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2 EUGENIO BARBA
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7 Routledge Performance Practitioners is a series of introductory
8111 guides to the key theatre-makers of the last century. Each volume
9 explains the background to and the work of one of the major influences
20111 on twentieth- and twenty-first-century performance.
1 These compact, well-illustrated and clearly written books will
2 unravel the contribution of modern theatre’s most charismatic innova-
3 tors. Eugenio Barba is the first book to combine:
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• an overview of Barba’s work and that of his company, Odin Teatret
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• exploration of his writings and ideas on theatre anthropology, and
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his unique contribution to contemporary performance research
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• in-depth analysis of the 2000 production of Ego Faust, performed
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at the International School of Theatre Anthropology
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• a practical guide to training exercises developed by Barba and the
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actors in the company.
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2 As a first step towards critical understanding, and as an initial ex-
3 ploration before going on to further, primary research, Routledge
4 Performance Practitioners are unbeatable value for today’s
5 student.
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7 Jane Turneris Principal Lecturer in the Department of Contemporary
8 Arts and the programme leader for BA (Hons) Contemporary Theatre
3911 and Performance at Manchester Metropolitan University.
ROUTLEDGE PERFORMANCE
PRACTITIONERS
Series editor: Franc Chamberlain, University College Northampton
Routledge Performance Practitioners is an innovative series of intro-
ductory handbooks on key figures in twentieth-century performance
practice. Each volume focuses on a theatre-maker whose practical and
theoretical work has in some way transformed the way we understand
theatre and performance. The books are carefully structured to enable
the reader to gain a good grasp of the fundamental elements under-
pinning each practitioner’s work. They will provide an inspiring spring-
board for future study, unpacking and explaining what can initially
seem daunting.
The main sections of each book cover:
• personal biography
• explanation of key writings
• description of significant productions
• reproduction of practical exercises.
Volumes currently available in the series are:
Eugenio Barbaby Jane Turner
Augusto Boalby Frances Babbage
Michael Chekhovby Franc Chamberlain
Anna Halprinby Libby Worth and Helen Poynor
Jacques Lecoqby Simon Murray
Vsevolod Meyerholdby Jonathan Pitches
Konstantin Stanislavskyby Bella Merlin
Future volumes will include:
Pina Bausch
Bertolt Brecht
Peter Brook
Etienne Decroux
Jerzy Grotowski
Joan Littlewood
Ariane Mnouchkine
Lee Strasberg
Robert Wilson
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EUGENIO
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8111 Jane Turner
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First published 2004
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Simultaneously published in the USA and Canada
by Routledge
270 Madison Ave, New York, NY 10016
Routledge is an imprint of the Taylor & Francis Group
This edition published in the Taylor & Francis e-Library, 2005.
“To purchase your own copy of this or any of Taylor & Francis or Routledge’s
collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.”
© 2004 Jane Turner
All rights reserved. No part of this book may be reprinted
or reproduced or utilised in any form or by any electronic,
mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information
storage or retrieval system, without permission in writing
from the publishers.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from
the British Library
Library of Congress Cataloging in Publication Data
Turner, Jane, 1960 Nov. 21–
Eugenio Barba/Jane Turner.
p. cm. – (Routledge performance practitioners)
Includes bibliographical references and index.
1. Barba, Eugenio – Criticism and interpretation. 2. Odin Teatret.
I. Title. II. Series.
PN2688.B33T87 2004
792.02′33′092–dc22 2004004779
ISBN 0-203-32012-3 Master e-book ISBN
ISBN 0–415–27327–7 (hbk)
ISBN 0–415–27328–5 (pbk)
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2 CONTENTS
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8111 List of figures vii
9 Acknowledgements ix
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1 1 BUILDING A ‘SMALL TRADITION’ 1
2 The beginning of the journey 2
3 In search of a lost theatre 3
4 Building his own ‘home’ 6
5 Politics and resisting the ‘spirit of the times’ 7
6 A side-step look at ritual 8
7 Theatre as an ‘empty ritual’ 9
8 Actors as floating islands 10
9 A ‘small tradition’ and NTL 11
30111 A ‘small tradition’ and training 13
1 Odin and the idea of ‘Third Theatre’ 16
2 ‘Third Theatre’ as a global network 16
3 The travelling time 18
4 ISTA: the International School of Theatre Anthropology 20
5 Eurasian Theatre 22
6 Festuge 23
7 What is it to be an actor? 24
8 Training seasons and scores 25
3911 Dramaturgy 31
vi CONTENTS
To recap 37
The present 38
A final thought 40
2 JOURNEYS BY CANOE 41
An impulse to act differently 46
In pursuit of cultural performances 47
Definitions and principles 48
Energy and life in theatre 49
Questions and criticisms 57
Energy or, rather, the thought 58
‘Paths of thought’ 61
Leaps of thought and a search for meaning 63
Building our own theatre 66
‘Canoes, butterflies and a horse’ 72
A final thought 74
3 A SPECTATOR’S VIEW OF EGO FAUST 75
Synopsis of the Ego Faustperformance 76
Purpose of analysis 81
Pavis’s model 86
Final thoughts 105
4 PRACTICAL EXERCISES 109
Section 1: training 112
Section 2: developing material 127
Section 3: lay ering textual material – creating and
working with performance scores 137
Section 4: applying the Odin approach to a text –
working with a play text 144
Glossary 149
Bibliography 161
Index 167
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2 FIGURES
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8111 1.1 Eugenio Barba, ISTA, 2000 2
9 1.2 Roberta Carreri, Julia Varley, Tage Larsen and Iben Nagel
20 Rasmussen in Mythos, 1993 35
1 2.1 Julia Varley as Doña Musica in Doña Musica’s Butterflies 44
2 2.2 Julia Varley as Doña Musica in Kaosmoswith Jan Ferslev 45
3 2.3 Iben Nagel Rasmussen in action during the work
4 demonstration Whispering Winds 51
5 2.4 Julia Varley demonstrating the idea of oppositions
6 during the work demonstration The Dead Brother 53
7 2.5 Kanichi Hanaya gi teaching a class during a ‘closed’
8 session at ISTA, 2000 70
9 3.1 Roberta Carreri and I Nyoman Budi Artha in ‘The Tragedy
30111 of Gonzalez’ in Ego Faust 79
1 3.2 Kanichi Hanayagi and Sae Nanaogi performing at ISTA,
2 2000 80
3 3.3 Finale of Ego Faust 101
4 3.4 Kaosmos, 1993 102
5 4.1 Roberta Carreri demonstrating during a workshop in
6 the ‘closed’ session at ISTA, 2000 119
7 4.2 Roberta Carreri working, here demonstrating the idea
8 of a ‘snapshot’, 1993 125
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2 ACKNOWLEDGEMENTS
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8111 I am greatly indebted to all at Odin Teatret and would like to thank
9 them all, especially Eugenio Barba, for their generous support, time
20 and cooperation. I would also like to thank Annelis Kuhlmann and Rina
1 Skeel for their help during Odin Week 2003. Special thanks go to
2 Martin Blain and Bev Stevens for their help and encouragement
3 throughout this project. Thank you to Patrice Pavis for so generously
4 sending me the text of his ‘Intercultural Analysis’ article. Thank you
5 also to Jan Rüsz, Tony D’Urso and Fiora Bemporad for their very fine
6 photographs housed in the Odin Teatret archive and reproduced here
7 in this book. Thank y ou also to colleagues at MMU Cheshire and CTP
8 students. Finally, I would like to thank Franc Chamberlain for all his
9 help, advice and support.
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