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More About This Textbook
Overview
Containing over 650 photographs and diagrams, this lavishly illustrated and entirely original sourcebook on Western and non-Western theatre is an inspiring tribute to the secret art of the performer.
Revised and updated with fifty new photographs of the performers’ craft, bibliography and index, and three new chapters on:
The Dictionary focuses on the craft of an actor and aims to expand our knowledge of the possibilities of the scenic body, and of the spectator's response to the dynamics of performance.
It includes practical sections on balance, opposition and energy, and discusses such issues as, The Text and the Stage, The Dilated Body, and Energetic Language.
The visual essay of photographs, drawings and diagrams which runs parallel to the text is skilfully constructed to complement the textual argument and the whole Dictionary is vital reading for students of contemporary theatre theory.
Editorial Reviews
Booknews
Less a dictionary, perhaps, than a handbook for theater practitioners and a guide for students and scholars of transcultural performance--a result of ten years' research conducted by Barba and the International School of Theatre Anthropology (ISTA) based in Denmark on the underlying principles of the performer's technique. A visual essay of photographs, drawings, and diagrams complement the textual argument. A brilliant piece of work. Annotation c. Book News, Inc., Portland, OR (booknews.com)Product Details
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Meet the Author
EUGENIO BARBA (1936) Italian born, emigrated to Norway in 1954 where he worked as a welder and seaman. From 1961 to 1964, he followed Jerzy Grotowski’s work in Poland, publishing the first book about him, In Search of a Lost Theatre (1965). In 1963, after spending 6 months in India, he published an essay on kathakali, a theatre form previously unknown in the West. In 1964 he founded Odin Teatret in Oslo, transferring it in 1966 to Holstebro (Denmark) as the Nordisk Teaterlaboratorium. He has directed 32 productions which have been regularly presented in Europe, Asia, North and South America. In 1979 he founded ISTA, the International School of Theatre Anthropology, an itinerant institution with actors, dancers, musicians and scholars interested in investigating the principles of scenic presence. He has written many books and articles, amongst which The Paper Canoe. A Guide to Theatre Anthropology (Routledge 1994), Theatre: Solitude, Craft, Revolt (Black Mountain Press 1999) and Land of Ashes and Diamonds. My Apprenticeship in Poland (Black Mountain Press 1999). He has received numerous international awards and honorary doctorates.
Nicola Savarese was born in Rome. Professor at the University Romatre (Rome), he teaches History of Theatre and Performance at Department of Performing Arts. His studies deal with the complex dynamic of the meetings between Asian theatres and Occidental theatre and the contemporary performers in different contex. He as travelled widely in Asia and particularly in Japan, where he lived for two years. On the relationship between Oriental and Occidental theatres he has published, among many other works, Teatro e spettacolo fra Oriente e Occidente (Theatre and Performance Beyond the Sea, Roma 1992, translated in Spanish), Parigi/Artaud/Bali (L’Aquila 1997), Training (Roma 2004). He is permanent member of ISTA (International School of Theatre Anthropology) since its foundation and he is editor of review Teatro e storia. He was guest scholar at Getty Research Institute in Los Angeles in 1999.
Table of Contents
1. Anatomy 2. Apprenticeship 3. Balance 4. Dilation 5. Dramaturgy 6. Energy 7. Equivalence 8. Eurasian Theatre 9. Exercises 10. Face and Eyes 11. Feet 12. Hands 13. Historiography 14. Montage 15. Nostalgia 16. Omission 17. Opposition 18. Organicity 19. Pre-expressivity 20. Restoration of Behaviour 21. Rhythm 22. Set and Costume Design 23. Technique 24. Text and Stage 25. Training 26. Views