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Download Download 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 (Odin Teatret, Denmark) MIMESIS EDIZIONI (Milano – Udine) www.mimesisedizioni.it [email protected] Scientific Committee Monique Borie (Paris 3 University, France), Patrick Campbell (Manchester Metropolitan Isbn: 9788857578095 University, UK), Patricia Cardona (National Institute of Fine Arts and Literature, Mexico), Raquel Issn: 2784-8167 (print), Issn: 2724-623X (online) Carrió (Instituto Superior de Artes, Cuba), Tatiana Chemi (Aalborg University, Denmark), MIM EDIZIONI SRL Exe Christoffersen (Aarhus University, Denmark), Vicky Ann Cremona (Malta University, Via Monfalcone, 17/19 Malta), Fabrizio Cruciani (in memoriam), Marco De Marinis (Bologna University, Italy), Peter 20099 - Sesto San Giovanni (MI), Italy Elsass (Copenhagen University, Denmark), Clelia Falletti (La Sapienza Rome University, Italy), Phone: +39 02 24861657 / 24416383 Piergiorgio Giacchè (Perugia University, Italy), Ricardo Gomes (Ouro Preto Federal University, Brazil), Richard Gough (South Wales University, UK), Kirsten Hastrup (Copenhagen University, Denmark), Leszek Kolankiewicz (Warsaw University, Poland), Annelis Kuhlmann (Aarhus Odin Teatret Archives, if not otherwise specified, University, Denmark), Thomas Leabhart, Pomona College (USA), Adam Ledger (Birmingham is the source of the photographs published in this issue of JTA University, UK), Luciana Martuchelli (actor/director, Brazil), Lluís Masgrau (Barcelona Theatre Institute, Spain), Patrice Pavis (National University of the Arts, Korea), Franco Perrelli (Bari University, Italy), Jean-Marie Pradier (Paris 8 University, France), Francesca Romana Rietti (Roma Tre University, Italy), Franco Ruffini (Roma Tre University, Italy), Nicola Savarese (Roma Tre University, Italy), Mirella Schino (Roma Tre University, Italy), Nando Taviani (in memoriam), Jane Cover: Rina Skeel - from a drawing by the Flemish anatomist Andreas Vesalius (1514-1564) Turner (Manchester Metropolitan University, UK), Susanne Vill (Bayreuth University, Germany), Ian Layout concept and design: Rina Skeel Watson (Rutgers University, USA), Ana Woolf (actor/director, Argentina) Eugenio Barba 138 PROGRAMME DU SYMPOSIUM NUMBER 1 T. Bredsdorff, J. J. Daetwyler, 143 LETTERS AFTER THE FIRST ISTA SYMPOSIUM N. Revel-Macdonald, R. Temkine THE ORIGINS JTA REFLECTIONS AND DISCUSSIONS Nando Taviani 155 THE ENERGY OF THE ACTOR Franco Ruffini 165 LE MILIEU SCÈNE : PRÉ-EXPRESSION, FOREWORD ÉNERGIE, PRÉSENCE Eugenio Barba 9 DANCING QUESTIONS Janne Risum 181 L'ACTEUR DANS LA SAVANE - ET SUR SCÈNE EDITORIAL Un voyage dans l'univers conceptuel de l'ISTA Julia Varley 15 STARTING A NEW ADVENTURE Patrice Pavis 201 LA DRAMATURGIE ET LES TEXTES DE L’ACTRICE ORIGINS Questions à Julia Varley Leonardo Mancini 21 READING FOR THE "FLYING HOUSE" Barba's early research towards theatre anthropology Julia Varley 213 SCORE AND SUBSCORE A useful but wrong word Eugenio Barba 43 HOW ISTA CAME INTO BEING RECURRING PRINCIPLES Eugenio Barba 45 FIRST HYPOTHESIS Eugenio Barba 223 THE TWO LUNGS OF THE ACTOR 53 ISTA SESSIONS Introduction to Ana Correa's work demonstration Jean-Marie Pradier 57 THE FIRST SESSION OF ISTA Ana Correa 225 EL DESMONTAJE DE ROSA CUCHILLO Peter Elsass, Jean-Marie Pradier 61 RAPPORT SUR LA 2ÈME SESSION DE L'ISTA and Nando Taviani Ana Woolf 233 EL VALOR POLÍTICO DE LA ANTROPOLOGÍA TEATRAL Franco Ruffini 71 THEATRE ANTHROPOLOGY NEWS Franco Ruffini 85 THEATRE ANTHROPOLOGY: 40 YEARS ON Omma Studio Theatre 236 CENTRE OF THEATRE ANTHROPOLOGY Nicola Savarese 87 PHOTOGRAPHIC DIARY Luciana Martuchelli 238 THEATRE ANTHROPOLOGY IN BRASILIA Linda Cunningham 240 EXPANDED THEATRE ANTHROPOLOGY Simone Dragone 99 GIVING LIFE TO THE PAST Theatre anthropology at Odin Teatret Archives Nana Sodré 241 O POSTE SCHOOL OF THEATRE ANTHROPOLOGY COMMENTS Franco Ruffini, Moriaki Watanabe 113 A DIALOGUE BETWEEN EAST AND WEST Jean-Marie Pradier, Nicola Savarese, 242 LETTERS TO JTA Rustom Bharucha Franco Ruffini, Sanjukta Panigrahi, 119 INTERVIEWS WITH ASIAN ARTISTS Katsuko Azuma, Tsai Chun-Lin, 246 BIBLIOGRAPHY Selected books and articles on theatre anthropology I Made Pasek Tempo 249 ABOUT THE AUTHORS Clive Barker 135 DEVELOPING A NEW LANGUAGE JTA - Journal of Theatre Anthropology Theatre anthropology singles out the principles which the performer must put to work in order to enable a dance of the senses and mind of the spectator. It is the performers’ duty to know these principles and to explore their practical possibilities incessantly. In this consists their craft. It will then be up to them to decide how and to what ends to use this dance. This is their ethic. Does theatre anthropology have a scientific nature? It does not take measurements, it does not use a statistical method, it does not try to draw consequences for the performers’ behaviour from the knowledge of medicine, biology, psychology, sociology or the communication sciences. It is based on empirical research, from which it extracts general principles. It takes place in an operative dimension with a view to the effectiveness of scenic action. It defines a field of investigation and forges the theoretical instruments to explore it. It singles out pragmatic laws. Is it, then, a science? Eugenio Barba 6 7 I Made Bandem, Roberta Carreri, Iben Nagel Rasmussen, ISTA 5, Salento, Italy, 1987 - Photo: Tony D'Urso Foreword Eugenio Barba Dancing Questions Am I too old to found a journal of theatre anthropology? I’m 84, 22 books and hun- dreds of articles behind me. Do I still have something to say? Don’t I risk repeating what my experience has made me put on paper so many times in so many different ways? Yet some questions keep dancing in my head. They are the same ones I asked myself when I embarked on my theatre journey in the early 60s of the last century. Their sim- plicity fed my insecurity: what is the essence of theatre? Why do I want to do theatre? How can I appropriate theatrical knowledge? They prodded me to look for people who could help me unravel these questions thanks to their familiarity with the history of the profession or their technical knowledge. I speak of people in plural because, looking back in time, I realise that I have always sought energy from a mosaic of relationships, from the collective discipline of a humble craftsmanship, whose consistency can transcend into a complex experience. My whole theatre biography is made up of questions and the need for answers, partly satisfied thanks to the sharing of thought and action with men and women who are exceptional in my eyes. They constituted particular environments: a team of craftsmen, a collective creative mind of actors, a gathering of master performers from different traditions, an association of inquisitive scholars, capable of discovering what they were not looking for and of knowingly intervening in the reality of ideas and practice. Eigil Winje’s workshop in Oslo where I learned rigorous precision by welding a pro- fusion of metal pieces into a portable heater to warm Norwegian soldiers in Lapland; the crew of Talabot, a merchant ship; the unknown Teatr 13 Rz dów in Opole, Poland, with Jerzy Grotowski, Ludwik Flaszen, Jerzy Gurawski and their actors; the unrivaled group of actors from Odin Teatret; the amazing team of “performer-masters”ę of the Interna- tional School of Theatre Anthropology (ISTA); the lasting partnership with some schol- ars, and among them those of the Italian journal Teatro e Storia and those of the Institute of Dramaturgy at the University of Århus: my questions have danced with the people of these constellations and nourished my professional and intellectual roots. It is understandable that today I resume one of these questions that my daimon keeps whispering in my mind: what does the tacit knowledge, the technique, the incorporated know-how of the actor consist of? And that I face this question together with a group of people who are willing to climb this crystal mountain with me. 5 Thus, JTA was born, a Journal of Theatre Anthropology. From the desire to confront this question
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