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 (2015), and Carreri’s interview was conducted and transcribed in 2000 but remained unpublished.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 her Feminine 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. He began his artistic career by playing in the streets and in popular cabarets as a folk musician. His studies include extensive exposure to various genres of European traditional and folk music, especially those of Denmark. He joined Odin Teatret in 1990, first as a musician/composer, later as an actor and event organiser, director of barters and “transformances” (theatricalisation of a specific social milieu). Kai Bredholt directs street performances for theatre groups all around the world and has created special circus performances, which involve actors, pets, farmers with their animals, ballet dancers on tractors and much more. Kai Bredholt’s clown figure Van Gakk performs for children both solo and in collaboration with other clowns in Denmark and abroad. He also collaborates with a local Taekwondo club, folk dancers and a shepherd to create theatrical situations, and with the architect Anton Ryslinge to create outdoor theatre venues, for example, with ice or bales of straw. Since 1992, he has been a member of the ISTA (International School of Theatre Anthropology) ensemble. He participates in a number of performances at Odin Teatret, including the Theatrum Mundi performances and the work demonstration The Whispering Winds. Among the performances he directed himself are: Parada de Rua (Teatro Lume, Brazil), M. Chou et Mme. Fleur, street performance (with Theatre Madame Bodage, France), Le Bal des Lampions, street performance (with Theatre Madame Bodage, France), Le Fanfare Perdue, street performance (with Theatre Madame Bodage, France), Halmtorvet (with 250 Appendix 2 Artists’ Short Biographies guest artist and Holstebro inhabitants, Denmark), Cirkus paa Kanten (with local farmers, actors and dancers from different countries, Denmark), Saeta—a circus performance of horses and flamenco (with local horses and local people). Read more at: http://www.odinteatret.dk/about-us/actors/kai- bredholt.aspx.

Roberta Carreri (b. 1953) Italian actress, teacher, writer and organiser of events. Born in Milan, Italy, she graduated in Advertising Design and studied Art History at Milan State University. She joined Odin Teatret in 1974 during the group’s stay in Carpignano, Italy, and the ensemble’s outdoors experimentation. Roberta Carreri has been influenced by performing techniques from Japan, India, Bali and China, some of which she encountered at ISTA (International School of Theatre Anthropology), which she has participated in since its beginning in 1980, and by others, by means of individual study. From 1980 to 1986, she studied with Japanese masters such as Katsuko Azuma (Nihon Buyo dancer), Natsu Nakajima and Kazuo Ohno (Butoh dancers). She organises and leads the annual international workshop, Odin Week Festival, in Holstebro, Denmark. She is also director for other ensembles: in 2009 she directed Rumor with Cinzia Ciaramicoli for Masakini Theatre Company (Malaysia); in 2014 The Woman Who Spat Out the Apple with Rosa Antuña—Núcleo de Criaçao Rosa Antuña (Brazil). Her latest directing collaboration is the performance Nido Vacio, a co-production of Nordisk Teaterlaboratorium and Regula Teatro with Carolina Pizarro and Giulia Varotto (premiere 14.1.2016). Roberta Carreri also disseminates her knowledge by means of written contributions: in her own book Tracce, she relives the most rele- vant aspects of her theatre life—her training, pedagogy and her biography as an actress of Odin Teatret (first published in 2007 by Edizioni Il Principe Costante, Milano, in Italian; in 2012 by Editora Perspectiva, Brazil, in Portuguese; and Ed. Artezblai, Spain; and Triskel Artes Escénicas, Chile, in Spanish; in 2013 by El Apuntador Ediciones, Argentina, in Spanish; in 2014 by Routledge, UK/USA, in English). She is also the author of several articles published in journals such as New Theatre Quarterly, Teatro e Storia, Máscara, The Open Page, Peripeti and Performance Research. She participates in all Odin Teatret performances and has a solo performance, Judith. She is also part of the Theatrum Mundi performances and of the Odin performances for children Dennis, Appendix 2 Artists’ Short Biographies 251 the Wolf and J.S. Bach. Other work demonstrations she has participated in are The Whispering Winds, Dialogue between Two Actors, Letter to the Wind. Her professional experiences are presented in The Actor’s Way, by Erik Exe Christoffersen. Read more at: http://www.odinteatret.dk/about-us/actors/roberta- carreri.aspx.

Iben Nagel Rasmussen (b. 1945) Danish actress, director, educator and writer. She was born in Copenhagen, Denmark, daughter of renowned Danish poet Halfdan Rasmussen and writer Ester Nagel. In the 1960s, she was girlfriend to Eik Skaløe, musician and singer in the hippie band Steppeulvene, who wrote for her the song Itsi-Bitsi (Iben’s nickname) from the album HIP (1967). In 1966, she joined Odin Teatret after its arrival from Oslo, Norway, to Holstebro, Denmark. Since then, she has been a founding pillar for all the performing and pedagogical work in the ensemble, initiating traditions (in training, vocal and body expression, compositional techniques) and challenging traditions with novel proposi- tions. She has also commenced several independent projects: for instance, in 1983, she set up FARFA, a group with actors from various countries. FARFA created a personal training programme and several performances. In 1989 she founded The Bridge of Winds (Vindenes Bro), a recurrent yearly project with actors from Latin America and Europe who share their artistic experience and create performances. In 1999 she set up New Winds (Nye Vinde), a group of younger actors working under the same princi- ples. Today, the two groups work together under one name: The Bridge of Winds. In 1986, Iben Nagel Rasmussen won the award for “Best Actress” at BITEF in Belgrade, Yugoslavia, and in 1991 “Håbets Pris” (the “Prize of Hope”) in Denmark. Her professional experiences are described in The Actor’s Way, by Erik Exe Christoffersen and in the video documentary The Transparent Body edited by Claudio Coloberti. She has published three books: Breve til en veninde (1993, the correspondence with Eik Skaløe), Den blinde hest (in Danish 1998, Italian translation Il cavallo cieco, Bulzoni 2006, Spanish translation El caballo ciego, 2011, Brazilian translation 2016) and Den fjerde Dør (2012, about Odin Teatret’s cultural barters) as well as several articles in journals such as Teatro e Storia and The Open Page. She is the sole actress of the filmDressed in White, directed by Torgeir Wethal. She participates in all Odin Teatret’s performances, where she has her own autobiographic performances, Itsi Bitsi (on her relation- 252 Appendix 2 Artists’ Short Biographies ship with Eik Skaløe and her professional choices) and Ester’s Book (on her relationship with her mother). She takes part in some Theatrum Mundi performances, and her work demonstrations are Moon and Darkness and The Whispering Winds. She has directed several performances, concerts and street performances for Farfa, The Bridge of Winds and New Winds, but also for other individual actors or ensembles, such as Van Gakk møder Spugna (with Sandra Pasini and Kai Bredholt, together with Leris Colombaioni, 1999) or for Odin Teatret, such as the performance for children Den Grimme, den Grumme og den virkelig Dumme. Read more at: http://www.odinteatret.dk/about-us/actors/iben- nagel-rasmussen.aspx.

Marilyn Nunes (b. 1984) Brazilian actress, pedagogue, researcher and founder of Oposto Teatro Laboratório. She began to study theatre at age 13, and at 18 she started to teach, act and direct at cultural centres, schools and theatre groups, working with circus theatre, puppet theatre, street theatre and intimate theatre. In 2003, she received an Associated degree in Acting; in 2007, she received her Bachelor degree in Brazilian and American Languages and Literatures; and in 2015, she started her Master degree in Arts. In 2008, she started to develop her theatre training with Odin Teatret actors. In the several residencies with this group, she created the solo performance Stelle (Stars) (2013), the work demonstration L’Opposto (The Opposition) (2016) and she is completing her solo performance called The Butterflies’ Nightmare (première expected in 2017), all directed by Julia Varley. She also received several awards for her research and acting and has translated and published a number of articles about actor’s training. Read more at: https://opostoteatrolaboratorio.blogspot.dk.

Carolina Pizarro (b. 1981) Actress, director and educator from Chile. Originally an academic in theatre studies, she has also studied several physical and vocal techniques in practice. Her preparation as actress extends to Oriental traditions, which she learned during her stay at the Kalari Sangham Temple in India, where she studied the martial arts of Kalaripayattu and Silambattam. This encounter and her long-term relationship with Odin Teatret actress Julia Varley provided the pillars on Appendix 2 Artists’ Short Biographies 253 which she has been building her research. Since 2010, she has performed in the project Historia abierta, directed by Belgian Lorent Wanson, tour- ing Europe and Chile. Carolina Pizarro has taught several workshops and seminars in India, and at international encounters, such as Art Space and Piccolo Cirkus in Barcelona, Spain. In Chile, she directs a group of university students, teaches storytelling techniques and has started an international project, Transfer, to invite foreign theatre companies and artists to Chile. In February 2013, she won best actress and best performance awards at the Coquimbo Theatre Festival in Chile. Carolina Pizarro joined Odin Teatret as actress in October 2015, where she appears in the following performances: The Tree, The Great Cities under the Moon, Ode to Progress, Inside the Skeleton of the Whale. Moreover, she performs in Tierra de fuego (Land of Fire), directed by Julia Varley. Read more at: http://www.odinteatret.dk/about-us/actors/carolina- pizarro.aspx.

Pierangelo Pompa (b. 1979) Italian theatre director, educator and scholar. He has studied theatre history (with a thesis on the influence of Asian body techniques on the training of Western actors and theatre labo- ratories) and foreign languages and literature at Rome University, with a thesis in Chinese language and translation, specialising in traditional Chinese theatre and Mei Lanfang’s writings, after various stays of several months in China and Taiwan. He has been assistant director for Eugenio Barba at Odin Teatret from 2008 for several performances by Odin Teatret and numerous other projects. He founded in 2008 in Italy the international theatre group Altamira Studio Teater, which later moved to Denmark. With Altamira Studio Teater, Pierangelo Pompa has created performances presented in several countries, such as I Look at the Sea, The Garden, Twelve Good Words, Don Giovanni, The Last Night, The Clinic of the Blinded, The Staggering Circus, The World in a Song, The River – Dream of a Poet, By Heart, Boudu tager til Danmark, Playroom (in progress) and the work demonstration Style Exercises. For Holstebro Festival Week 2014, he directed the opening performance Prologue to the Future, and the intercultural ceremony The Empty Chair, which was produced also in Amsterdam, in the frame of the European project, Caravan Next. 254 Appendix 2 Artists’ Short Biographies

He regularly leads workshops and pedagogical projects on actor training and dramaturgy, invited by international academies, universities and festivals in Denmark (Danish National School of Performing Arts, Aarhus University, Aalborg University), Italy (Rome University, Ferrara University), China (Beijing Central Academy of Drama, Shanghai Theatre Academy) and Iran (International Festival of University Theatre). He has published articles, translations and reviews on Chinese theatre and his work with Altamira Studio Teater and Eugenio Barba. Read more at: http://www.altamirastudioteater.dk/member/pierangelo- pompa.

Julia Varley (b. 1954) English-Italian actress. Born in London, at the age of three she moved to Milan, Italy, where she did her schooling, including Philosophy Studies at Milan University. Before joining Odin Teatret in 1976, she worked in Milan with several theatre groups—Teatro del Drago, Centro Sociale Santa Marta and Circolo La Comune—earning her living as an assistant film producer. With Odin Teatret, Julia Varley teaches in schools and universities and has synthesised her experience in four work demonstrations: The Echo of Silence, The Dead Brother, Text, Action, Relations and The Flying Carpet. Since 1990, she has been involved in the conception and organisation of ISTA and of the University of Eurasian Theatre, both directed by Eugenio Barba (see profile). Since 1986, she has been active in the Magdalena Project, a network of women interested in and working with contemporary theatre and also artistic director of the Transit International Project. In the framework of the Magdalena Project, Julia also takes part in the collaborative project Women with Big Eyes, which has been performed in Denmark and Cuba. In con- nection with Odin Teatret’s intercultural productions and Holstebro Festuge, Julia has started an ongoing pedagogical collaboration with groups of young actors in Denmark and abroad. She has directed two productions with Pumpenhaus Theater in Germany Auf den Spuren des Yeti and Blau, two productions with Ana Woolf from Argentina Seeds of Memory and White is the Night, a children’s production with Hisako Miura from Japan Fox Wedding, two productions with Lorenzo Gleijeses and Manolo Muoio Il figlio di Gertrude and L’esausto o il profondo azzurro and another with Gabriella Sacco The Taste of Oranges from Italy. Her latest directing collaborations are with Teresa Ruggeri (Rovine del tempo) in Italy, Marilyn Nunes in Brazil (Stelle, L’opposto) and Amaranta Osorio and Appendix 2 Artists’ Short Biographies 255

Teresa García in Spain (Anonime). She has worked as assistant director for the films Anabasis and On the Two Banks of the River, and for the production of the film Come! And the Day Will Be Ours. Varley is also very active in the field of publishing, being editor of The Open Page and author of three books (her latest is upcoming in Brazil), several articles and essays published in journals such as Teatro e Storia, Lapis, Performance Research, New Theatre Quarterly, Conjunto, Teatro XXI, The Mime Journal. Read more at: http://www.odinteatret.dk/about-us/actors/julia- varley.aspx.

Giulia Varotto (b. 1985) Italian bilingual actress (Italian and Spanish) and neuroscientist. She holds a degree and Ph.D. in bioengineering. From 2009, she worked as a researcher in the Neurological Institute C. Besta in Milan, Italy, investigating, among other projects, the relationship between music and neurosciences. In 2009, she started to work professionally as a theatre actress, under the guidance of Raul Iaiza. Since 2011, she has been co-founder and actress of Regula contra Regulam Teatro, taking part in all the productions and projects in progress. Since 2012, she has been following an apprenticeship under the guidance of Roberta Carreri (Odin Teatret). She took part in the performance The Empty Nest, directed by Roberta Carreri. She has attended professional workshops with Michele Abbondanza and Eugenio Allegri (Italy), Teatr Zar (Poland), Isabelle Maurel (France) and Vicente Fuentes (Spain), among others. Since 2012, with Regula Teatro, she is part of the Grotowski Institute/Educational Programme (Regila dei Laudesi and Open Session). In 2015, she took part in the group Entrenamiento Abierto, Teatro Abadia (Madrid, Spain). Since 2015, she has been leading Partenze, a research group focused on the relationship between the actor’s singing and physical actions. Read more at: http://www.odinteatret.dk/laboratorium/ntl-co- productions/regula-teatro.aspx.

Reference Chemi, T., Jensen, J. B., & Hersted, L. (2015). Behind the Scenes of Artistic Creativity: Processes of Learning, Creating and Organising. Frankfurt am Main: Peter Lang. Index

A 150, 152, 169, 184, 193, 195, Aarhus, 17, 108, 205, 208, 243, 244, 220, 248, 249 249 Antigone, xii, 204, 211 Actors Studio, 5, 7, 158 Antuña, Rosa, 129–132, 136, 137, Adoption, 21, 22, 122, 135, 136, 146 139, 141, 144, 145, 148–152, Africa, 100, 101, 207, 210 155, 156, 244, 247, 250 Alchemy, xxiv, 52, 117, 118, 133, Apocalypse now, 116 200 Appia, Adolphe, 197 Allende, Salvador, 170, 178, 179 Arkan (Zeljko Raznatovic), 116 Alonso, Laura, 131 Artaud, Antonin, xi, xxii, 33, 190 Altamira Studio Teatret, 140, 253, Ashes and Diamonds (film), 105 254 As if, 26, 27, 33, 34, 99, 189, 226 America, See USA Autonomy, 3, 25, 61, 67, 90, 110, American Laboratory Theatre, 5, 7, 130, 141, 145, 154–156, 157, 219 162, 163, 164, 201, 217, 236 Anabasis, 207, 208, 255 Anthropology, xxiii, 12, 26, 27, 34, 40–41, 53, 57, 58, 90, 91, 122, B 150, 152, 169, 184, 193, 195, Ba, 224–225 220 Bali, 38, 190, 250 theatre anthropology, 12, 26, 34, Ballet, x, 27, 36, 131, 190, 298 40–41, 53, 57, 58, 90, 91, 122, Barba, Ernesto, 93, 97

Barba, Eugenio, xix, xvii, xxii, xxiv, xxvii, 131, 132, 135, 139, 142, 142, xxix, 1, 12, 16–18, 20–22, 24–29, 144, 145, 149, 150, 153, 157, 35, 38, 41, 46, 50, 52, 53, 56, 158, 162, 163, 164, 165, 175, 59, 66, 72, 73, 85, 86, 89–111, 180, 185–187, 203–212, 113–118, 121–126, 136–138, 140, 243–245, 250, 251, 255 146, 147, 150, 159–161, 166, Cassandra, 204, 209 175, 180, 184–190, 192, 195– Caulonia, 191 198, 200, 201, 203, 207, 223, Centre for Theatre Laboratory Studies 243–245, 247–249, 253, 254 (CTLS), xiii, 25, 150, 248 Barter, xxiv, 49, 61, 89, 91, 146, 196, Chaplin, Charlie, 210 248, 249, 251 Charlot, 210 Bielefeld, 211 Chekhov, Anton, 37 Bildung, 75, 118 Chekhov, Mikhail, 39 Bogotá City, 138 Chile, 149, 170–172, 174, 178, 179, Bohr, Niels, 6 250, 252, 253 Boleslavski, Richard, 5, 7 Chimamanda, Adichie, 114 Bonifati, Giuseppe, 146, 147 Christoffersen, Erik Exe, xxiv, 72, 87, Borodinskaya Street Studio, 4, 7 88, 119, 151, 155, 203, 243, Bottega, 8–10, 233 244, 251 Bovin, Mette, 210 Chronic Life, The, 22, 59, 124, 159 Brando, Marlon, 116 Clurman, Harold Edgar, 7 Brazil/Brasil, 138, 170, 211, 247–250, Colombia, 170 254, 255 Come! And the day will be ours, 204, Bread and Puppet Theatre, 205 255 Brecht’s Ashes, 204, 211 Coppola, Francis Ford, 116 Bredholt, Kai, xxiii, 32, 45–49, 54, 59, Cots, Toni, 21 62–68, 70, 72, 74, 76, 79, 104, Crawford, Cheryl, 7 116, 244, 245, 249, 250, 252 Creativity, xvii, xviii, xxvii, xxx, 12, 27, Brenner Pass, 100 31, 37, 49, 68, 72, 83–89, 95, Bridge of Winds, The, 23, 59, 69, 138, 110, 118, 131, 135, 141, 152, 251, 252 162, 186, 194, 198, 200, 201, Brie, César, 21, 24 204, 205, 215–217, 220, 225, Brook, Peter, xxii, 199, 224 233, 243, 245 Butoh, 151, 250 Cuba, 131, 247, 254 Buyo, 192, 193, 250 Cumbia, 170, 175

C D Capri, 100 Danish Royal Library, 150 Carreri, Roberta, xxviii, 16, 19, 20, Delsarte, François, 190 45, 46, 50, 53, 55–57, 60, 61, Denmark, 7, 17, 46, 47, 50, 54, 79, 64, 66–74, 76–78, 89, 114, 115, 92, 108, 113, 121, 134, 146, INDEX 259

171–175, 196, 203, 205, 208, Gonzales, Naira, 21, 24 211, 248–251, 253, 254 Gospel according to Oxyrhincus, The, Dennis The Wolf, 204, 211 204, 210 Dewey, John, 74, 75, 77, 123, 124, Greco, Franco Carmelo, xxiii, xxiv 149, 226, 228, 231, 236 Gripich, 7 Diderot, Denise, 34–36 Grotowski, Jerzy, vii, x, xiii, xxii, 6, 7, Don Giovanni all’inferno, 139 12, 16, 18, 24, 26, 28, 40, 41, Downs, Lila, 170 52, 53, 73, 85, 105–107, 162, Drama, ix, xxi, xxii, xxvi, xxix, 4, 7, 203, 216, 248, 249, 255 17, 18, 41, 109, 160, 164, 172, Group Theatre, 5, 7 217–220, 237, 254 in education, 217–220 Dresden, 131, 247 H Half of a Yellow Sun, 114 Hamlet, 211 E Hanayagy, Kanichi, 192, 193 Ecuador, 188 Heinrich, Falk, 21 Estrangement, 196 Holstebro, xiii, 7, 17, 18, 20, 50, Ethnoscenology, 193–195 90, 108, 113, 115, 124, 138, Ethnoscience, 194 145, 146, 150, 151, 171, 203, Europe, 1, 100, 251, 253 207, 243, 248, 250, 251, 253, 254

F Falletti, Clelia, xxiv, 193 I Fara Sabina, 191 Iaiza, Raúl, 255 Farfa, 252 Iceland, 218 Ferslev, Jan, 135 India, 38, 85, 163, 171, 174, 175, First studio, 5, 7, 11, 12 181, 248, 250, 252, 253 Flaszen, Ludwik, 7, 106 Informal learning, xxii, 48, 95, 105, Floris, Elena, 216, 217, 221 Flying, 113 Inside the skeleton of the whale, 204, Fo, Dario, xxii, 203 209, 212, 253 Formal learning, xxvi, 94, 95, 154 Institute of the Actor, The—Teatr Fowler, Richard, 21 Laboratorium, 7 Frankenstein, Victor, 199, 200 International School of Theatre Anthropology (ISTA), xiii, 22, 25, 58, 146, 190, 196, 203, 204, G 211, 248–250, 254 Germany, 75, 131, 211, 247, 248, 254 Italy, xxi, xxii, xxiii, 6, 7, 46, 50, 85, Geronimo, 205–211 92–96, 100, 105, 121, 146, 185, Gertrude, 211, 254 188, 190–193, 195–197, 203, Goldoni, Carlo, 195 205–208, 211, 248, 250, 253–255 260 INDEX

J Mephistopheles, 211 Jason, 146 Meyerhold, Vsevolod, xxii, 3, 4, 7, 11, Jasonites, 23, 25, 67, 145–148, 232 12, 162 Jivaroan, 188 Mezirow, Jack, 119–121 Judith Million, The, 204 character, 204, 209, 211 Mind-body, xxvii, 1, 26–32, 66, 201 performance, 209, 250 Min Fars Hus, 113 Miura, Hisako, 24, 254 Møn, 205, 207 K Monsalve, Sofia, 22 Kabuki, 192, 193 Moscow, 4, 7, 106 Kalaripayattu, 163, 252 Moscow Art Theatre (MAT), 4, 7, 11 Kaosmos, 22, 24, 32, 204, 210, 212 Multicultural Space, The, 196 Kathakali, 190, 248 Muses, 200 Kazan, Elia, 7 Music and Drama Studio, 4, 7 Keaton, Buster, 207, 210 Mythos, 188, 189, 204, 210, 211 Kitt, Donald, 21, 45 KOURMASTSEP, 4, 7 Kumar, Karnan, 175, 180, 181 N Nanaogi, Sae, 192 Naples, vii, xxi, 96, 100 L Nemirovich-Danchenko, Vladimir, 4, La Camera, Claudio, xxiii 7, 11 Lamezia Terme, 191 New York, 5, 7 Landsted, Inger, 113 Nielsen, Tina, 24, 211 Larsen, Tage, 21, 24, 146, 186, 208 Nishida, Kitaro, 225 Laukvik, Else Marie, 135, 180 Nô, 190 Lewis, Robert, Nordisk Teaterlaboratorium (NTL), Linea Trasversale, 195–197 xii, 7, 22, 25, 90, 91, 146, 147, Londrina, 211 190, 250 Lost in the Forest, 138 Norway, 16, 17, 46, 50, 94, 102, 105, Ludvigsen, Christian, 17 109, 113, 121, 248, 251 Nunes, Marilyn, xxxiv, 129–131, 133–136, 138, 151, 153–155, M 158, 159, 244, 245, 252, 254 Madama Butterfly, 197 Nunziatella, 96 Marriage of Medea, The, 21, 25, 146 Martinelli, Marco, 187, 188 Maslow, Abraham, 219 O Mchedelov, Vakhtang L., 7 Odin Teatret Archives (OTA), xiii, Medea, 174 xxxiv, 150, 189, 190 Meldolesi, Claudio, xxiv, 187, 193 Odin Week, 64, 132, 138, 144, 250 INDEX 261

Odissi, 29 R OECD, 218 Rasmussen, Iben Nagel, xxxiii, 19, 21, Officina, 198 23, 24, 29, 45, 46, 50, 55, 59, Ohno, Kazuo, 151, 250 61, 62, 65, 68, 69, 73, 74, 89, Omolú, Augusto, 22, 70, 135, 146, 115, 116, 138, 189, 206, 244, 175, 177, 180 245, 251–252 Opole, vii, 7, 105, 106, 248 Raznatovic, Zeljko, see Arkan (Zeljko Ornitofilene, 189 Raznatovic) Oshima, Mark, 192 Reggio Calabria, 191 Oslo, vii, ix, 16, 17, 102, 107, 108, Renaissance, xvii, xxvii, 1, 3, 8–11, 14, 248, 251 15 Ouspenskaia, Maria, 5, 7 Research, xii, xiii, xxi, xxiv–xxix, xxx, xxxiii, xxxix, 2, 5–9, 14–16, 19, 22, 24, 26, 30, 52, 53, 63, 72, 88, 91, P 107, 109, 112, 113, 116, 120, 131, Padova, 191 143, 149, 150, 152–154, 158–160, Paratheatre, 6, 12 166, 173, 174, 177, 189, 190, 192, Pardeilhan, Francis, 21 194, 195, 197, 199, 201, 204, 218, Parra, Violeta, 179 220, 221, 228, 230, 232, 234, 235, Passeportout, 146 237, 243, 252, 255 Peking opera, 190 Ricciardelli, Silvia, 21, 205 Pizarro, Carolina, xxviii, xxxiv, 22, 62, Rogers, Carl, 219 120, 129–131, 135, 139, 142–144, Rohmer, Eric, 226 149, 153, 154, 157, 162–166, Ruffini, Franco, 193, 195, 197–199 169–181, 244, 245, 250, 252–253 Russia, 3, 5, 7, 14 Pizarro, Edson, 177 Poland, vii, 6, 7, 16, 85, 94, 105, 107, 248, 255 S Polka, 176 Sats, 66, 196 Polly Peachum, 204 Savarese, Nicola, xxiv, 29, 38, 39, 113, Pompa, Pierangelo, xxxiv, 15, 124, 125, 150, 193, 197, 249 129–132, 135, 136, 138–141, Saxe-Meininger, Duke of, 36 151, 159, 161, 245, 253–254 Scandinavia, 18, 100, 105, 217 Pontedera, 7 Schino, Mirella, xxiv, 1, 2, 5, 6, 8, 14, Pradier, Jean-Marie, 193–195 17, 52, 193, 197, 199, 200 Pre-expressive, 26, 35 Science, xiii, xxvi, 3, 6, 14, 85, 117, Primadonna, 123, 229 131, 194, 248 Proskenion, Teatro, xxiii, 196 Scilla, xxiii, xxxiii, 191–193, 195–197 Provence, 205 Scrittoio, 9 Second Studio, 7 Semiformal learning, xxviii, 95, 215, Q 221–223 Quenca, 188 Serendipity, 72, 87, 102, 105, 107–109 262 INDEX

Shakespeare, William, 195 197, 201, 204, 208, 216, 217, Shakespills, 146 232, 250–254 Shelley, Mary, 199–200 Tree, The, 113, 115, 116, 253 Shuar, 188 Tribhangi, 29 Shuster, Massimo, 205 Truth, 32–41, 111, 159 Siberia, 108 Sipario, 105 Stanislavski, Constantin U method, 5 Ubeda, Isabel, 21, 22, 24 system, 5, 37, 122, 158 Umeå, 211 Stanza, 9 UNESCO, 105, 218 Strasberg, Lee, 5–7, 12 University of Eurasian Theatre (UTE), Strøm, Odd, 206 xiii, xxiv, xxvii, xxviii, xxxiii, 58, Studinnost, 14 183, 189–202 Studio, xvii, xxvii, 1–6, 8–12, 14, 15, Ur-Hamlet, 21, 139, 146, 151 36, 37, 104, 215, 220, 226–228 USA, 5, 7, 122, 248, 250 Studio Theatre, 3, 4, 7 UTE, see University of Eurasian Sykes, Leo, 24 Theatre

T V Talabot, xxii, 21, 24 Vakhtangov, Yevgeny, 5, 7, 39, 106 Taviani, Nando, 193, 197 Varley, Julia, xxxiii, 19–24, 31, 45, 46, Teatr Laboratorium, 7 50, 53–56, 59–62, 65–76, 78, 80, Teatr Laboratorium Teatr 13 Rzedóv, 7 89, 114, 115, 121, 132–134, Teatro all’italiana, 9 136, 138, 139, 146, 147, 149, Teatro delle Albe, 188 169, 170, 175, 180, 186, 187, Teatr 13 Rzedóv, 7 192, 193, 200, 201, 243–245, Theatre-Studio, see Studio Theatre 247, 252–255 Theatrum Mundi, 22, 211, 249, 250, Varotto, Giulia, xxxiv, 120, 129, 131, 252 142, 154, 158, 161–165, 244, Third Studio, 7 245, 250, 255 Third Theatre, 57, 90, 92, 192, 195, Verisimilitude, 33, 34, 36, 38 196, 223 Vian, Boris, 204 Torp, Jan, 205, 207 Vygotsky, Lev, xxviii, 84, 122–124, Training, ix, x, xxiii, 10, 13, 18–22, 228, 229 24, 27, 29, 30, 35–37, 39, 46, 60, 61, 65, 66, 71, 75, 87, 93, 94, 96, 97, 132, 135, 136, 138, 140, W 142, 146, 150, 152, 153, 156, Wajda, Andrzej, 105, 106 160, 162, 163, 170, 174, 175, Wanson, Lorent, 174, 253 180, 181, 185, 187, 189, 193, Warsaw, 105, 248, 249 INDEX 263

Wethal, Torgeir, 21, 24, 31, 59, 186, Y 187, 251 Yanomami, 206 White as Jasmine, 189 Yvette Poitier, 204 Wilson, Robert, 197 Winnie, Eigil, 101 Winther, Frans, 197 Z Woolf, Ana, 125, 254 Zavadskij, Jurij, 106 Workcenter, 7