to Helsinki for research reasons approved by us); p. 57: statement by Grotowski (Barba will continue his activity as assistant director in Grotowski's theatre until ’63 to stage Wyspiański); pp. 69-70: this is an interesting document. It is a long statement by Grotowski to the ministry of Education. He declared again that Barba was working with them as assistant director and that, after visiting them several times, he was now a steady collaborator (all this was true but much more casual than as described by Grotowski). In their theatre, he studied in depth the Wielka Reforma (this is the great reform of the beginning of the twentieth century, evidently the term was well known as it could be used in communications with the police), and examined published and unpublished theoretical essays produced by them (it is noteworthy that Grotowski was aware of the importance of his work beyond the practice, and this influenced the way he introduced it to the police). In addition to this, Barba systematically attended the practical work: a) training, rythmic exercices, études etc.; b) rehearsals. He was the assistant director for Akropolis. He directed the actors in the études; p. 60: statement by the University of Warsaw about Barba's trip to France and Italy for his doctorate about the “Laboratory Work Experiences in the Theatre of 13 Rows in Opole” (here the definition “laboratory” was used, a word that Grotowski started using in those years). The statement specifies that Barba carried the typescript of a scholarly work and a published text (apparently Barba feared that his writing in French could be confiscated at the border). Following page: again from the University, it is a request for the renewal of Barba's visa for his return to Poland after a trip to contact Italian and French publishing houses. The next document is Barba's visa application. Throughout his stay in Poland, Barba travelled often for trips and stays abroad and therefore needed to renew his visa several times; p. 63: requests for information from some police stations to others: how long has Barba been in Poland? How often is he travelling? How many times was his visa renewed? In Poland the police has different branches and they collect information from each other; p. 43: this is a statement by Grotowski's secretary, Ursula Czajkowska: Barba is working as assistant director for Grotowski's Faust, he is going to take his theatre direction exam about Dante's Divine Comedy. In Barba's opinion, the secretary was probably a police informer inside the Theatre of 13 Rows; p. 69: “tajne”, secret, document. Barba went to the police station on 12 February 1963 to extend his visa until May of the following year. From Barba's declaration it could be gathered that since 1962 he was writing his doctoral thesis about the laboratory experiences in the Theatre of 13 Rows. In the meantime, he travelled to France, Italy and Norway, to find publishers and visit his family. His brother came to see him in Poland. Barba (the document states) is a friendly, conversational person but he doesn't go into depth and switches from one topic to the next. He (the police officer) tells him that he will become famous because his name already appeared on posters as assistant director of a theatre performance. Barba offers him two tickets for the performance but then remembers that the theatre is on tour. He asks what an avarage Italian citizen knows about living standards in Poland and what life in Italy is like compared to Poland. Barba says that the Italian petty bourgeoisie knows very little about Poland while the intellectuals know a bit more. In general, Italians think that life in Poland is underdeveloped and poor. In Italy, according to Barba, the living standards are higher but there are more social differences, and differences between North and South, between countryside and urban areas, and there is less awareness than in Poland. The official informs Barba that Tone Bull (a Norwegian actress who had studied with Grotowski) has arrived in Poland, says that she is a beautiful girl and asks him whether he has any intentions about her. Barba answers that her father is an important person who works at the United Nations, and the officer says that evidently the social difference stops him. According to Barba, at least in his memory, Poland during those years was very open, he could easily make friends and people did not seem to be afraid of him as foreigner. The kind of diffidence or constant fear that there was in the Soviet Union, was not present in Poland or could not be perceived. Barba remembers Poland as a very lively world, very poor but egalitarian, at least as a first impression. Later, after almost a year, Barba would feel very critically about real communism; pp. 71-72: a report by Grotowski about Barba's work with him. He says that Barba is working as assistant director, that he is very good, a role model, and this raises great hopes for his future from a practical and theoretical point of view. He wrote a speech that will become a three-hundred-page book. More theoretical and practical research at the Theatre of 13 Rows is needed in order to complete the book. He is also completing his doctorate with professor Jan Kott. He requests an extension for Barba's stay and scholarship; pp. 83-84: 29 January ’64, another secret document: description of Barba's situation, hotel and room where he is staying. Barba was abroad for a few months, mainly in India, and afterwards in Italy, he had to wait for his visa for a long time and asked why. He had left Poland in July and spent three months in India. He said that bureaucracy and checks in India were worse than in Poland: they checked the luggage and even car repair parts. During his absence the police asked the theatre if he was abroad because a dead body had been found that looked like him; p. 86: 7 February ’64. The University supports a request by Barba to go abroad; pp. 89-90: Barba requests a visa for Norway. He is in Cracow (he went there to look for money for a publication in support of the Theatre of 13 Rows: Grotowski was in a tight spot after Hamlet Study, cf. Land of Ashes and Diamonds); pp. 91-93: Confidential. The history of Barba's stay in Polond: he arrived in January ’61, and after a while he went to Sweden. After the first eight months he extended his visa, went to Berlin, to Norway, etc. He changed the subject of his research from literature to theatre and the University of Warsaw justified this change. Characteristics of Barba's stay: 1) the fact that he always asks for extensions, and that he extended his apprenticeship. But he changed his interests; 2) his frequent travels abroad. This does not seem to be required by his scholarly work. He is away for long periods of time while he still receives his scholarship money. An investigation is needed about Barba's stay and information should be requested from the Foreigners office. How did he end his literature studies, which were his original interest? What are the reasons for his transfer from Warsaw to Opole? On what basis can he work as assistant director? How long will he stay in Poland? Information is needed urgently; p. 96: 2 April ’64. During the court action against the presumed criminal Pietrowski, it was established that Barba came in contact with him in ’61 in Warsaw, following the advice of Dino Diletti (who was a dear friend of Barba's mother), who knew Pietrowski to swap postage stamps. Pietrowski stated that he gave Barba payments in exchange for things received by Diletti. At the beginning of ’62, Barba illegally exported stamps on behalf of Pietrowski and sent them from Norway to Diletti. In the spring of ’62 Barba sold his scooter through Pietrowski [Barba's brother had given him his old scooter and Barba sold it through Pietrowski because, being a foreigner, he couldn't sell it directly]. The following document is Pietrowski's interrogation (25 July ’63): questioned about his trade in stamps, Pietrowski stated that he sent them by mail and that he never gave them to Barba, different from what Barba declared. (98) 25 July 1963, Pietrowski's interrogation. Questions are asked about the scooter, and P. provides a very complicated explanation about who were the original owners, how he came in possession of it and why he was dealing with it. He is asked about a letter that he received from the US (P. denies that he ever received it, but the level of detail used to talk about it is striking, with quotes from the last lines). P. continues to justify the scooter, speaks of provocation, perhaps also the letter is a provocation, he mentions somebody called Miazga, co-responsible or instigator, or witness to his statements. He is then asked about his trade exchanges with Barba. P. says that he received in the spring of ’61 a letter by Dino Diletti [a friend, probably boyfriend, of Barba's mother, a stamp collector in contact with P. for more or less illegal stamp exchanges], who wrote to him that a boy was about to arrive in Poland, he couldn't speak Polish yet, and if he could help him out. Barba arrives and writes to him, they meet in a university residence. Barba asks for help to buy some books and P. starts to buy them on his behalf. Halfway through’62, B. says that he received a scooter from his brother and that he wants to sell it in Poland and that he can send it to the address of a girl (who, P. adds, has no other role in the episode). He goes to collect the scooter, pays the customs, sells it and earns 15000 zloty, of which he gives 11000 to Barba, uses another part to buy books on Barba's behalf, and keeps a very small amount. Barba declared that he received from him only 7000 zloty but P. continues to say that this is not true. A section of Barba's statement is read to him where he states that he received regular payments every month from P. on behalf of Diletti. P. denies vehemently, with details (it was impossible, he was a soldier, he had no more contacts with Barba at the time, etc.). He then mentions another Italian stamp collector, Marcello Catania, but it is unclear why. The interrogation finishes at 15.45, it started at 9.30, it is accurately indicated that there was a break for lunch. (100) Barba's interrogation. (this predates P.'s questioning, it is dated 4 July 1963, it starts at 11.30) [this is an interesting document about questioning, that shows a bright picture about everyday life in Poland or Barba in Poland. It is also striking to see how clearly the fear is rising in the person being questioned: in this case a young man who is not Polish but who has lived in Poland for years, is very sure of himself and thinks he knows how to act with the Polish authorities. As the hours go by, the witness is faced with the evidence of the authorities' detailed knowledge about his life in Poland. He then begins his confessions and amendments, one after the other]. The witness is informed about the punishment for false witness. He speaks Polish well and states that he does not need a translator. They start to question him about Pietrowski. B. states that he met him at a party where he wanted to go but needed help for the language (at the time he couldn't speak Polish). This way he met P. who offered himself as translator also for other occasions. They exchange telephone numbers, P. calls him and invites him to lunch with his parents. They meet once in a while and P. helps B. to buy books in Warsaw (after he moves to Opole). They meet when B. is in Warsaw to receive his scholarship payment and P. tells him that he wants to go to Italy. Then B. asks his mother to write an invitation (in support of P.'s request for a passport), but P. doesn't manage to receive the document. They continue to meet but less frequently, not for business, just for friendship. They ask B. about business transactions between P. and foreigners: B. denies. He admits however to a business transaction with himself: he asked him for help to sell his scooter. P. told him that, as a foreigner, he had no right to sell it and that he should send it as a present to a Polish citizen who could then sell it on his behalf. B. then has the scooter sent to a girl, a friend of a friend, who first doesn't want to but then accepts [there is no mention of payments to the girl]. B. writes to his brother, who is in Berlin, and asks him to send him the scooter [apparently selling the scooter in Poland was much more convenient than the much simpler solution of selling it directly in Berlin through his brother]. P. sells the scooter, but Barba doesn't receive the money all at once but in several payments [this is what P. will deny: presumably he doesn't want to reveal his commission and B. is also vague about this]. The questioning is interrupted at 14.14 for the lunch break and it resumes at 16.10. They ask B. if he ever carried packages out of Poland on behalf of P.. B. answers that he did, only once. In ’62 he went to Norway and P. gave him a small package, about ten cm wide and one and a half cm thick. He also gave him, separately, a name and address where to send the package. B. says that he seems to remember that the package had to be sent to Rome, to a Mr. Diletti, whom he has never met. They ask him if he knows about P.'s trade in stamps. B. says that he doesn't know anything about it, he just knows that P. is a stamp collector. Actually, he says, I know Diletti rather well, he is a friend of my family. He also deals in stamps. He also needs to make an amendment about the way he met P.: it was actually through Diletti, who talked to him about P.. He then admits that their meeting was not random at all: Diletti had told him that P. was an acquaintance of his, and that he could contact him for help. For this reason P. went to the student residence (where B. lived) to meet him. Moreover, P. gave him money every month, initially about 500 zloty, and after some time about 1.000 zloty per month; P. gave this money on behalf of Diletti from the amounts that he owed Diletti for their stamp trades (which were obviously illegal). In total, P. gave him about 10.000 zloty on behalf of Diletti. He then makes an amendment: in reality, apart from a couple of months, the monthly payments were 1.000 zloty, not 500, and the final total amount was around 16.000 zloty. The payments stopped when B. sold the scooter. B. never did or gave anything in exchange and P. never asked for anything, not even a receipt. He admits to writing twice to Diletti about this money. He admits to knowing that Diletti and P. traded in stamps. He states that P. was the first one to talk to him about this business [Barba has vague memories about Diletti's small economic support, which appears dubious from the police report: it looks like the money was paid in exchange for help, like the clandestine transfer of stamp packages abroad. However, Barba simply remembers that he was receiving help from his mother's friend, although he already received a rich scholarship by Polish standards: 2.400 zloty, more than double the salary for a worker. He was thus definitely well off in Poland, for which he was only asked to study and satisfy his interests]. (102). They ask about the state of his finances at the moment. B. answers that he no longer receives the monthly 1.000 zloty because during his last trip to Rome he told Diletti not to send any more money because he didn't need it. Diletti told him that he was happy about this because he wanted to break off his relations with P.. Additional amendment of the amount received from Diletti: the total amount was higher, around 22.000 zloty. There was then the sale of the scooter for 15.000 zloty. The people who were aware of this transaction were himself, the girl to whom the scooter was sent, P. and P.'s mother. As for the payment, until that moment he had received 7.000 zloty from P.. Recently he went to ask for more money from P.'s mother but she answered that she couldn't give any since her son had been arrested. The questioning ends at 18.50. [the impression that can be gathered about this episode is that the authorities loosely kept an eye on this Italian man who was repeatedly asking for extensions for an otherwise unpopular scholarship: a young man who ended up in a small town, in an unknown avantgarde theatre. On the other hand Barba is able to answer to all the questions during interviews with the police for visa requests or similar matters in a purposely naive style. However after a while, they start to wonder: why does this young man who is supposed to be studying in Poland spend so much time abroad? He pays for his own publications, and works for a theatre in which nobody is interested. But his professors, and Grotowski, keep on confirming that he is studying and that he needs to go abroad for study, etc.. Then there is the scooter episode, which probably Barba considered as yet another illegality in a country where everything was illegal. But for the Polish police it is a serious event, especially because it involves a dubious character such as P. who engages in trade with foreigners. Barba's travels take on a totally different meaning. He is then evaluated as an unwelcome person and put on a black list (in Polish an “index”). It is interesting that Barba, who vividly remembers the questioning and his growing impression that the authorities really knew everything about him (as he describes in Land of Ashes and Diamonds), remembers nothing about the scooter, the stamps and all the actual reason for the questioning (which he believed to be just a pretext). To be more precise: when reading the interrogation report he perfectly remembered about the scooter episode, but throughout all these years he had never linked it to his expulsion. He and Grotowski had wondered for years about the reason for Barba's expulsion from Poland. Grotowski presumed that it had to do with women. Neither of the two had ever thought about the scooter and about Barba's petty money troubles and smuggling, which the Polish authorities apparently didn't consider as simply due to ignorance of the law (as it seems instead to have been the case)]. (103) April ’64. A document from the Ministry of Education [this is evidently an answer to the investigations about Barba conducted at the time]. About B.'s stay in Poland: it is stated that B. arrived in Poland in ’61, within the programme of cultural exchanges between Italy and Poland for which each country paid its own scholarships. The following document is a list of B.'s requests to extend his stay for his studies about Polish theatre and architecture. Barba's various travels abroad are motivated by family and study reasons, collection of materials etc. The scholarship was paid also during the months when he was away from Poland: this was because Barba's studies continued regularly and were regularly tested, and the money was not paid by the Polish government. Barba's studies included theory and practice (this implied his various contacts with theatre people and his stay in Opole). Since the subject of his study was theatre avantgarde and specifically the Theatre of 13 Rows, it seems acceptable that he spent long periods in Opole, and that he often travelled abroad. The first part of his studies, about theory and language, had been in Warsaw and he had transferred to Opole for the practical aspects. The extensions of the scholarship also seemed acceptable, considering the scope of his subject. There is mention of a couple of positive evaluations of his studies. Barba's stay is approaching the end and he hasn't requested an extension yet. However a request could still be presented because the subject can further be extendend. There have never been any negative evaluations of Barba. [Barba translated the function of the person who signed the document as “deputy dean”. Obviously from the Ministry they are defending themselves and the reasons for their “blindness” to Barba's behaviour. On the other hand, the document gives the impression of a real positive consideration or defence of the young Italian man]. (106) . Ministry of internal affairs, classified, 13 July ’64. Request to include Barba's name on the black list. (107) 15 July, classified. Department for visa and passports. Request to include Barba's name on the black list. (109) 2 October ’64. Message from the Polish embassy in Oslo (signed by the ambassador). The ambassador asks for information about Barba, whose name appears on the black list. He writes that in Oslo Barba is very active in the cultural milieus and, since he knows Polish culture well, he can be considered as a valid propagator of Polish culture, especially through theatre. In this context, the fact that he is on the black index and that he is denied permits, is a problem; the ambassador should be able to explain the reasons for Barba's ban [in the meantime Barba continued to present requests for the extension of his stay]. (110). 19 June ’65: Barba makes a new visa request for Poland. The embassy had asked for the reason why it was refused on 2 October ’64, but hadn't receive any answer [apparently Barba didn't consider himself expelled from Poland for several months and still thought that he could go back, even though in the meantime he had founded his theatre]. (111) 23 June ’65: Barba's visa request is denied. His name is put on the black list. (112) A letter from the Polish ambassador (dated 10 December ’66). He sends two issues of Barba's journal TTT dedicated to Witacki and Artaud. He explains that this is not the first issue of the journal dedicated to Polish culture. The director of the journal is Barba, who lives in Norway, worked as Grotowski's assistant, is the author of several positive articles about Poland, its theatre and culture. He is the director of Odin Teatret and, not finding an appropriate location for his theatre, he is moving to Denmark. He organised Grotowski's visit to Norway in March ’66, a great cultural event. The embassy supported Barba for this TTT issue. A note from the secretary: Barba's name should be removed from the black list because he is doing good work for Poland. He requested the visa and didn't receive it. He repeatedly said he couldn't understand why. His name is often mentioned in the Polish press, for his book about Polish theatre. When he was in Poland Barba worked at Grotowski's theatre, which at the time didn't have an excellent reputation [according to Barba's translation, this is meant here in an artistic sense]. However, consideration for Grotowski has now completely changed. It could be advisable to consider removing Barba from the black list. Is there any hope for this? Barba is active in progressive environments. The fact that he cannot travel to Poland without knowing why stigmatises him. (115) December 1967: answer to the requests: Barba could possibly be allowed one single trip to Poland, removal from the black list might be considered in the future [at this point however Barba didn't present any more requests]. (116) A new request, dated May 1970, to remove him from the black list. (117) 2 July 1970. There are no objections to the removal of Barba's name from the black list. (118) 10 July 1970: three names (including Barba's) are removed from the black list. [Barba explains that in ’72 Grotowski invited him to bring his performance, Min fars hus, to Poland. Barba answered that he didn't want to go since he never knew why he had been expelled. The whole group went without the director. The same happened in ’75 on the occasion of another invitation. However this time, under Grotowski's insistence, Barba decided to go. He didn't travel with a real performance but with The Book of Dances, and the film about Carpignano, which had great influence on the theatre of the time. Barba says that he would have probably stayed for ever, or at least for a long time in Poland, were it not for this sudden interruption of the permits, which he could never understand. He would have stayed in a position halfway between the scholar and the practitioner, in Grotowski's entourage. In Poland he was also well paid, he didn't work for an employer and could act as he pleased. These are interesting and significant documents, read translated and commented by Barba, with remarks by Mirella Schino].