https://jta.ista-online.org/ <p>The journal is an open-access platform for research on Theatre Anthropology. It focuses on two main fields of investigation: the rediscovery of the<strong> </strong>fundamental aspects and the main theoretical issues in this field; the enhancing of new research into the pivotal study of the “performer’s pre-expressive scenic behaviour”, according to Eugenio Barba’s definition. Each issue of the Journal includes both a thematic section on a proposed topic and a varia section of different contributors. The Journal of Theatre Anthropology accepts submissions in the main European languages and uses double-blind peer-review.</p> <p><img src="https://jta.ista-online.org/public/site/images/lmancini/logo-ista.23.11.png" alt="" width="150" height="150" /></p> Mimesis Edizioni en-US Journal of Theatre Anthropology 2724-623X https://jta.ista-online.org/article/view/75 Eugenio Barba Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-22 2025-01-22 3-4 9 13 https://jta.ista-online.org/article/view/96 <p>&nbsp; &nbsp;</p> Eugenio Barba Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 165 166 10.7413/2724-623X066 https://jta.ista-online.org/article/view/97 Clive Barker Frank Hoff Jean-Marie Pradier Franco Ruffini Masao Yamaguchi Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 167 175 https://jta.ista-online.org/article/view/98 <p>This article is a chronicle on ISTA Bologna 1990 touching on different aspects of the session. It was first published in 1992 in English in <em>Women and Theatre – Occasional Papers</em> (Warwick University); in Spanish in <em>Máscara</em>, a. II, n. 9-10; and in Italian in <em>Teatro Eurasiano</em>, n. 2. In 1994 and 1996 the article was included in the anthologies about ISTA, <em>The Tradition of ISTA</em> (FILO-ISTA, Londrina 1994), and in <em>The Performers Village</em> (Drama, Copenhagen).</p> Julia Varley Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 177 183 10.7413/2724-623X068 https://jta.ista-online.org/article/view/99 <p>Experiences and demands at the ISTA in Bologna 1990 concerning practical vocal activities, interpretations of compositions and improvisations as well as systematic and theoretical reflections on phonation and vocal styles resulted in a complex catalogue of vocal techniques and expressions. Scholars can use it to analyse performances. Speakers, actors, singers and vocal artists may use it as a manual for exercises and inspiration of sound colours.</p> Susanne Vill Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 185 199 10.7413/2724-623X069 https://jta.ista-online.org/article/view/100 <p>This dossier style essay offers a candid account of the proceedings (certainties and perplexities) and a detailed description of the genesis of the 7th session of ISTA held in Brecon and Cardiff in Wales, UK, 4 -11 April 1992: its modus operandi, form and function (including statements on underscore and scenarios for improvisations), extracts and summa- ries from the conference, and an honest appraisal of the failure to realise what was envisaged as an ambitious, longer-term, Eurasian Theatre Project. In the chronicles of ISTA an account of the 7th session has not been fully recorded, even though the ground-breaking research on sub-score and underscore has subsequently underpinned perspectives and programmes. The 7th session of ISTA was problematic on several levels especially during the practical sessions in Brecon when the predominantly British theatre directors began to question ISTA's approach and methodology, and friction arose between the 'Anglo-Saxon' artists-scholars and the Italian theatrologists.</p> Richard Gough Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 215 254 10.7413/2724-623X070 https://jta.ista-online.org/article/view/77 Julia Varley Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2024-12-23 2024-12-23 3-4 14 19 10.7413/2724-623X051 https://jta.ista-online.org/article/view/90 Richard Schechner Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 103 106 10.7413/2724-623X061 https://jta.ista-online.org/article/view/92 <p>In this writing Schechner examines the convergences between human and animal behaviors. Using an ethological point of view, i.e. applying the evolutionary theory to the analysis of behavior and culture, the American scholar identifies common dynamics which at several levels govern both animal and human performances. The full version of this article was originally published in <em>Essays on Performance Theory, 1970-1976</em> (Drama Book, New York 1977, pp. 157-201).</p> Richard Schechner Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 107 121 10.7413/2724-623X062 https://jta.ista-online.org/article/view/93 <p>Taking as reference the ethno-anthropological studies given by Erving Goffman and Victor Turner, Schechner analyzes the methods and dynamics of the transition from daily behavior to restored behavior and does so by examining both different ritual traditions and the workshop-rehearsals processes that are triggered in the field of dance and theater. This article, in its full version, appeared for the first time in 1981 in the journal <em>Studies in Visual Communication</em> 7 (3), pp. 2-45.</p> Richard Schechner Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 123 139 10.7413/2724-623X063 https://jta.ista-online.org/article/view/94 <p>In an attempt to define what "ritual" is, Schechner denotes in ritual actions, both human and animal, a similarity with those that emerge in the artistic performance field. The American scholar identifies elements such as violence and sexuality in rituals and characterizes the ritual itself as the dynamic capable of dealing with social crises that overturn culturally recognized systems and hierarchies. Furthermore, following Turner – and reviewing ethological and neurological points of view – Schechner recognizes ritual as having a creative property, which not only contains traditional cultural behaviors but is capable of generating new images, ideas and practices. This article has been published in several versions, undergoing several transformations: it appeared firstly as the inaugural essay of the<em> Journal of Ritual Studies</em> 1 (1), 1987, pp. 5-34; other fragments of it appear in <em>Victor Turner's Last Adventure</em>, an essay published both in <em>Anthropologica</em> 27 (1-2), 1985, pp. 190-206 and as introduction for Turner's book <em>The Anthropology of Performance</em> (1986). Another full version of this writing is published in the Schechner's volume which takes up the title of the article itself: <em>The Future of Ritual: Writings on Culture and Performance</em> (Routledge, London and New York 1993, pp. 228-265).</p> Richard Schechner Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 141 152 10.7413/2724-623X064 https://jta.ista-online.org/article/view/95 <p>A version of this essay appeared shortly after Victor Turner's death in Schechner's volume <em>Between Theatre and Anthropology</em>, with the title <em>Points of Contact Between Anthropological and Theatrical Thought</em> (Routledge, London and New York 1985, pp. 3-33). In this new version Schechner attempts to broaden Turner's ideas on liminality and does so by adding three more points of contact to the original list of six, a circumstance which allows him to analyze the performative qualities of the Paleolithic caveman, to reinterpret the ancient theory of Sanskrit performance in a contemporary key, to analyze the techniques through which Grotowski stimulates and brings alive the body-memory. In conclusion, referring to his notes detailing the seminar he co-led at the New York University in 1978 (with Turner, Erving Goffman, and Alexander Alland), Schechner shares memories of his collaboration with the Turners. The full version of this essay has been published in <em>Experiential and Performative Anthropology in the Classroom</em>, edited by Pamela R. Frese and Susan Brownell (Routledge, London and New York 2020, pp. 21-37).</p> Richard Schechner Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 153 163 10.7413/2724-623X065 https://jta.ista-online.org/article/view/79 <p>This is the text of a lecture which was given by Marco De Marinis at the 3rd International Conference on Theatre Anthropology, "Odin Teatret and Theatre Anthropology in Greece", 17 and 18 March 2023. The conference was organised by: Theatre Laboratory of Drama and Speech Department of Theatre Studies; Co-organisers: Centre of Theatre Anthropology, Heraklion-Crete, Fondazione Barba Varley, University of Patras, Science and Technology Museum. De Marinis's speech highlights parallels and complementarities between the notion of Third Theatre, Theatre Anthropology and the genesis of ISTA, establishing that Barba's writings relating to Third Theatre address the issues of "why" and "for whom" theatre is done, while those relating to theatre anthropology question the "how", and therefore the techniques. Furthermore, the Italian scholar defines theatre anthropology as a discovery deriving from the work carried out by directors-pedagogues during the 20th century and from the work of actors who, at a pre-expressive level, do not learn to interpret or act but build their stage presence. Finally, after having defined the extra-daily techniques as those that the actor applies to put in practice the pre-expressive principles, De Marinis outlines three lessons that he learned by participating over twenty years in several ISTA sessions.</p> Marco De Marinis Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 21 31 10.7413/2724-623X052 https://jta.ista-online.org/article/view/80 <p>This is a talk given by Aline Menassé, one of the founders of Teatro Laboratorio La Rueca, at the meeting of the Secret People of Odin Teatret on occasion of the celebration of Odin Teatret's 60th anniversary organised by Jaime Soriano - LARTES. The reflection on Third Theatre and its resonances in Mexico, with Eugenio Barba and special guests, took place at the UNAM, Mexico City, 7 February 2024.</p> Aline Menassé Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 32 35 10.7413/2724-623X053 https://jta.ista-online.org/article/view/81 <p>This is a lecture by Piergiorgio Giacchè at the 3rd International Conference on Theatre Anthropology, "Odin Teatret and Theatre Anthropology in Greece", 17 and 18 March 2023. The conference was organised by: Theatre Laboratory of Drama and Speech Department of Theatre Studies; Co-organisers: Centre of Theatre Anthropology, Heraklion-Crete, Fondazione Barba Varley, University of Patras, Science and Technology Museum. In his speech, Giacchè traces a history of the relationship between theatre and anthropology, calling into question, in addition to those of Barba, the theoretical contributions of important scholars such as Goffman, Turner and Schechner.</p> Piergiorgio Giacchè Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 37 41 10.7413/2724-623X054 https://jta.ista-online.org/article/view/82 <p> Introduction to the dossier "Anthropological Theatre"</p> Leonardo Mancini Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 43 44 10.7413/2724-623X055 https://jta.ista-online.org/article/view/83 <p>This text was written by Eugenio Barba on April 12th, 1987, in Bahía Blanca, Argentina, during the Encuentro Internacional de Teatro Antropológico (International Meeting of Anthropological Theatre) organised by Teatro Alianza with theatre groups from Latin America and Europe. Here Barba identifies the differences between theatre anthropology and anthropological theatre. Barba's text first appeared in English within an article by Ian Watson, Third Theatre in Latin America in The Drama Review: TDR, Winter 1987, 31 (4): 18-24.</p> Eugenio Barba Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 45 46 10.7413/2724-623X056 https://jta.ista-online.org/article/view/84 <p>The International Meeting of Anthropological Theatre took place in Bahía Blanca, Argentina 6-12 April 1987. This text was published in <em>Memoria del teatro combatiente: Teatro Alianza, Teatro para el Hombre, Teatro Laboratorio. Bahía Blanca 1969-1989</em> by Coral Aguirre, 1st Edition Bahía Blanca: Editorial de la Universidad Nacional del Sur. EdiUNS 2015, pp. 213-219. The book was dedicated to the memory of Dardo Aguirre, Néstor Castelnuovo, Mónica Morán, Juan Carlos Torresi, Graciela Petersen, Alfredo Bellomi, Ernesto Malisia, Olga Vallasciani, José Crespo, Roberto Martínez, Victor de Rosa, Horacio Rodríguez, Jorge Chiaradía, Eugenio Campos, Álvaro Andrenacci, Fortunato Jorge.</p> Coral Aguirre Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 47 51 10.7413/2724-623X057 https://jta.ista-online.org/article/view/85 <p>This lecture on the identity of the actor was held on 27 September 2021 in Meetings on Third Theatre and Theatre Anthropology organised in Brazil by Ricardo Gomes (Universidade Federal de Ouro Preto), Gilberto Icle (Universidade Federal do Rio Grande do Sul) and Fernando Mencarelli (Universidade Federal de Minas Gerais).</p> Franco Ruffini Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 53 56 10.7413/2724-623X058 https://jta.ista-online.org/article/view/87 <p>This article reconstructs Jerzy Grotowski's theatrical anthropology based on a series of nine lectures, <em>La "lignée organique" au théâtre et dans le rituel</em>, that he gave at the Collège de France in Paris between 1997 and 1998. In these lectures, Grotowski reported on the dis- coveries he had made on his creative journey along the border of theatre and ritual. At the core of Grotowski's research, which can be described as "the science of doing", was the intention of inducing in the doer a flow of energy. As in alchemy, the inner process followed by the doer in the state of organicity is inextricably linked with his or her body. In this state, the doer is an ánthr?pos, a total being. This image lies at the centre of Grotowski's theatrical anthropology, an anthropology whose perspective is far removed from that of social or cultural anthropology; it is in fact the perspective of gnosis.</p> Leszek Kolankiewicz Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 57 69 10.7413/2724-623X059 https://jta.ista-online.org/article/view/88 <p>The original text by Virginie Magnat has been edited by Leszek Kolankiewicz into this condensed version specifically for this publication. Reported here are nine conferences that Jerzy Grotowski gave at the Collège de France in Paris on themes of organic art and artificial methods, physical actions, impulses and energy, inner search and trance.</p> Virginie Magnat Copyright (c) 2024 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 2025-01-25 2025-01-25 3-4 71 101 10.7413/2724-623X060