A Dictionary of Theatre Anthropology: The Secret Art of the Performer
ARBA, Eugenio; SAVARESE, Nicola
1999
Autor(es): BARBA, Eugenio; SAVARESE, Nicola
Título: A Dictionary of Theatre Anthropology: The Secret Art of the Performer
Publicação: London: Routledge, 1999
ISBN: 0-415-05308-0
Assunto(s):
Teatro -- Antropologia
Dança
Índice | Table of Contents | Table des Matières
PREFACE — Eugenio Barba vii
INTRODUCTION
THEATRE ANTHROPOLOGY — Eugenio Barba - 8
Similar principles, different performances – 8
Lokadharmi and Natyadharmi - 9
Balance in action - 10
The dance of oppositions - 12
The virtue of omission - 13
Intermezzo - 15
A decided body - 17
A fictive body - 19
A million candles - 20
THE DICTIONARY A to Z - 23
ANATOMY
CAN THE SEA RISE ABOVE THE MOUNTAIN TOPS? — Nicola Savarese - 24
APPRENTICESHIP
OCCIDENTAL EXAMPLES — Fabrizio Cruciani - 26
Founding fathers and pedagogical theatre at the beginning of the century - 26
Creative process, theatre school and theatre culture - 26
Author's pedagogy - 28
ORIENTAL EXAMPLES — Rosemary Jeanes Ante - 30
Guru as parent, honoured preceptor - 30
Guru-Kula, study in the guru's home - 31
Guru-dakshina, gifts and fees - 32
Ekalavya, disciple extraordinaire - 32
Guru-shishya-parampara - 33
BALANCE
Extra-daily balance - 34
Luxury balance - 34
Extra-daily technique: the search for a new posture - 36
Generalisations regarding balance - 38
Balance in action - 40
Steel and cotton - 41
Why does the performer aim for a luxury balance? What does the performer's alteration of balance mean for the spectator? – 44
Balance and imagination - 46
Brecht's unknown dance – 50
DILATION
THE DILATED BODY — Eugenio Barba - 54
The bridge - 55
Peripeteias - 56
The negation principle - 57
To think the thought - 58
Twin logics - 60
Seven-gated Thebes - 61
THE DILATED MIND — Franco Ruffini - 64
DRAMATURGY
ACTIONS AT WORK — Eugenio Barba - 68
ENERGY
Kung-Fu - 74
Energy and continuity - 76
Koshi, Ki-hai, bayu - 77
Animus, Anima - 79
Keras and Manis - 83
Lasya and tandava - 84
Santai, the actor's three bodies - 86
Tame - 88
Energy in space and energy in time - 88
Braking the action - 90
The performer's presence - 94
EQUIVALENCE
The equivalence principle - 95
Dhanu: archery in Indian Odissi dance - 98
How one shoots an arrow in Japanese Kyogen theatre - 100
Shooting a how - 102
FACE AND EYES
Physiology and codification - 104
The concrete gaze - 106
The action of seeing - 109
Shovving that one is seeing - 110
The natural face - 114
The painted face - 116
The provisional face - 118
FEET
Microcosm, Macrocosm - 120
On point - 122
Foot grammar - 126
HANDS
Physiology and codifica tion of the hands - 130
The hands: pure sound or silence – 132
How to invent hands in movement - 134
India: hands and meaning - 136
Hands and the Peking opera - 138
Hands and Balinese dance - 139
Hands and the Japanese theatre - 140
Hands and classical dance - 141
An example from contemporary theatre - 142
HISTORIOGRAPHY
ENERGETIC LANGUAGE — Ferdinando Taviani - 144
Henry Irving under the microscope - 145
Living marble - 146
Underneath Harlequin's costume - 148
STANISLAVSKI'S 'SYSTEM' — Franco Ruffini - 150
Stanislavski's words - 150
'The simplest human condition': the organic body-mind - 150
The mind makes demands: Perezhivanie - 151
The body responds appropriately: personification - 151
Organic body-mind, character, role - 152
Conditions for meaning and the pre-expressive level - 152
MEYERHOLD: THE GROTESQUE; THAT IS, BIOMECHANICS — Eugenio Barba - 154
A plasticity which does not correspond to the words - 154
The grotesque - 155
Biomechanics - 156
MONTAGE
THE PERFORMER'S MONTAGE AND THE DIRECTOR'S MONTAGE — Eugenio Barba - 158
The performer's montage - 160
The director's montage - 160
Further montage of the director - 162
NOSTALGIA
NOSTALGIA OR THE PASSION FOR A RETURN — Nicola Savarese - 165
OMISSION
Fragmentation and reconstruction - 171
The virtue of necessity - 173
To perform absence - 174
The virtue of omission - 175
OPPOSITION
The dance of oppositions - 176
The beauty line - 180
Tribhangi, or the three arches - 181
The shadow test - 184
PRE-EXPRESSIVITY
Totality and its levels of organization - 186
Inculturation and acculturation technique - 189
Codification in the Orient and the Occident - 192
The fictive body - 195
Martial arts and theatricality in the Orient - 197
Martial arts and theatricality in the Occident - 200
The spectator's pre-interpretation - 203
Body architecture - 204
RESTORATION OF BEHAVIOUR
RESTORATION OF BEHAVIOUR — Richard Schechner - 205
Bharatanatyam - 206
Purulia Chhau - 207
Trance and dance in Bali - 210
RHYTHM
Carved time - 211
Jo-ha-kyu - 214
Biological motions and the body's micro-rhythms - 215
Meyerhold: rhythm is essential - 216
SET AND COSTUME DESIGN
The costume is the set - 218
Daily clothing, extra-daily costume - 225
The water sleeves - 226
TECHNIQUE
The notion of body techniques - 227
Biographical list of body techniques — Marcel Mauss - 227
The spine: energy's helm - 232
The silent scream - 234
PRAGMATIC LAWS —Jerzy Grotowski - 236
Sats - 236
Logos and Bios - 237
TEXT AND STAGE
THE CULTURE OF THE TEXT AND THE CULTURE OF THE STAGE — Franco Ruffini - 238
The sound of two hands clapping - 238
'Poor' text and 'rich' stage - 239
Dramaturgy - 241
Role type and character - 242
TRAINING
FROM 'LEARNING' TO 'LEARNING TO LEARN' — Eugenio Barba - 244
The myth of technique - 244
A decisive phase - 244
Total presence - 244
The period of vulnerability - 246
TRAINING
INTERCULTURALLY — Richard Schechner - 247
TRAINING AND THE POINT OF DEPARTURE — Nicola Savarese - 249
Preliminary considerations - 249
Exercise models - 250
Acrobatics - 251
Training with the master - 254
VIEWS
VIEWS OF THE PERFORMER AND THE SPECTATOR — Ferdinando Taviani - 256
THE SECRET ART OF THE PERFORMER - 268
ACKNOWLEDGEMENTS
ISTA: INTERNATIONAL SCHOOL OF THEATRE ANTHROPOLOGY – 270
CENTRE FOR PERFORMANCE RESEARCH - 271
ILLUSTRATION SOURCES - 272
Autor(es): BARBA, Eugenio; SAVARESE, Nicola
Título: A Dictionary of Theatre Anthropology: The Secret Art of the Performer
Publicação: London: Routledge, 1999
ISBN: 0-415-05308-0
Assunto(s):
Teatro -- Antropologia
Dança
Índice | Table of Contents | Table des Matières
PREFACE — Eugenio Barba vii
INTRODUCTION
THEATRE ANTHROPOLOGY — Eugenio Barba - 8
Similar principles, different performances – 8
Lokadharmi and Natyadharmi - 9
Balance in action - 10
The dance of oppositions - 12
The virtue of omission - 13
Intermezzo - 15
A decided body - 17
A fictive body - 19
A million candles - 20
THE DICTIONARY A to Z - 23
ANATOMY
CAN THE SEA RISE ABOVE THE MOUNTAIN TOPS? — Nicola Savarese - 24
APPRENTICESHIP
OCCIDENTAL EXAMPLES — Fabrizio Cruciani - 26
Founding fathers and pedagogical theatre at the beginning of the century - 26
Creative process, theatre school and theatre culture - 26
Author's pedagogy - 28
ORIENTAL EXAMPLES — Rosemary Jeanes Ante - 30
Guru as parent, honoured preceptor - 30
Guru-Kula, study in the guru's home - 31
Guru-dakshina, gifts and fees - 32
Ekalavya, disciple extraordinaire - 32
Guru-shishya-parampara - 33
BALANCE
Extra-daily balance - 34
Luxury balance - 34
Extra-daily technique: the search for a new posture - 36
Generalisations regarding balance - 38
Balance in action - 40
Steel and cotton - 41
Why does the performer aim for a luxury balance? What does the performer's alteration of balance mean for the spectator? – 44
Balance and imagination - 46
Brecht's unknown dance – 50
DILATION
THE DILATED BODY — Eugenio Barba - 54
The bridge - 55
Peripeteias - 56
The negation principle - 57
To think the thought - 58
Twin logics - 60
Seven-gated Thebes - 61
THE DILATED MIND — Franco Ruffini - 64
DRAMATURGY
ACTIONS AT WORK — Eugenio Barba - 68
ENERGY
Kung-Fu - 74
Energy and continuity - 76
Koshi, Ki-hai, bayu - 77
Animus, Anima - 79
Keras and Manis - 83
Lasya and tandava - 84
Santai, the actor's three bodies - 86
Tame - 88
Energy in space and energy in time - 88
Braking the action - 90
The performer's presence - 94
EQUIVALENCE
The equivalence principle - 95
Dhanu: archery in Indian Odissi dance - 98
How one shoots an arrow in Japanese Kyogen theatre - 100
Shooting a how - 102
FACE AND EYES
Physiology and codification - 104
The concrete gaze - 106
The action of seeing - 109
Shovving that one is seeing - 110
The natural face - 114
The painted face - 116
The provisional face - 118
FEET
Microcosm, Macrocosm - 120
On point - 122
Foot grammar - 126
HANDS
Physiology and codifica tion of the hands - 130
The hands: pure sound or silence – 132
How to invent hands in movement - 134
India: hands and meaning - 136
Hands and the Peking opera - 138
Hands and Balinese dance - 139
Hands and the Japanese theatre - 140
Hands and classical dance - 141
An example from contemporary theatre - 142
HISTORIOGRAPHY
ENERGETIC LANGUAGE — Ferdinando Taviani - 144
Henry Irving under the microscope - 145
Living marble - 146
Underneath Harlequin's costume - 148
STANISLAVSKI'S 'SYSTEM' — Franco Ruffini - 150
Stanislavski's words - 150
'The simplest human condition': the organic body-mind - 150
The mind makes demands: Perezhivanie - 151
The body responds appropriately: personification - 151
Organic body-mind, character, role - 152
Conditions for meaning and the pre-expressive level - 152
MEYERHOLD: THE GROTESQUE; THAT IS, BIOMECHANICS — Eugenio Barba - 154
A plasticity which does not correspond to the words - 154
The grotesque - 155
Biomechanics - 156
MONTAGE
THE PERFORMER'S MONTAGE AND THE DIRECTOR'S MONTAGE — Eugenio Barba - 158
The performer's montage - 160
The director's montage - 160
Further montage of the director - 162
NOSTALGIA
NOSTALGIA OR THE PASSION FOR A RETURN — Nicola Savarese - 165
OMISSION
Fragmentation and reconstruction - 171
The virtue of necessity - 173
To perform absence - 174
The virtue of omission - 175
OPPOSITION
The dance of oppositions - 176
The beauty line - 180
Tribhangi, or the three arches - 181
The shadow test - 184
PRE-EXPRESSIVITY
Totality and its levels of organization - 186
Inculturation and acculturation technique - 189
Codification in the Orient and the Occident - 192
The fictive body - 195
Martial arts and theatricality in the Orient - 197
Martial arts and theatricality in the Occident - 200
The spectator's pre-interpretation - 203
Body architecture - 204
RESTORATION OF BEHAVIOUR
RESTORATION OF BEHAVIOUR — Richard Schechner - 205
Bharatanatyam - 206
Purulia Chhau - 207
Trance and dance in Bali - 210
RHYTHM
Carved time - 211
Jo-ha-kyu - 214
Biological motions and the body's micro-rhythms - 215
Meyerhold: rhythm is essential - 216
SET AND COSTUME DESIGN
The costume is the set - 218
Daily clothing, extra-daily costume - 225
The water sleeves - 226
TECHNIQUE
The notion of body techniques - 227
Biographical list of body techniques — Marcel Mauss - 227
The spine: energy's helm - 232
The silent scream - 234
PRAGMATIC LAWS —Jerzy Grotowski - 236
Sats - 236
Logos and Bios - 237
TEXT AND STAGE
THE CULTURE OF THE TEXT AND THE CULTURE OF THE STAGE — Franco Ruffini - 238
The sound of two hands clapping - 238
'Poor' text and 'rich' stage - 239
Dramaturgy - 241
Role type and character - 242
TRAINING
FROM 'LEARNING' TO 'LEARNING TO LEARN' — Eugenio Barba - 244
The myth of technique - 244
A decisive phase - 244
Total presence - 244
The period of vulnerability - 246
TRAINING
INTERCULTURALLY — Richard Schechner - 247
TRAINING AND THE POINT OF DEPARTURE — Nicola Savarese - 249
Preliminary considerations - 249
Exercise models - 250
Acrobatics - 251
Training with the master - 254
VIEWS
VIEWS OF THE PERFORMER AND THE SPECTATOR — Ferdinando Taviani - 256
THE SECRET ART OF THE PERFORMER - 268
ACKNOWLEDGEMENTS
ISTA: INTERNATIONAL SCHOOL OF THEATRE ANTHROPOLOGY – 270
CENTRE FOR PERFORMANCE RESEARCH - 271
ILLUSTRATION SOURCES - 272