The Secret Art of the Performer:A Study of Eugenio Barba and His Theatre Anthropology

• Main Authors: Yu-Chia Chang, 張育嘉
• Other Authors: 廖仁義
• Format: Others
• Language: zh-TW
• Published: 2007
• Online Access: http://ndltd.ncl.edu.tw/handle/8gq4aa

碩士 === 國立臺北藝術大學 === 戲劇學系碩士班 === 95 === Italian born, Eugenio Barba is a theater director, an actor trainer, and a writer. In addition, at the age of twenty-seven, Barba founded the Odin Teatret in Oslo in 1964, which he later moved to Holstebro in 1966. The original members of Odin Teatret were comprised of aspiring actors who had failed to attain a position in the Oslo Theatre School. Furthermore in 1980, Barba founded the International School of Theatre Anthropology (ISTA), where the craft of being an actor is examined and explored from different cultures. The thesis not only focuses on Barba’s Theatre Anthropology and his conception of theater, but it also discusses how an actor must be “true” on stage. Moreover, it shows Jerzy Grotowski’s influence on Barba when they met in Poland. it probes into the concept of Third Theatre, which is the source of Barba’s Theatre Anthropology. Lastly, in the final chapter, it touches upon the concepts of Eurasian Theatre, Bartering and ISTA’s works. An actor’s “presence” makes up the major framework behind the school of thought of Theatre Anthropology. Moreover, Barba emphasizes being “pre-expressive” as the main element of “presence”. Being “pre-expressive” is comprised of three principles: the principle of alternation in balance, the principle of opposition, and the principle of consistent in consistency. On top of those, it also includes the principle of equivalence and the principle of the “decided body”. All of these principles were implemented by Roberta Carreri, who is a member of Odin Teatret.