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Eugenio Barba
Director, theorist and founder Odin Teatret Director of the ISTA, International School of Theatre Anthropology. The Paper Canoe: research of ISTA. Focus on the pre-expressive level of the performer’s art. Barba defines this as the basic technique which creates ‘presence’ on stage; a dilated and effective body which can hold and guide a spectator’s attention.
Theatre Anthropology
The study of the pre-expressive scenic behaviour of the human being in an organized performance situation. ( NO study of the performative phenomena in cultures )
3 LEVELS OF ORGANISATION OF ACTOR’S WORK
INDIVIDUAL
The performer’s personality, her/his sensitivity, artistic intelligence, social persona
COMMON to all those who belong to the same performance genre The particularities of the theatrical traditions and the historical-cultural context through which the performer’s unique personality manifests itself
EVERY ERA and CULTURE
the use of the body-mind according to extra-daily techniques based on transcultural, recurring-principles.
field of pre-expressivity
(the ‘biological’ level of performance, scenic bios. Basis for the various techniques and the particular uses of the performer’s scenic presence and dynamism)
RECURRING-PRINCIPLES
I. in the amplification and activation of the forces which are at work in balance;
II. in the oppositions which guide the dynamics of movements;
III. in the application of a consistent inconsistency;
IV. in the breaking of automatisms by means of extra-daily equivalents.
I. -MAX. effort MIN. result: extra-daily
- Amplifying this movents we create tensions and directions where our body is going.
II. -Performer’s body reveals its life to the spectator by means of a miriad of tensions between opposing
forces.
- Extra-daily body techniques engage the performer’s energy in a pure state (pre- expressive level) -“Luxury balance”: koshi ( “hips” - two different tensions are created in the upper and lower parts of the body, respectively, and dictate a new point of balance), classical ballet. -Pierre Verry’s “precarious balance” – Dynamic Immobility
III. - Energy can be suspended in immobility in motion.
It’s a difference of potential. example: the transition from intention to action. In the instant which precedes the action, when all the necessary force is ready to be released into space but as though suspended and still under control, the performer perceives her/his energy in the form of sats, of dynamic preparation.
-Sats It is the point at which one decides to act.
Impulse and counterimpulse. It is a moment of transition which leads to a new, precise posture, and thus to a change in the tonus of the entire body.
It is a question of subliminal surprises, which the spectator does not become aware of with the conscious ‘eye’ but with the ‘eye’ of the senses.
IV. jo-ha-kyu
- jo : the initial phase, when the force is put in motion as if overcoming a resistance; - ha : the transition phase, rupture of the resistance, increase of the motion; - kyu : the rapid phase, an unbridled crescendo ending in the sudden stop. Let us translate literally: resistance, rupture, acceleration.
Actually the moment of the stop is a transitional phase. The movement is interrupted but the energy is suspended.
what we call energy is in fact leaps of energy.
The principle of the absorption of the action, the sats, the ability to compose the transition from one temperature to another are different stratagems for the production and control of the leaps of energy which enliven the performer’s bios.
IT’S A DANCE OF SENSES. Style and techniques come (logical and not chronological) after. Theatre Anthropology singles out the principles which the performer must put to work in order to make this dance of senses possible in the mind of the spectator.
It is a moment of transition which leads to a new, precise posture, and thus to a change in the tonus of the entire body. It is a question of subliminal surprises, which the spectator does not
become aware of with the conscious ‘eye’ but with the ‘eye’ of the senses
Reminder: if movements movements originate only in the joints—shoulder, elbow, wrist, knee, ankle, etc. — do not involve the trunk and therefore do not change the body’s balance. They remain pure gesticulation. They become scenically alive only if they are a prolongation of an impulse or a micro-action which occurs in the spinal column.
