The Documents' Archive Odin Teatret Archives' First Steps Consisted in Collecting and Classifying Paper Documents. First

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The Documents’ Archive Odin Teatret Archives’ first steps consisted in collecting and classifying paper documents. First a Fonds Barba was established with all the documents preserved and personally ordered by Barba over a period of more than fifty years. It deals to a large extent (but not exclusively) with materials connected to his work with Odin Teatret: performances (sketches, notes, readings, etc); his relationship with the Polish director Jerzy Grotowski with whom Barba did his apprenticeship (letters, essays, typed scripts); honorary degrees, honours and prizes received ; personal documents; notebooks, sketches and photos; materials related to the text of performances; transcripts of his lectures; his articles, essays and newspaper cuttings about him. The OTA also keep Eugenio Barba’s correspondence which is not yet accessible for obvious motives of privacy but which, when available in the future, will make it possible to reconstruct relationships, shared problems, topics, reflections and phases of development concerning Odin Teatret and the milieu of which it is a part and a catalyst. At the same time, a Fonds Odin Teatret was started, including all documents kept by the theatre: press cuttings; materials for the journal “Teatrets Teori og Teknikk” published by Odin Teatret in the period 1965-1974; letters from spectators; documents about the various ISTA sessions (International School of Theatre Anthropology); texts of performances; documents about the organisation of the big seminars in the 1960s (with Jerzy Grotowski, Jean- Louis Barrault, Etienne Decroux, Jacques Lecoq, Dario Fo, the brothers Colombaioni and others), and in the 1970s (with Balinese, Indian, Japanese artists and ensembles); documents related to film projects and shooting; actors’ notes, proposals and sketches about the training or the creation of a performance, etc. Besides these two rather copious Funds, the OTA preserve a Fonds Iben Nagel Rasmussen, with materials concerning in particular her performances which do not involve the whole of Odin Teatret, and her activity as leader of the theatre group Farfa which gathered around her between 1980 and 1990. Finally, a Fonds Cristina Wistari Formaggia was created in 2008. After her death, her brother and sister, whom we wish to thank once again, left to OTA the documents concerning her activities as dancer and supporter of the classical theatre-dance form Gambuh in Bali. Consultation of the documents at the Odin Teatret Archives has been facilitated by a series of “inventories” (published on this site as work in progress). These inventories describe and contextualise the patrimony of documents and audio-visuals, as well as the maze of historical situations, coincidences and contingencies from which they were born. All OTA’s documents may be consulted by scholars, students, practitioners and any interested person by writing to Odin Teatret. The only exception is Eugenio Barba’s correspondence after 1975, where the authorisation of the recipient is needed. The correspondence cannot be quoted or published without the authorisation of both the sender and the recipient. .

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FGSDGSDFGDFGFDGFGSDGSDFGDFGFDG JTA - Journal of Theatre Anthropology 1 1 JTA JTA J J OURNA OURNA OURNA OURNA T T AT AT AT AT A A NTOPOLOGY NTOPOLOGY JOURNAJOURNA TATTAT ANTOPOLOGYANTOPOLOGY T T ISSN 2784-8167ISSN 2784-8167 ISBN 978-88-5757-809-5ISBN 978-88-5757-809-5 MIMESIS MIMESIS 1 2021 1 2021 Mimesis EdizioniMimesis Edizioni www.mimesisedizioni.itwww.mimesisedizioni.it 22,00 euro22,00256 euro 9 7 8 8 895 77 8587885079 55 7 8 0 9 5 257 JTA JOURNAL OF THEATRE ANTHROPOLOGY NUMBER 1 - THE ORIGINS 2021 MIMESIS 258 Journal of Theatre Anthropology Annual Journal founded by Eugenio Barba JTAJTA In collaboration with International School of Theatre Anthropology (ISTA), JOURNAL OF THEATRE ANTHROPOLOGY Odin Teatret Archives (OTA), Centre for Theatre Laboratory Studies (CTLS) Department of Dramaturgy Founded by Eugenio Barba Aarhus University With the support of NUMBER 1 - THE ORIGINS Fondazione Barba Varley March 2021 © 2021 Journal of Theatre Anthropology and Author(s) This is an open access journal Editor distributed under the terms of the Creative Commons Attribution License (CC-BY-NC-ND 4.0) Eugenio Barba (Odin Teatret, Denmark) Journal’s website: https://jta.ista-online.org Printed copies are available at the Publisher’s website Managing Editor Leonardo Mancini (Verona University, Italy) Editorial correspondence and contributions should be sent Editorial Board to the managing editor Leonardo Mancini: [email protected] Simone Dragone (Genoa University, Italy / Odin Teatret Archives) Rina Skeel (Odin Teatret, Denmark) Julia Varley
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JTA JOURNAL OF THEATRE ANTHROPOLOGY NUMBER 1 - THE ORIGINS 2021 MIMESIS Journal of Theatre Anthropology Annual Journal founded by Eugenio Barba In collaboration with International School of Theatre Anthropology (ISTA), Odin Teatret Archives (OTA), Centre for Theatre Laboratory Studies (CTLS) Department of Dramaturgy Aarhus University With the support of Fondazione Barba Varley © 2021 Journal of Theatre Anthropology and Author(s) This is an open access journal distributed under the terms of the Creative Commons Attribution License (CC-BY-NC-ND 4.0) Journal’s website: https://jta.ista-online.org Printed copies are available at the Publisher’s website Editorial correspondence and contributions should be sent to the managing editor Leonardo Mancini: [email protected] MIMESIS EDIZIONI (Milano – Udine) www.mimesisedizioni.it [email protected] Isbn: 9788857578095 Issn: 2784-8167 (print), Issn: 2724-623X (online) MIM EDIZIONI SRL Via Monfalcone, 17/19 20099 - Sesto San Giovanni (MI), Italy Phone: +39 02 24861657 / 24416383 Odin Teatret Archives, if not otherwise specified, is the source of the photographs published in this issue of JTA Cover: Rina Skeel - from a drawing by the Flemish anatomist Andreas Vesalius (1514-1564) Layout concept and design: Rina Skeel JTAJTA JOURNAL OF THEATRE ANTHROPOLOGY Founded by Eugenio Barba NUMBER 1 - THE ORIGINS March 2021 Editor Eugenio Barba (Odin Teatret, Denmark) Managing Editor Leonardo Mancini (Verona University, Italy) Editorial Board Simone Dragone (Genoa University, Italy / Odin Teatret
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English (2006)
ODIN TEATRET UR-HAMLET A performance by Eugenio Barba based on Vita Amlethi by Saxo Grammaticus (1200 A.D.) UR-HAMLET: THEATRUM MUNDI Ur-Hamlet is the result of Odin Teatret’s keen interest in acting technique. Instead of technique, we could say professional identity, and this identity does not necessarily coincide with the performer’s biographical-cultural one. Odin Teatret, whose actors are of different nationalities, has been a pioneer in this field, studying and presenting various western and non-western acting traditions in Holstebro. It started in 1966 with seminars on the actor’s professional know-how as practised by Jerzy Grotowski, Etienne Decroux, Jacques Lecoq, Dario Fo, Jean- Louis Barrault, Joseph Chaikin, Judith Malina and Julian Beck. In the beginning of the 1970s, Odin Teatret organised seminars involving Javanese and Balinese ensembles and artists (Sardono, I Made Pasek Tempo, I Made Djimat), Japanese Noh, Kyogen, Kabuki and Shingeki theatre (Hisao and Hideo Kanze, Mannojo Nomura, Sawamura Sojuro, Shuji Terayama) and India’s main classical forms of theatre-dance: Kathak, Bharatanatyam, Odissi, Chhau and Kathakali. Besides the performances, the performers presented and commented the technical basis of their way of thinking and establishing a communicative relationship with the spectator. ISTA, International School of Theatre Anthropology, founded in 1979, widened this research and has grown in symbiosis with Odin Teatret. ISTA is a working environment characterised by a technical exchange between regularly returning artists and researchers of different genres and nationalities. In this “performers’village”, they compare and analyse the technical foundations of their styles in sessions lasting from two weeks to two months.
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Daria S. Nielsen https://orcid.org/0000-0003-2616-2289 Uniwersytet Łódzki / Uniwersytet w Sztokholmie e-mail: [email protected] 2020, 21, z. 2, s. 123–134 Kim Skjoldager-Nielsen https://orcid.org/0000-0002-2577-9538 Uniwersytet Łódzki / Uniwersytet w Sztokholmie doi:10.4467/20843976ZK.20.011.12164 e-mail: [email protected] www.ejournals.eu/Zarzadzanie-w-Kulturze Otrzymano/Received: 24.04.2020 Zaakceptowano/Accepted: 4.05.2020 Opublikowano/Published: 18.05.2020 The (Ir)replaceable Master Director – Considering the Case of the Odin Teatret Abstract In 2019, a call for a new director for Nordisk Teaterlaboratorium – Odin Teatret was published. This, however, did not mean that the artistic leader of the group theatre Odin Teatret, Eugenio Barba, was to be replaced completely – there is a distinction between the laboratory and the theatre. In this article, we explore the problem of the passing on legacy and tradition from one generation to another in group theatres such as Odin Teatret. We ask: (1) How would it have been possible to continue after such a visio- nary director retired? (2) Would the next step be continuation or something new? In search for the answers we discuss the history, method, and dramaturgy of Odin Teatret and Barba, as well as the process of generational change in the laboratory, using documents which assess the situation of the organization and analyzing Barba’s theoretical writings. We consider them in terms of transformational leadership theory. In conclusion, we de- liberate on possible scenarios of the generational change in group theatres that could provide a balance between keeping the tradition and implementing the new vision.
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