Hostname: page-component-78c5997874-v9fdk Total loading time: 0 Render date: 2024-11-09T07:44:53.653Z Has data issue: false hasContentIssue false
  • English
  • Français

Eugenio Barba: the Latin American Connection

Published online by Cambridge University Press:  15 January 2009

Ian Watson
Get access Rights & Permissions [Opens in a new window]

Abstract

The theoretical writings of Eugenio Barba on the nature and disciplines of acting have been a feature of NTQ since its first issue. These writings emerge, of course, from Barba's work with Odin Teatret, which recently celebrated its twentieth anniversary from its base in Holstebro, Denmark – and also from his formative association with ISTA. the International School of Theatre Anthropology. Accordingly, when a leading authority recently described Barba, along with Brecht and Grotowski, as one of the three major European influences on contemporary Latin American theatre, he was paying tribute to active participation and cross-fertilization, rather than to textbook discipleship. In the following article, Ian Watson, whose study of ‘Catharsis and the Actor’ appeared in NTQ 16 (1988), looks in detail at the nature and the consequences of Barba's ‘Latin American connection’.

Type
Research Article
Information
New Theatre Quarterly , Volume 5 , Issue 17 , February 1989 , pp. 67 - 72
Copyright
Copyright © Cambridge University Press 1989

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Barba, Eugenio and Savarese, Nicola, Analomia del actor (Mexico: Gaceta, 1988).Google Scholar
Barba, Eugenio and Savarese, Nicola, ‘El camino del rechazo’, in Maldoror (Montevideo), XXII (1986), p. 35–44.Google Scholar
Barba, Eugenio and Savarese, Nicola, Mas allà de las islas flotantes (Mexica: Graceta, 1987; Buenos Aires: Firpo y Dobal, 1986a).Google Scholar
Barba, Eugenio and Savarese, Nicola, Beyond the Floating Islands (New York: Performing Arts Journal Publications, 1985).Google Scholar
Barba, Eugenio and Savarese, Nicola, The Dilated Body, translated by Fowler, Richard (Rome: Zeami Libri, 1985 a).Google Scholar
Barba, Eugenio and Savarese, Nicola, The Floating Islands (Holstebro, Denmark: Odin Teatret, 1979).Google Scholar
Boal, Augusto, Theatre of the Oppressed (New York: Urizen Books, 1979).Google Scholar
Cardona, Patricia, Escénica: Revista de Teatro (Mexico City: Número Extraordinario, 1986).Google Scholar
Czertok, Horacio and Herrendorf, Cora, Cultura 8 (Buenos Aires, 1977).Google Scholar
Daetwyler, Jean-Jacques, L'Odin Teatret et la Naissance du tiers theatre (Berne: Palindrome, 1978).Google Scholar
De Toro, Fernando, Brecht en el teatro hispanoamericano contemporáneo (Canada: Girol Books, 1984).Google Scholar
Gerardo, Luzuriaga, ‘El proceso de creción teatral según la candelaria’, Cestos, No. 2 (1986).Google Scholar
Muguercia, Magaly, ‘¿Nuevos caminos en el teatro latinoamericano?’. paper presented at the Seminario Regional sobre Creacio Teatral en America Latina y el Caribe, a UNESCO-sponsored conference on Latin American theatre held in Lima, Peru, 13–16 April 1987, published in Conjunto, No. 73. (1987).Google Scholar
Peirano, Luis, ‘Notas sobre la creación teatral en América Latina’, paper presented at the conference in Peru cited above.Google Scholar
Peskine, Lynda Bellity, ‘Teatro Núcleo: Group Creation’, in The Drama Review, No. 108 (1985).Google Scholar
Tunberg, Karl A., ‘The New Cuban Theatre’, in The Drama Review, No. 46 (1970).Google Scholar
‘UNESCO Third Theatre Workshop in Latin America: Ayacucho’, ITI Information (Spring 1978).Google Scholar