Journal of Theatre Anthropology
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Barba, the Third Theatre and the Discovery of Theatre Anthropology
Full text linkThis is the text of a lecture which was given by Marco De Marinis at the 3rd International Conference on Theatre Anthropology, "Odin Teatret and Theatre Anthropology in Greece", 17 and 18 March 2023. The conference was organised by: Theatre Laboratory of Drama and Speech Department of Theatre Studies; Co-organisers: Centre of Theatre Anthropology, Heraklion-Crete, Fondazione Barba Varley, University of Patras, Science and Technology Museum. De Marinis's speech highlights parallels and complementarities between the notion of Third Theatre, Theatre Anthropology and the genesis of ISTA, establishing that Barba's writings relating to Third Theatre address the issues of "why" and "for whom" theatre is done, while those relating to theatre anthropology question the "how", and therefore the techniques. Furthermore, the Italian scholar defines theatre anthropology as a discovery deriving from the work carried out by directors-pedagogues during the 20th century and from the work of actors who, at a pre-expressive level, do not learn to interpret or act but build their stage presence. Finally, after having defined the extra-daily techniques as those that the actor applies to put in practice the pre-expressive principles, De Marinis outlines three lessons that he learned by participating over twenty years in several ISTA sessions
Once Upon a Time There Was Theatre and Once Upon a Time There Was Anthropology
Full text linkThis is a lecture by Piergiorgio Giacchè at the 3rd International Conference on Theatre Anthropology, "Odin Teatret and Theatre Anthropology in Greece", 17 and 18 March 2023. The conference was organised by: Theatre Laboratory of Drama and Speech Department of Theatre Studies; Co-organisers: Centre of Theatre Anthropology, Heraklion-Crete, Fondazione Barba Varley, University of Patras, Science and Technology Museum. In his speech, Giacchè traces a history of the relationship between theatre and anthropology, calling into question, in addition to those of Barba, the theoretical contributions of important scholars such as Goffman, Turner and Schechner
The Future of Ritual
Full text linkIn an attempt to define what "ritual" is, Schechner denotes in ritual actions, both human and animal, a similarity with those that emerge in the artistic performance field. The American scholar identifies elements such as violence and sexuality in rituals and characterizes the ritual itself as the dynamic capable of dealing with social crises that overturn culturally recognized systems and hierarchies. Furthermore, following Turner – and reviewing ethological and neurological points of view – Schechner recognizes ritual as having a creative property, which not only contains traditional cultural behaviors but is capable of generating new images, ideas and practices. This article has been published in several versions, undergoing several transformations: it appeared firstly as the inaugural essay of the Journal of Ritual Studies 1 (1), 1987, pp. 5-34; other fragments of it appear in Victor Turner's Last Adventure, an essay published both in Anthropologica 27 (1-2), 1985, pp. 190-206 and as introduction for Turner's book The Anthropology of Performance (1986). Another full version of this writing is published in the Schechner's volume which takes up the title of the article itself: The Future of Ritual: Writings on Culture and Performance (Routledge, London and New York 1993, pp. 228-265)
The place of the possible
Full text linkThe essay was published in Italian in Tecniche della rappresentazione e storiografia (1992), which collected material from the 6th session of ISTA held in Bologna in 1990. This text by Cruciani in the year of his death (1992) can be considered a summa of his continuous questioning on the not ephemeral nature of theatre and on the system of symmetries that he established existed between theatre practices and historiographic research. The author reflects how theatre is a field of investigation and argues why, from his point of view, theatre studies should be in a dialectical relationship with social, pedagogical, artistic, anthropological and historical studies. He identifies one of the values of theatre in its being a long-lasting category owing "its continuity and persistence in history because it does not produce works, but rather ways of operating"
Ombre Claire
Full text linkIllustrated by many photographs, this article aims to identify the stage presence principles used by Claire Heggen in the creation of her solo performance Ombre Claire with particular attention given to the relationship between the performer and the puppet she gives life to. As a pupil of Etienne Decroux, Claire Heggen remembers and transforms the terminology of Corporeal Mime maintaining its rigorous technical references within a poetical context
Tribu por afinidad
Full text linkThis is a talk given by Aline Menassé, one of the founders of Teatro Laboratorio La Rueca, at the meeting of the Secret People of Odin Teatret on occasion of the celebration of Odin Teatret's 60th anniversary organised by Jaime Soriano - LARTES. The reflection on Third Theatre and its resonances in Mexico, with Eugenio Barba and special guests, took place at the UNAM, Mexico City, 7 February 2024
A Candle Lit: Among the Pages of Books
Full text linkThis article is a chronicle on ISTA Bologna 1990 touching on different aspects of the session. It was first published in 1992 in English in Women and Theatre – Occasional Papers (Warwick University); in Spanish in Máscara, a. II, n. 9-10; and in Italian in Teatro Eurasiano, n. 2. In 1994 and 1996 the article was included in the anthologies about ISTA, The Tradition of ISTA (FILO-ISTA, Londrina 1994), and in The Performers Village (Drama, Copenhagen)