Actor Training as a Method of Directors. Training in Context of the Odin Teatret’s Creative Work and Higher Education
DOI:
https://doi.org/10.24193/subbdrama.2022.2.02Keywords:
Actor’s training, Odin Teatret, education, Eugenio Barba.Abstract
In my recent research, I am interested in investigating the logic of actor training practices in different approaches, such as the training of the Odin Teatret, the Suzuki Method, or the Viewpoints technique, trying to compare them and expose the training's common logic. The present paper focuses on the analysis of training at the Odin Teatret and tries to employ a deconstructive analytical technique to analyze this training according to a straightforward set of standards: (1) From where? – the context and history of the training practicing company (2) What? – a comparison of several concepts of training (3) When? – the scheduling of training inside the companies (4) For what? – the training's objectives and the ideal actor image they create (5) How? – the training tools. To set the stage for my article, I will first define the term “training” as I use it, then I will examine Odin Teatret’s methods, and lastly, based on all of these, I will summarize the notion of training as a directing method from an Eastern European perspective.References
Allain, Paul. “Physical actor training 2.0: new digital horizons.” Theatre, Dance and Performance Training, Vol. 10 No. 2, (2019): 169–186.
Barba, Eugenio. “The Ghost Room.”, Contemporary Theatre Review, Vol. 19 No. 2, English trans.: Judy Barba, (2009): 214–220.
Barba, Eugenio. Beyond the Floating Islands. English trans.: Judy Barba, New York: Performing Arts Journal, 1986.
Barba, Eugenio. Lands of Ashes and Diamonds. English trans.: Judy Barba, Aberystwyth: Black Mountain Press, 1999.
Barba, Eugenio. The Floating Islands. Ed.: Ferdinando Taviani, English. Trans.: Judy Barba et al., Holstebro: Drama, 1979.
Bullon, Stephen (ed.) et al., Longman Dictionary of Contemporary English, Essex: Longman, 2003.
Camilleri, Frank. “On habit and performer training.” Theatre, Dance and Performance Training, Vol. 9. No 1, (2018): 36–52.
Camilleri, Frank. Performer Training Reconfigured. London, New York, Oxford, New Delhi and Sydney: Methuen Drama, 2020.
Camilleri, Frank. “Of Pounds of Flesh and Trojan Horses: Performer training in the twenty-first century.” Performance Research, Vol XIV. No. 2. (2009): 26–34.
Carreri, Roberta. On Training and Performance. London and New York: Routledge, 2014.
Chemi, Tatiana. A Theatre Laboratory Approach to Pedagogy and Creativity: Odin Teatret and Group Learning. Melbourne: Creativity, Education and the Arts, 2017.
Christoffersen, Erik Exe. The Actor’s Way. English trans.: Richard Fowler, London and New York: Routledge, 1993.
Féral, Josette. “Did you say »training«?.” Performance Research, Vol. XIV. No. 2. (2009): 16–25.
Kitt, Donald. Personal conversation, Holstebro: 2019.
Matthews, John. Training for Performance: a Meta-Disciplinary Account. London: Methuen, 2011.
Risum, Janne. “A Study in Motley – The Odin Actors.” In Performer Training – Developement Across Cultures, ed.: Ian Watson, 93–115. Amsterdam: Harwood Academic Publishers, 2001,
Taviani, Ferdinando “A Point of View.” In The Floating Islands by Eugenio Barba, ed.: Ferdinando Taviani, English. trans.: Judy Barba et al. 43– 64. Holstebro: Odin Teatret Forlag, 1979.
Watson, Ian (ed.). Performer Training – Developement Across Cultures. Amsterdam: Routledge, 2001.
Watson, Ian. Toward a Third Theatre: Eugenio Barba and the Odin Teatret. London: Routledge, 1995.
Zarrilli, Phillip. Psychophysical Acting – An Intercultural Approach After Stanislavski. London and New York: Routledge, 2009.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2022 Studia Universitatis Babeș-Bolyai Dramatica
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
