ODIN TEATRET ARCHIVES (OTA) - Documents

Total Page:16

File Type:pdf, Size:1020Kb

ODIN TEATRET ARCHIVES (OTA) - Documents 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 CARRERI Inventory * Series Carreri (Compiled by Mirella Schino in collaboration with Francesca Romana Rietti. The work started in 2010 and 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 Roberta Carreri, and it is here included as a source of oral testimony in support of the documents. The general considerations on the theatrical or historical situation are by Mirella Schino). Roberta Carreri, actress at Odin Teatret, teacher and theatre organiser. She was born in 1953 in Milan, where she graduated as advertising designer and studied History of Art at the State University. She joined Odin Teatret in 1974, during the group's sojourn in Carpignano Salentino. She participated in ISTA (International School of Theatre Anthropology) since its first session in 1980, and came in contact with the performance techniques of Japan, India, Bali and China. From 1980 to 1986 she studied with Japanese masters, namely Katsuko Azuma, Natsu Nakajima and Kazuo Ohno. She gives workshops for actors all over the world and presents her work demonstration Traces in the Snow. She organises and directs the yearly international festival Odin Week, in Holstebro and abroad. In 2009 she directed the performance Rumor with Cinzia Ciaramicoli for the Masakini Theatre Company (Malaysia). She published numerous articles in the theatre journals “New Theatre Quarterly”, “Teatro e Storia”, “Máscara”, “The Open Page” and “Performance Research”. In 2007 she published the book Tracce. Training e storia di un’attrice dell’Odin Teatret (Traces. Training and history of an actress at Odin Teatret), translated in Portuguese and in Spanish. She was first married to another Odin actor, Francis Pardeilhan, and later lived with Torgeir Wethal as his partner from approximately 1982 until his death. The Fonds includes several binders containing different kinds of work materials, and especially (binders 13 to 29) the work diaries that Carreri started writing in 1974, when she arrived at Odin Teatret. Many Odin actors have, or had for some time, the habit of keeping work diaries but Carreri's are probably the tidiest and most detailed ones. The memory of the Odin group about dates or sequence of events is inevitably vague and rather contradictory, and the same is often true for the 1 information added by Odin people (mostly Barba) to these inventories. Carreri's diaries are uncommonly accurate: generally the dates she wrote or indicated verbally are the most reliable ones. Carreri's diaries, in Italian, are one of the most valuable materials of these archives. They are not simply notes, they convey the vivid and detailed story of a very special professional life. They include descriptions of improvisations and of Carreri's thoughts during the improvisations. Carreri wrote during the rehearsals, even when the performances were about to start and the audience was coming in the space. She transcribed the speeches given by Barba to inaugurate the work for a new performance, mainly long verbal improvisations meant exclusively for his actors. She described the way the director stimulated and guided his actors' improvisations. Very rarely she wrote about a discussion or a conflict: these diaries are not private (Carreri writes other private diaries). They illustrate the development of actions for an Odin performance. Often the entries are integrated with drawings and newspaper cuttings. Carreri, b. 1 Materials concerning Brecht's ashes (for the first time performed in 1980), among others the text of the performance Brecht’s Ashes (first version). Among other items, it includes some pages from one of Roberta's work diaries: this proves the application of the diaries to the work on performances as well as the actress's nearly obsessive tidiness. As written above, the diaries are exceptional documents, perhaps the only documents that can partially evoke the atmosphere and the process of creative work at Odin Teatret. The pages are dated 3 April 1981 (this means that the work concerned the second version of Brecht in 1982; on the two versions of Brecht's ashes see Fonds Odin Teatret, especially b. 5 of the series Perf-A) and begin with the description of an improvisation by Francis Pardeilhan: Time: 11. Francis, I and Eugenio in the white room. Francis shows a proposal for his entrance in the first scene. E.: we are here representing something very dangerous. We can see this in many ways. As Brecht for example: in a grotesque way. But this diminishes reality while theatre should amplify it. We should find a way to break the clichés. The question for you is not about finding “external” solutions (like throwing stones) but having precise images to guide you. Who are you? Which associations do you want to evoke? For the first time I hear Eugenio speak with a calm voice in a way that I feel right and inspiring for Francis. A long silence follows. Crouched to the ground, the 2 stones and a pair of black gloves by his side, the index to his lips – “it is very difficult for me to think this way”. You just need to find your previous soul!!! E.: you must try and think more like an actor, in a way that colours your behaviour. There is also a drawing of Francis (at the time Carreri's husband) sitting crouched and thinking, songs, poems etc. Excerpts from the typescript diary used for the book Il Brecht dell’Odin (Odin's Brecht). Versions of the performance text in all the languages in which it was translated. Carreri, b. 2 A miscellaneous binder in which Carreri had placed various notebooks, sheets of paper and journals about her trip to Africa (1982), notes of songs. A notebook from 1984 (“To break free from automatisms. Flying. Adrenaline. Pavlov's dog”; “Flying to believe in yourself; you cannot expect others to see your work and believe in it, if you don't believe in it yourself”). There is a journal- diary of the trip to Africa (in June 1982 Carreri travelled to Africa for a long “barter” with anthropologist Mette Bovin; see also the 1983 film Dances in the sand in the Audiovisual Fonds. A fragment of the diary was published in the actress's book Tracce). The notebook is dated 27 January 1983 and is entitled “Dialogue with Nando”. Perhaps it is a story written a few months later. Nando is certainly Nando Taviani, scholar and literary adviser at Odin Teatret. As I was saying, the starting point is, was, fear of dying. That fear of dying that is due to the desire to die, the will to be reborn. The journey started the very moment I got on the train. Immediately, the moment I stepped into this wagon alone, with this huge and very heavy suitcase, I had the desire to go back. I actually said to myself: so, why am I 2 going to Africa? I don't have the smallest desire to go to Africa. I have to stop nursing my 10-month-old daughter to go to Africa. This project doesn't interest me, this project doesn't fascinate me. If I want I can take the train back which means: I get to Copenhagen, I change tracks and I take the first morning train to Holstebro. This is technically possible. It was incredible but, although I was aware of this being technically possible, it was something absolutely impossible. The binder also contains some very beautiful letters (but the recipients are sometimes uncertain) in which Carreri speaks of her life and her choices (“I took a train, it was April – to join a group of people completely unknown to me but to whom I linked my destiny from the moment I saw their performance Min Fars Hus. It was 3 May 1973. April was just finished. Another warm spring evening in Bergamo alta. Nine years ago. I saw a performance and I cried”). A series of images that were used as a starting point to build the “score” of the performance Judith. Carreri, b. 3 A small bundle of documents concerning the “book of actors” proposed by Franco Quadri and never produced (Carreri is the contact person with the publisher Ubulibri, Quadri. See Fonds Odin Teatret, series Environment, b. 11, and series Activities, b. 45). It is approximately 1982 (see also Fonds Carreri b. 18). In a very long and interesting letter Carreri explains to the publisher the reasons and the way the Odin actors wish to produce this book (“Odin Teatret means contrast: individuals who struggle not to be assimilated - ‘fusi’ -, who keep their strength and continue to be interesting for their working partners as long as they can maintain their individuality […] it would be wrong to write using a starting point that is not our own. Many actors at Odin Teatret would have never chosen to become actors in a traditional theatre or in another group. Many barely know the theatre outside our boundaries.
Recommended publications
  • Dear Colleagues, It Is with Great Pleasure
    Dear Colleagues, It is with great pleasure that the University of Chicago Press presents its Fall 2009 seasonal catalog of Distributed Books for your review. Here you will find upcoming titles from such distributed client presses as Reaktion, Seagull, British Library, The Bodleian Library, Center for American Places, KWS, The National Journal Group, and many more all conveniently searchable by subject. You can also access additional information for each book by clicking on its title. Please do not hesitate to contact us if you are interested in having a closer look at any of these books. And many thanks for your consideration! Mark Heineke Carrie Adams Promotions Director Publicity Manager University of Chicago Press University of Chicago Press 1427 E. 60th Street 1427 E. 60th Street Chicago IL 60637 Chicago IL 60637 [email protected] [email protected] DISTRIBUTED BOOKS Reaktion Books 105 Seagull Books 119 Architects Research Foundation 134 British Library 135 Planners Press, American Planning Association 141 National Journal Group 142 Bodleian Library, University of Oxford 144 Dana Press 147 American Meteorological Society 148 Center for American Places at Columbia College Chicago 149 Prickly Paradigm Press 153 Mildred Lane Kemper Art Museum, Washington University 154 Verlag Scheidegger and Spiess 155 Swan Isle Press 158 The Karolinum Press, Charles University Prague 159 Smart Museum of Art 160 KWS Publishers 161 Chicago Department of Cultural Affairs 165 Intellect Books 166 Brigham Young University 170 University of Alaska Press 170 University of Chicago Center in Paris 175 Amsterdam University Press 176 University of Exeter Press 184 Campus Verlag 188 Liverpool University Press 191 University of Wales Press 198 University of Scranton Press 206 Eburon Publishers, Delft 209 Fondazione Rossini 210 MELS VAN DRIEL Manhood The Rise and Fall of the Penis Translated by Paul Vincent The ancient Greeks paraded enormous sculptural replicas in annual celebration.
    [Show full text]
  • Index of Concepts in Eugenio Barba's Writings
    NORDISK TEATERLABORATORIUM – ODIN TEATRET - WWW.ODINTEATRET.DK INDEX OF CONCEPTS IN EUGENIO BARBA’S WRITINGS LLUÍS MASGRAU CRITERIA . Eugenio Barba’s written work is a laboratory of concepts. Beyond the numerous texts and the apparent variety of subjects dealt with, there exists in his work a series of inner lines of strength that structure and amalgamate it in a coherent whole. These lines of strength are composed of a range of concepts that Barba takes up and elaborates from one text to another. These concepts move through his writings via innumerable intellectual peripetia. This document is an index of concepts with the respective bibliographical indications corresponding to Barba’s written work. The bibliographical indications don't refer to the places where he quotes the concepts in question, but to the fragments where he formulates and elaborates them. The document includes all the concepts that have a precise and concrete formulation in Barba’s writings, even if they have only one bibliographical reference. The document, however, does not include a whole series of very important concepts in his work which do not possess a precise formulation: "exile", "ethics", "ethos", "journey", "transcendence". This deliberate vagueness constitutes a kind of music or background throughout Barba’s written work. The title is always in English. If the text doesn't exist in English, it is given in the language of its first publication. Article titles are written in lower case letters, book titles in capitals. The references included in every concept are in chronological order, from the most recent to the oldest. Barba’s text, in which the most elaborate formulation of every concept appears, is in bold.
    [Show full text]
  • New Words for Ancient Paths1
    ARTISTS' TEXTS E-ISSN 2237-2660 New Words for Ancient Paths1 Eugenio BarbaI IOdin Teatret - Holstebro, Denmark Every age dreams of the previous one, said Jules Michelet. While day- dreaming about past theatre ages, we invent our own technique moving along ancient paths. We feel the need to forge words which belong to us and may evoke our mirages and presumed conquests. It is good to ponder over the names of ancient ways but, equally, it is useful to re-baptise regularly the terms of our working language. Today actors apply a technique which doesn’t aim at fixed forms and patterns nor does it respect well-defined ‘rules of the game’, as in the case of performances with a pre-arranged codification like ballet, kabuki or kathakali. I speak of the actors in those theatres which lack or refuse a codified tradition, and have no specific stylisation or recognisable manner. These are theatres with a particular destiny or vocation: they live as if they were always in a statu nascendi, in an emerging state or in the constant condition of the new beginner even if they have many years of experience. Such theatres are generally qualified as experimental, laboratories or simply group theatres. They correspond to an important independent tradition. A tradition of the new sounds like a poetic oxymoron, and it is indeed a contradiction. But this incongruity is an essential part of the history of modern theatre. It is obvious that the tradition of the new cannot employ repeatable procedures which ensure a result within a reasonable margin of error.
    [Show full text]
  • THE LAND of NAKED VOICES by Iben Nagel Rasmussen “Hearing Is
    THE LAND OF NAKED VOICES By Iben Nagel Rasmussen “Hearing is the most important sense of all. When studying a scene, I often close my eyes and listen. If it sounds right, it looks right.” Ingmar Bergman, film director. November 1965 – Holbæk Kunsthøjskole The actors enter the room with determined steps. We – the pupils of the school - sit in rows of chairs facing each other. There is no stage, the actors appear right in front of us. At the end of the space, there is a black podium. We are in a courtroom and the spectators are witnessing a trial. Are we also accused? Of what? I understand only a few words of the language they speak – Norwegian. The tall actor asks us something about killing songbirds. I know I should be engaged and answer. But I can’t. He looks frightening. There are only four actors, they are dressed in grey and black, and they move around in the school gym as if they were weightless: flying, jumping, one actress standing on another’s shoulders, then she hangs from the ceiling on a rope. They drag each other, they talk with voices I wouldn’t have imagined existed, low, hoarse, high. And they… sing. The two girls sing Scandinavian psalms with an intensity of sorrow, beauty, pain, and joy that penetrates my body and mind, reaching and touching a secret place inside me, which I seemed to have forgotten, as if it was sleeping behind a veil of ice. I do not shed a tear, I am paralyzed. I want to go there, be there with them.
    [Show full text]
  • Eugenio Barba's Written Work: the Theatrical Vision Implied in Its Structure
    STUDIA UBB DRAMATICA, LIX, 1, 2014, p. 141 -150 (Recommended Citation) Eugenio Barba's Written Work: The Theatrical Vision Implied in Its Structure LLUIS MASGRAU* Abstract. The starting point of this paper is an investigation conducted from 1992 to the present in the context of the Documentation Center of Odin Teatret to develop and update annually a critical bibliography of Barba's written work. The result is a 150-page document that contains all the texts published by Barba sorted by years of writing. The literature provides in each case details of the origin of the texts, the origin of the materials that comprise it and the many transformations that Barba effected in his materials. One of the most obvious characteristics of Barba's written work is its multifaceted dimension that manifests in a variety of formats, concepts, issues and themes. Barba's written work is like a big melting pot where he mixes and analyzes his theatrical influences, the vicissitudes of his long artistic career, meetings and professional experiences that marked him. The intention of this paper is to show how Barba's written work has gradually evolved towards a distillation of a deep and implied structure. This structure comes out with two intersecting elements: the different levels of organization that Barba distinguishes in his overview of theatre craft, and the professional dialogue he maintained with three great theatre cultures: the European theatre of the twentieth century, Asian classical theatre and the Latin American group theatre. The aim is to show how behind a seemingly heterogeneous, dispersed and multifaceted, Barba's written work organizes this multiplicity in a coherent and deeply structured theatrical vision.
    [Show full text]
  • On Directing and Dramaturgy
    ON DIRECTING AND DRAMATURGY ‘A theatre which is able to speak to each spectator in a different and penetrating language is not a fantastic idea, nor a utopia. This is the theatre for which many of us, directors and leaders of groups, trained for a long time.’ Eugenio Barba On Directing and Dramaturgy is Eugenio Barba’s unprecedented account of his own life and work. This is a major retrospective of Barba’s working methods, his practical techniques, and the life experiences which fed directly into his theatre-making. An inspirational resource, On Directing and Dramaturgy is a dramaturgy of dramaturgies, and a professional autobiography from one of the most significant and influential directors and theorists working today. It provides unique insights into a philosophy and practice of directing for the beginning student, the experienced practitioner and everyone in between. Eugenio Barba (1936, Italy), after working with Jerzy Grotowski for three years in Poland, created Odin Teatret in 1964 in Oslo and moved with it to Holstebro, Denmark, in 1966. He founded the International School of Theatre Anthropology (ISTA) in 1979. He has directed more than 70 productions with his theatre and the intercultural ensemble Theatrum Mundi. His previous books include The Paper Canoe: A Guide to Theatre Anthropology; Theatre: Solitude, Craft, Revolt; Land of Ashes and Diamonds: My Apprenticeship in Poland and, in collaboration with Nicola Savarese, A Dictionary of Theatre Anthropology. ON DIRECTING AND DRAMATURGY Burning the house Eugenio Barba Translated by Judy Barba Every effort has been made to seek permission to reproduce copyright material before the book went to press.
    [Show full text]
  • Alice Williams the Production of Luck
    Alice Williams The Production of Luck: Learning to Act, in the Discipline of Theatre Anthropology. A thesis submitted to fulfil requirements for the degree of Doctor of Philosophy in the Faculty of Arts and Social Sciences, at the The University of Sydney, 2020 For little girls, everywhere. Acknowledgements Thank you to my associate supervisor Laleen Jayamanne for editing all of my drafts, and all the other unspeakable gifts you have given me over the years that you have been my teacher. Thankyou for encouraging me, and helping me learn how to let my experiences speak. Thank you to my supervisor Richard Smith for your patience, acceptance of my work, valuable guidance and feedback. Thank you to Marion Burford for reading my chapters, Grace Cochrane and others at 7 am for your advice, feedback and support. Lucy Watson for being a generous collaborator. Chris Jefferis for fixing my page numbers. Marcus Coombs for buying me dinner. Isadora Pei, Vilja Itkonen and all at Odin Teatret for your openness, rigour, generosity and support, I hope you find your work has been acknowledged in this thesis. Thesis Abstract The Production of Luck: Learning to Act, in the Discipline of Theatre Anthropology. Theatre Anthropology is a discipline with a unique place in the history of theatre. It is neither solely practical nor theoretical, but enacts and theorises the relationship between action and thought, reflecting how transformations in one area inform the development of the other. This field is the work of Eugenio Barba, actors of Odin Teatret, scholars and performers of the International School of Theatre Anthropology.
    [Show full text]
  • The Work Eugenio University of Alberta Barba
    University of Alberta The Work Eugenio Barba - A Post-Modern Feminist Critique Frances Elizabeth A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillrnent of the requirernents for the degree of Master of Arts Department of Drama Edmonton, Alberta Spring 1999 National Library Bibliothèque nationale I*I of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 Ottawa ON KIA ON4 Canada Canada YOM lFle Votre referance Our W letre référence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in rnicrofom, vendre des copies de cette these sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantid extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othenvise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT This thesis examines the work of director, Eugenio Barba- The work discussed includes the Odin Teatret, a 35-year-old theatre Company in Denmark which Barba founded and continues to direct, There is a focus on how Barba's early professional experience with Jerzy Grotowsi af fected his vision for Odin; the International School of Theatre Anthropology which Barba also founded and his concept of Theatre Anthropology; and a close reading of two one-woman Odin productions, both of which Barba directed and co- authored with the performers.
    [Show full text]
  • LA BREVE ESTATE DEL TEATRO DI GRUPPO Il Movimento Di Base in Italia E Due Esempi Di Resilienza
    Università degli Studi di Torino Dipartimento Studi Umanistici Corso di Laurea Specialistica in Teatro e Arti della Scena LA BREVE ESTATE DEL TEATRO DI GRUPPO Il Movimento di Base in Italia e due esempi di resilienza Candidato: Luca Vonella Matr. 711852 Anno Accademico 2014-2015 1 Indice LA BREVE ESTATE DEL TEATRO DI GRUPPO Il Movimento di Base in Italia e due esempi di resilienza La vetta e la croce: premessa p.3 1. Panorama italiano del teatro di gruppo p.5 Introduzione, p. 5 Militanza e visioni shock, p. 7 La memoria fresca, p. 16 Una lunga serpe di incontri, p. 16 Perdita dell'alterigia, p. 35 Epilogo, p. 38. 2. Roccaforti p. 42 Per un teatro tascabile, p. 42 Verifiche, p. 50 Intervista a Beppe Chierichetti, p. 50 Intervista a Tiziana Barbiero, p. 58 Intervista ad Antonietta Fusco, p. 64 Intervista a Rosa Da Lima Iannone, p. 73 La strada e la fiaba: breve storia del Teatro Due Mondi, p. 75 Verifiche, p. 88 Intervista ad Alberto Grilli, p. 88 Intervista a Renato Valmori, p. 99 Intervista ad Angela Pezzi, p. 100 Intervista a Tanja Horstmann, p. 101 Intervista a Maria Regosa, p. 109 Intervista ad Alessandro Gentili, p. 114. Istantanee, p. 117. 3. Tre contraddizioni p.118 La lunga ricerca o due piccioni con una fava, p. 121 L'allieva animosa, p. 123 Il territorio come langue, p. 125. 2 La vetta e la croce: premessa Da quando mi sono interessato al teatro, ho ben presto avvertito la condizione di chi, camminando lungo un sentiero di montagna, sa di camminarci perché quel sentiero, alcuni, l’avevano già battuto.
    [Show full text]
  • Ns 35-2014 MATERIALI (7) Incontri Judith Malina Ed Eugenio Barba
    MATERIALI (7) Incontri Judith Malina ed Eugenio Barba (Fiora Bemporad, 1994); lettera di Andre Gregory (1976); lettera di Jean Darcante (1976); Eugenio Barba, Terzo Teatro (1976); lettera di Renzo Vescovi (1985) Immagine 7 – Eugenio Barba e Judith Malina, trentesimo anniversario dell’Odin Teatret, Holstebro, 1994, Fiora Bemporad (OTA , fondo fotografico, serie cartacea, sottoserie Anniversaries, b. 3). Francesca Romana Rietti: Autrice dell’immagine è l’argentina Fiora Bempo- rad, che inizia a collaborare con l’Odin Teatret nel 1986 a Buenos Aires e ne di- viene poi una delle fotografe di lungo corso, documentandone da allora con con- tinuità molte attività. In particolar modo, le sessioni dell’International School of Theatre Anthropology ( ISTA ), dove affina lo sguardo fotografando il succedersi dei molti dialoghi e incontri tra tradizioni performative diverse e lontane tra loro. Ne ha prodotto un patrimonio iconografico che è oggi uno dei materiali più ricchi per studiare e conoscere quell’effervescente laboratorio di ricerca e sperimentazione teatrale. In questo ritratto destinato di per sé a divenire un’icona del teatro del XX se- colo, e non solo, due elementi concorrono a sgombrare l’orizzonte dal peso dei simboli per aprire alla narrazione storica altre prospettive e possibilità: la tempe- ratura emotiva che la fotografia restituisce e l’occasione che genera e fa da «Teatro e Storia» n.s. 35-2014 MATERIALI (7) 269 sfondo all’incontro e all’interno della quale deve essere contestualizzata. Colti non in posa e in un insolito stato di quiete, due dei pionieri e dei guer- rieri della seconda grande rivoluzione che ha attraversato il teatro del Novecento si ritrovano – il Living Theatre era già stato invitato dall’Odin Teatret nel 1975 con un seminario e degli spettacoli – e si sorridono.
    [Show full text]
  • Alicia Irene Bugallo, La Filosofía Ambiental De Arne Naess
    Alicia Irene Bugallo ‘La filosofía ambiental en Arne Naess; sus propuestas del Movimiento Ecología Profunda y las influencias de Baruch Spinoza y William James’ 1 1 Publicada como Bugallo, Alicia Irene, La filosofía ambiental en Arne Naess. Influencias de Spinoza y James , Ediciones del ICALA (Intercambio Cultural Alemán-Latinoamericano), Río Cuarto, Argentina, 2011. ISBN 978-987-1318-15-5. 1 ÍNDICE Prefacio. …………………………………………………………….…..…..6 Introducción. …………………………………………………………..…..20 Semblanza de Arne Naess …………………………………………….……24 PRIMERA PARTE 1.- La primera versión del Movimiento Ecología Profunda ; su relación con la ciencia y con la sabiduría. ………………………………………………..…..36 1.1.- Aproximación al sentido de la expresión ecología profunda …………………………36 1.2.- Prevenciones hacia la ciencia y valoración del naturalista de campo…………………40 1.3.- La dimensión política del movimiento…………………………………………….…..43 1.4.- El valor de la sabiduría. …………………………………………………………….…44 2.- Aspectos distintivos del pensamiento de Baruch de Spinoza. ……………47 2.1.- Breve reseña sobre vida y obras de Spinoza …………………………………………..47 2.2.- La Sustancia, Dios, Naturaleza… ……………………………………………………..49 2.3.- Atributos y modos de la Sustancia …………………………………………………….50 2.4.- Caracterización de los cuerpos; el individuo humano. ………………………………..53 2.5.- Las afecciones; el conato. ……………………………………………… …………...56 2.6.- El valor de la cooperación. ……………………………………………………………58 2.7.- Los tipos del saber …………………………………………………………...………..58 2.8.- Recepción e influencias del pensamiento de Spinoza …………………………...……62 3.- Reflejo de las ideas de Spinoza en el pensamiento ambiental de Naess….65 3.1.- Los vínculos ‘spinozismo-ambientalismo’ . ………………………………………..…65 Punto 1.- La Naturaleza no es algo pasivo, inerte. ………………………………..………..66 Punto 2.- Dejando de lado los dualismos cuerpo/alma, materia/espíritu, etc. ……………...69 Punto 3.- Naturaleza o Universo, fuera del tiempo.
    [Show full text]
  • Touching the Telephone Pole
    Theatre Women Milestones - Elsa Kvamme Elsa Kvamme Touching the Telephone Pole Looking at myself as the main character in the drama of my life is as thrilling and impossible as hearing the sound of A year later I received a one's own voice. I remember my four-year-old self walking guaranteed minimum down an enormous hill talking to my elder sister, and salary for life as an artist suddenly experiencing my voice as extremely dark. I from the Norwegian state. sounded like a boy! Soon after, an uncle made a recording of me and my other cousins, and when he played the tape for That day my head nearly us I could not believe that such piping girlish sounds had crashed into the ceiling. emerged from my mouth. At that time we lived in a working I sent flowers to my parents, class area where the church rewarded faithful Sunday school colleagues and former children with a silver spoon every month, so my mother sent companions, to every one us to the Sunday school to make the family prosper. Possibly who had had to deal with my as an extra bonus, I was asked to read a poem in the church. impatience and They gave me a big light blue book covered with golden workaholic attitudes. I was letters. I was by no means able to read, so how I don't know, thirty years old but I still remember standing there alone in front of the and still had, hopefully, a church audience speaking the text out loudly, clinging to the light blue book in front of me.
    [Show full text]