Appendix 1 Background Data

APPENDIX 1 BaCKGROUND DaTa In this chapter, I wish to make visible the empirical materials on which the present book is based. The main empirical body of this project has been my collaboration with colleague Erik Exe Christoffersen, with whom I shared the interviews, the observations and the elaboration of questions and open topics of enquiry. Together we collected a large body of evidence as summed up in the following text. All the interviews and observations are original and took place at Odin Teatret, Holstebro, Denmark (indicated as OT), with the exception of four older interviews, two with Julia Varley (one in Copenhagen and one in Holstebro), one with Eugenio Barba (in Holstebro) and one with Roberta Carreri, conducted at the Department of Dramaturgy in Aarhus, Denmark. Varley’s and Barba’s interviews were part of the research project on artistic creativity that led to the publication Chemi et al. (2015), and Carreri’s interview was conducted and transcribed in 2000 but remained unpublished. The activities observed specifically for the present study are work demonstrations or rehearsals. Moreover, I made use of informal conversations, documented by means of written notes during and after the conversations, and of personal communications on specific information or data. The following list shows the temporal development of the field work behind the present contribution, by listing the activities chronologically. © The Author(s) 2018 243 T. Chemi, A Theatre Laboratory Approach to Pedagogy and Creativity, Creativity, Education and the Arts, https://doi.org/10.1007/978-3-319-62788-5 244 APPENDIX 1 BACKGROUND DATA Interview with Conducted by Medium of Transcription by documentation, place, date Roberta Carreri Tatiana Chemi Audio file, Aarhus Tatiana Chemi 19.03.2000 Eugenio Barba Lone Hersted Audio file, OT Tatiana Chemi and 12.02.2013 Siw Maria Sundroos Heede Julia Varley Tatiana Chemi Audio file, Siw Maria Sundroos Copenhagen Heede and Tatiana 22.09.2012 and OT Chemi 24.10.2012 Rosa Antuña Tatiana Chemi and Audio file, OT Tatiana Chemi Erik Exe 10.12.2014 Christoffersen Roberta Carreri Tatiana Chemi and Video, OT Erik Exe Erik Exe 10.12.2014 Christoffersen Christoffersen Carolina Tatiana Chemi and Audio file and video, Tatiana Chemi Pizarro, Giulia Erik Exe OT 10.12.2014 Varotto Christoffersen Iben Nagel Erik Exe Audio file, OT Erik Exe Rasmussen Christoffersen 14.01.2015 Christoffersen Marilyn Nunes Tatiana Chemi Audio file, OT Siw Maria Sundroos 14.01.2015 Heede and Tatiana Chemi Julia Varley Tatiana Chemi Audio file, OT Siw Maria Sundroos 14.01.2015 Heede and Tatiana Chemi Pierangelo Tatiana Chemi and Video, OT Erik Exe Pompa Erik Exe 04.05.2015 Christoffersen Christoffersen Eugenio Barba Tatiana Chemi and Audio file and video, Tatiana Chemi and Erik Exe OT 04.09.2015 Siw Maria Sundroos Christoffersen Heede Kai Bredholt Tatiana Chemi Audio file, OT Tatiana Chemi 10.09.2015 Activity observed Ethnographic field Place and date notes by Rosa Antuña (master: Roberta Carreri) Tatiana Chemi OT 10.12.2014 Rehearsal Carolina Pizarro, Giulia Varotto (master: Tatiana Chemi OT 10.12.2014 Roberta Carreri) Rehearsal Appendix 1 Background Data 245 Activity observed Ethnographic field Place and date notes by Marilyn Nunes (master: Julia Varley) Rehearsal Tatiana Chemi OT 14.01.2015 Carolina Pizarro Work demonstration Tatiana Chemi OT 14.01.2015 After rehearsal (entire Odin Teatret ensemble) Tatiana Chemi OT 10.09.2015 Pierangelo Pompa with Altamira Studio Teater Tatiana Chemi OT 06.11.2015 Work demonstration Carolina Pizarro, Giulia Varotto (master: Tatiana Chemi OT 05.12.2016 Roberta Carreri) Rehearsal Informal conversations Conducted by Medium of documentation, Note-taking by with place, date Eugenio Barba Tatiana Chemi Written notes, OT Tatiana Chemi 17.08.2016 Julia Varley Tatiana Chemi Written notes, OT Tatiana Chemi 17.08.2016 Personal communications with the From Medium of documentation, author date Julia Varley Email, 29.12.2016 Eugenio Barba Email, 21.12.2016 Julia Varley Email, 17.12.2016 Pierangelo Pompa Email, 19.12.2016 Iben Nagel Email, 22.11.2016 Rasmussen Eugenio Barba Email, 20.11.2016 Roberta Carreri Email, 18.11.2016 Julia Varley Email, 16.11.2016 Kai Bredholt Email, 24.06.2016 Number of artists interviewed: 10 Number of interviews: 12 (one in pair). In three cases, I made use of older interviews: with Julia Varley (interviewed twice for the project Behind the Scenes of Artistic Creativity, see Chemi, Jensen & Hersted 2015), with Eugenio Barba (interview conducted for the project Behind the Scenes of Artistic Creativity, see Chemi et al. 2015) and with Roberta Carreri (unpublished interview here reported) Number of observations (specific to the present research): 7 Number of informal conversations (specific to the present research): 2 Number of personal communications (specific to the present research): 9 APPENDIX 2 ARTISTS’ SHORT BIOGRaPHIES The artists interviewed are listed in alphabetical order. The short biographies are just a brief indication of the impressive achievements of these artists. For each artist, I have added a reference to a personal Web site or a specific Web resource, when the artist confirmed the accuracy of the source. All the artists contributed to updating and correcting their own biographical information. The Odin Teatret’s actors’ and director’s lives and works have been analysed and commented on in a long list of biblio- graphic contributions. These have been taken into consideration in the making of the present book and quoted accordingly, but cannot have their deserved place in these short biographical notes. I suggest readers consult these bibliographical contributions for further information. Barba’s and Varley’s biographies are borrowed—and updated—from Chemi et al. (2015). Rosa Antuña (b. 1977) Brazilian director, choreographer, dancer, actress and educator. Originally trained as a dancer at, among other places, Centro Mineiro de Danças Clássicas in Belo Horizonte, Brazil; Centro Pro-Danza de Cuba in Cuba, and Palucca Schule Dresden in Germany. Rosa has been an integral member of the Mario Nascimento Dance Company since 2003 and acts as assistant director, assistant choreographer, rehearsal director, and teacher of dance, improvisation, performing and voice skills. Rosa created the Integrated Arts Workshop, an exciting © The Author(s) 2018 247 T. Chemi, A Theatre Laboratory Approach to Pedagogy and Creativity, Creativity, Education and the Arts, https://doi.org/10.1007/978-3-319-62788-5 248 Appendix 2 Artists’ Short Biographies and innovative discipline, developed through her work with the Mario Nascimento Dance Company, and she has been presenting this workshop throughout Brazil. Rosa worked at Chemnitz and Theater Erfurt in Germany, and in Brazil with Dance Company 1º ATO, Mimulus Dance Company and the São Paulo City Ballet Dance Company. In 2014 she took part in an artist residency at Odin Teatret in Holstebro, Denmark. Her latest creative project completes the final chapter of herFeminine Trilogy, consisting in the performances: The Woman who Spit Out the Apple, The Dress and Wild Women. They are all solo performances based on women’s figures. She has been given several awards: 1st Prize Usiminas/ Sinparc 2004 Best Ballerina (ESCAMBO Cia MN) and 14th Prize SESC 2009 Best Ballerina (FALADORES Cia MN). Read more at: http://nucleoantuna.blogspot.dk/2013/09/rosa- antuna-curriculum-overview.html. Eugenio Barba (b. 1936) Emigrated in 1954 from Italy to Norway, to work as a welder and a sailor. At the same time, he took an M.A. in Literature and History of Religion at Oslo University. In 1961, he went to Poland to learn directing at the State Theatre School in Warsaw, but left one year later to join Jerzy Grotowski, who at that time was the director of the Theatre of 13 Rows in Opole, staying with him for three years. In 1963, he travelled to India where he studied Kathakali, writing an essay on this genre, which was immediately published in Italy, France, USA and Denmark. When Barba returned to Oslo in 1964, he gathered a few young people who had not been accepted by the State Theatre School and created Odin Teatret in October 1964. Two years later, he moved the theatre to Holstebro, a small town in Denmark, transforming it into a theatre laboratory. Eugenio Barba and Odin Teatret have become a legend in modern theatre: with 76 performances, the actors’ work demonstrations and the use of barter (cultural exchange) and intercultural performing and educational projects, the group has gained international standing with its own independent and original theatre tradition. Eugenio Barba has contributed to the field of theatre science, too, by conceptualising and practic- ing Theatre Anthropology and by founding in 1979 the International School of Theatre Anthropology, in 1990 the University of Eurasian Theatre and in 2002 the Centre for Theatre Laboratory Studies. Barba is a member of numerous editorial boards of international theatre journals and has written many influential books, translated into numerous lan- Appendix 2 Artists’ Short Biographies 249 guages: The Paper Canoe. A Guide to Theatre Anthropology; Theatre: Solitude, Craft, Revolt; Land of Ashes and Diamonds. My Apprenticeship in Poland, followed by 26 letters from Jerzy Grotowski to Eugenio Barba; On Dramaturgy and Directing: Burning the House and A Dictionary of Theatre Anthropology in collaboration with Nicola Savarese. He has received many awards: Reconnaissance de mérite scientifique from Montreal University, the Pirandello International Prize, the Sonning Prize from the University of Copenhagen and the Thalia Prize from The International Association of Theatre Critics, among others. He holds honorary doctorates from the universities of Aarhus, Ayacucho, Bologna, Havana, Warsaw, Plymouth, Hong Kong, Buenos Aires, Tallinn, Cluj-Napoca, Edinburgh and Brno. Read more at: http://www.odinteatret.dk/about-us/eugenio-barba. aspx. Kai Bredholt (b.1960) His educational background is in a number of crafts, for example, boat-building, among others.

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