The course provides an in-depth understanding of the principles and developmental contexts of theatrical anthropology, contributing to an awareness of the interplay between practice and theory in the processes of analysis and study of the theatrical context.
teacher profile teaching materials
The actor-dancer is a pearl diver, says Eugenio Barba, founder of Odin Teatret and creator of Theatre Anthropology. Pearl divers exist in all theatrical traditions, in many performing cultures of the East and West, and in every era. What do these actor-dancers-fishermen have in common? How do they build their knowledge without sinking into the dark waters of the ocean of spectators? How do they break the stylistic features of a private identity and the spontaneous attitudes of everyday life? How do they shape the transformation of a formless flow of energy into a dynamic theatrical structure made up of signs capable of conveying meanings and emotions, in other words, of establishing a relationship? How is what Renzo Vescovi called the actor-dancer's body-orchestra constructed, with all its levels of organisation and complexity? What and how many are the paths that lead from the pre-expressive level to that particular quality of stage presence that will shake the kinesthetic sense of the viewer?
These are some of the questions that Theatre Anthropology has been asking since its foundation in 1979 during the sessions of the ISTA (International School of Theatre Anthropology). The aim of this course is to explore some of these questions. The main tool will be the analysis of this “science” which questions, studies and identifies the principles underlying the construction of the stage presence of a human being, belonging to different cultures, geographies and eras, in an organised performance situation.
What pearls will we be fishing for?
Eugenio Barba, Nicola Savarese L’arte segreta dell’attore. Un dizionario di Antropologia Teatrale, Bari, edizioni di pagina, 2005
Mutuazione: 20740042 antropologia teatrale in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 R ZEIGNER ANA MARIA
Programme
Pearl diversThe actor-dancer is a pearl diver, says Eugenio Barba, founder of Odin Teatret and creator of Theatre Anthropology. Pearl divers exist in all theatrical traditions, in many performing cultures of the East and West, and in every era. What do these actor-dancers-fishermen have in common? How do they build their knowledge without sinking into the dark waters of the ocean of spectators? How do they break the stylistic features of a private identity and the spontaneous attitudes of everyday life? How do they shape the transformation of a formless flow of energy into a dynamic theatrical structure made up of signs capable of conveying meanings and emotions, in other words, of establishing a relationship? How is what Renzo Vescovi called the actor-dancer's body-orchestra constructed, with all its levels of organisation and complexity? What and how many are the paths that lead from the pre-expressive level to that particular quality of stage presence that will shake the kinesthetic sense of the viewer?
These are some of the questions that Theatre Anthropology has been asking since its foundation in 1979 during the sessions of the ISTA (International School of Theatre Anthropology). The aim of this course is to explore some of these questions. The main tool will be the analysis of this “science” which questions, studies and identifies the principles underlying the construction of the stage presence of a human being, belonging to different cultures, geographies and eras, in an organised performance situation.
What pearls will we be fishing for?
Core Documentation
Eugenio Barba, La canoa di carta. Trattato di antropologia teatrale, Bologna, Il Mulino, 1993Eugenio Barba, Nicola Savarese L’arte segreta dell’attore. Un dizionario di Antropologia Teatrale, Bari, edizioni di pagina, 2005
Attendance
attendance is not compulsory out of a total number of 36 hours only 6 hours of absence are allowedType of evaluation
oral examination