Journal of Theatre Anthropology 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> en-US jta@ista-online.org (Leonardo Mancini) jta@ista-online.org ( ) Wed, 10 Mar 2021 00:00:00 +0000 OJS 3.3.0.4 http://blogs.law.harvard.edu/tech/rss 60 News and Letters https://jta.ista-online.org/article/view/31 Journal of Theatre Anthropology Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/31 Mon, 15 Mar 2021 00:00:00 +0000 Reading for the "Flying house" https://jta.ista-online.org/article/view/11 <p>The article examines some of Eugenio Barba’s study material now preserved in the Fonds Barba at Odin Teatret Archives (ISTA Series, b. 1). Barba’s readings preceding the first edition of the ISTA in Bonn in 1980 trace the development of interests cultivated by the director, from humanities to science (biology, neuropsychology, studies of perception, posturology). Even before developing the theory of theatre anthropology as an autonomous discipline, Barba evolved many fertile perspectives of study on energy, within which he expanded the understanding of presence as a fundamental component of theatre. Barba’s reading notes reveal an intellectual approach similar to his artistic work: the accumulation of an overabundance of material, which in the theoretical sphere, too, invert the principle of maximum results with minimum effort.</p> Leonardo Mancini Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/11 Wed, 10 Mar 2021 00:00:00 +0000 How ISTA Came Into Being https://jta.ista-online.org/article/view/12 <p>In this text, Eugenio Barba traces back the origins of ISTA and its first steps. After having directed several international encounters of group theatres in the second half of the 1970s (Belgrade, Bergamo, Madrid and Leiketio), in 1980 Barba was invited to organise a new encounter in Germany by Hans-Jürgen Nagel, head of the Kulturamt in Bonn. This proposition offered to Barba the opportunity to conceive the first ISTA session in October 1980, just preceded by the lecture in Warsaw where Barba presented his definition of theatre anthropology as a new transcultural field of studies. The article was originally published in <em>The Tradition of ISTA</em>, edited by Rina Skeel (Londrina 1994, 19-20), and in <em>The Performers’ Village</em>, edited by Kirsten Hastrup (Drama, Graasten 1996, 24-25).</p> Eugenio Barba Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/12 Wed, 10 Mar 2021 00:00:00 +0000 First Hypothesis https://jta.ista-online.org/article/view/2 <p>Transcription of a lecture by Eugenio Barba in Warsaw in May 1980 published in <em>Théâtre International</em> no 1, London 1981. It is the first time Barba mentions the new term of theatre anthropology defining it as the study of the human being in a situation of enactment and representation in an organised theatre or dance performance. He points out three technical principles which he considers as the “laws” determining the various acting styles in different traditions.</p> Eugenio Barba Copyright (c) 2020 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/2 Wed, 10 Mar 2021 00:00:00 +0000 The First Session of ISTA https://jta.ista-online.org/article/view/16 <p>Written in 1981 by Jean-Marie Pradier, one of the founding members of the International School of Theatre Anthropology, the article offers a report of the first session held in Bonn between 1-31 October 1980. In the report, Pradier highlights the different composition of the groups who took part in the ISTA directed by Eugenio Barba: on one side about 20 masters of Asian performance traditions who gave demonstrations, classes, workshops and performances; and on the other the scholars joined by guests like Jerzy Grotowski and Henri Laborit. Pradier reflects on the several possibilities opened by theatre anthropology as a new transcultural and interdisciplinary field of studies.</p> Jean-Marie Pradier Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/16 Wed, 10 Mar 2021 00:00:00 +0000 Rapport sur la 2ème session de l’ISTA https://jta.ista-online.org/article/view/14 <p>After the end of the 2nd edition of ISTA held in Volterra in 1981 between August 5th to October 7th, Elsass, Pradier and Taviani, members of the scientific staff, report on the activities which took place in the longest session of ISTA. The report was sent to UNESCO and to the International Theatre Institute in Paris in October 1981. The text was originally published in the French Journal « Bouffonneries » (no. 4, 1982, 109-121). At the end of the document, the authors present the possibility of the creation of a permanent International School of Theatre Anthropology.</p> Peter Elsass, Jean-Marie Pradier, Ferdinando Taviani Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/14 Wed, 10 Mar 2021 00:00:00 +0000 Theatre Anthropology https://jta.ista-online.org/article/view/28 <p>English translation of the essay on theatre anthropology written by Franco Ruffini in 1986 and published in the first issue of the Italian journal <em>Teatro e Storia</em>. Six years after the first session of ISTA, Ruffini analyses the methodological and historical peculiarities of the pedagogical activities, highlighting the cultural connections and differences with other fields of research. In his article, Ruffini offers a detailed account of the main principles of theatre anthropology and its tools for research.</p> Franco Ruffini Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/28 Wed, 10 Mar 2021 00:00:00 +0000 Theatre Anthropology: 40 years on https://jta.ista-online.org/article/view/3 <p>For the first issue of the<em> Journal of Theatre Anthropology</em>, which appears fortyone years after the first session of ISTA in Bonn, Ruffini recalls the original research conducted in the field of theatre anthropology and its professional and ethical implications still valid today.</p> Franco Ruffini Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/3 Wed, 10 Mar 2021 00:00:00 +0000 Photographic diary https://jta.ista-online.org/article/view/17 <p>"As the days progressed and the work in the school evolved, my task as photographer began to get complicated. Everything was always the same and yet always different. Something was happening that the camera could no longer grasp the way I felt it. I realised that the relationships between the people were changing, between all of us who lived there, each doing their own work. This repeatedly escaped the camera although I took it everywhere with me, quietly accepted by everyone. So, I decided to photograph what for me was the reflection of this new relationship: each of us as the days went by and in the evolution of the work within the school". Nicola Savarese</p> Nicola Savarese Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/17 Wed, 10 Mar 2021 00:00:00 +0000 Giving Life to the Past https://jta.ista-online.org/article/view/18 <p>OTA (Odin Teatret Archives) keeps many documents concerning theatre anthropology and ISTA. After a brief description of the catalogues, the article gives several examples of the varied perspectives of research that scholars, students and theatre practitioners interested in ISTA and theatre anthropology can undertake through the consultation of paper documents, photos and videos stored at OTA.</p> Simone Dragone Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/18 Wed, 10 Mar 2021 00:00:00 +0000 Dancing questions https://jta.ista-online.org/article/view/8 Eugenio Barba Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/8 Wed, 10 Mar 2021 00:00:00 +0000 The Energy of the Actor https://jta.ista-online.org/article/view/21 <p>In this article of 1987, the Italian scholar Nando Taviani offers a view of the actor’s “energy” as a “premise” for artistic and theoretical research. Elaborating the fundamentals of theatre anthropology and replying to common objections, Taviani defines theatre anthropology as a “hand-made theory”. Ian Watson later considered this definition as one of the most successful. Taviani also discusses the relationship of theatre anthropology with science and the complementarity of energy as animus and anima according to Barba. The article was originally published in French in the journal <em>Bouffonneries</em> (15-16, L’énergie de l’acteur. Anthropologie Théâtrale 2, 1987, 23-32).</p> Ferdinando Taviani Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/21 Wed, 10 Mar 2021 00:00:00 +0000 Le Milieu Scène https://jta.ista-online.org/article/view/22 <p>In this essay, Franco Ruffini introduces and applies the notion of the savannah for theoretical and practical research within theatre anthropology, offering a wide spectrum of methodological and essential tools for inquiry. Among others, the elements discussed by Ruffini concern reality and levels of analysis, the relation with Asian cultures, energy of the actor and pre-expression, presence, second nature, adaptation, score. This article by Ruffini was originally published in <em>Bouffonneries</em> (15-16, <em>L’énergie de l’acteur. Anthropologie Théâtrale</em> 2, 1987, 33-52).</p> Franco Ruffini Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/22 Wed, 10 Mar 2021 00:00:00 +0000 L'Acteur dans la savanne - et sur scène https://jta.ista-online.org/article/view/4 <p>In dialogue with contributions by the Italian scholars Nando Taviani and Franco Ruffini, Janne Risum discusses the historical and methodological features of theatre anthropology and questions some of its key arguments. In this context, notions such as the cultural, sociological and anthropological aspects of the actor can be analysed in a unique concept of “cultural savannah”, where the phenomena are all observable phenomenologically. For the original Danish version of this article in French translation: see Janne Risum, “Skuespilleren på savannen - og på scenen. Et besøg i ISTA’s begrebsverden” in <em>At synliggøre det usynlige: En antologi</em>, ed. E. E. Christoffersen (Århus: Institut for Dramaturgi, 1987), 35-56 (texts by K. D. Kjeldsen, E. Christoffersen, E. Barba, J. Risum, R. Schechner, E. Thomsen).</p> Janne Risum Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/4 Wed, 10 Mar 2021 00:00:00 +0000 La dramaturgie et les textes de l’actrice https://jta.ista-online.org/article/view/24 <p>Patrice Pavis reflects on the relation between the actor, the text, and the sub-text, after a work demonstration by Julia Varley entitled <em>The Echo of Silence</em>, which took place in Saintes (France) in 1991, in the context of a series of meetings organised by Jean-Marie Pradier (“Emotions and Complexity”). A fertile discussion with Varley and other scholars too (Ruffini, Taviani, Risum) led to a broader analysis on the issues of text, subtext, score and subscore. The article was published for the first time in the journal <em>Degrès</em> (97-98-99, 1999, e1-15).</p> Patrice Pavis Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/24 Wed, 10 Mar 2021 00:00:00 +0000 Score and Sub-score https://jta.ista-online.org/article/view/25 <p>Julia Varley reacts to the questions addressed to her by the French scholar Patrice Pavis during a lecture which was held in 1992 for the 7th session of ISTA (International School of Theatre Anthropology) in Brecon and Cardiff. Reflecting on her work as an actress, Varley interrogates crucial aspects such as the observation of other’s work, professionalism, theatre craft, acting techniques, mental process. Furthermore, Varley addresses the notion of “sub-score”, beyond “sub-text”, discussed by ISTA participants and scientific staff.</p> Julia Varley Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/25 Wed, 10 Mar 2021 00:00:00 +0000 Starting a new adventure https://jta.ista-online.org/article/view/9 Julia Varley Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/9 Wed, 10 Mar 2021 00:00:00 +0000 A Dialogue Between East and West https://jta.ista-online.org/article/view/5 <p>This article presents an English translation of an interview by Franco Ruffini to the Japanese scholar Moriaki Watanabe during the first session of ISTA in 1980, originally published in the French journal Bouffonneries 4, 1982 (57-61). Starting from research and pedagogy in the framework of ISTA, Ruffini and Watanabe discuss about their respective traditions of studies and performing cultures.</p> Moriaki Watanabe, Franco Ruffini Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/5 Wed, 10 Mar 2021 00:00:00 +0000 Interviews with Asian Artists https://jta.ista-online.org/article/view/19 <p>Franco Ruffini speaks with Sanjukta Panigrahi, Katsuko Azuma, I Made Pasek Tempo and Tsao Chun-Lin, the Asian teachers who took part in the first ISTA session in Bonn in 1980. The interviews were published in La scuola degli attori, edited by Franco Ruffini (Firenze 1981). At the end of the Volterra session in 1981, Franco Ruffini asked two questions to the Asian teachers who had also participated at the first session in Bonn. The interviews were published in Bouffonneries 4, 1983.</p> Franco Ruffini Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/19 Wed, 10 Mar 2021 00:00:00 +0000 Developing a New Language https://jta.ista-online.org/article/view/6 <p>Originally published in <em>Théâtre International</em> (1, 1981. 19-22) by the English actor, director and scholar Clive Barker (Rose Bruford College, UK). In the article, Barker welcomes the new proposal of theatre anthropology launched by Barba and offers historical and theoretical keys of reflection inspired by the work conducted at ISTA. Barker also addresses the possibility of coexistence between practical research and its theoretical output.</p> Clive Barker Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/6 Wed, 10 Mar 2021 00:00:00 +0000 Letters after the First ISTA Symposium https://jta.ista-online.org/article/view/20 <p>For the Symposium organised during the first session of ISTA (Bonn 1980), Eugenio Barba asked the guests to write their comments on what they had seen. The letters by Thomas Bredsdorff, Jean-Jacques Daetwyler, Nicole Revel-Macdonald and Raymonde Temkine, presented here in an English translation, were originally published in <em>La scuola degli attori</em>, edited by Franco Ruffini (Firenze 1981).</p> Thomas Bredsdorff Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/20 Wed, 10 Mar 2021 00:00:00 +0000 The Two Lungs of the Actors https://jta.ista-online.org/article/view/26 <p>Eugenio Barba introduces Ana Correa’s creative process for the performance <em>Rosa Cuchillo. El desmontaje de Rosa Cuchillo</em> was created by the actress and director Ana Correa, member of the Grupo Cultural Yuyachkani, founded in 1971. Reflecting on Correa’s creative process, Barba stresses the importance of the “two lungs” of the actor: on one side body/mind knowledge, which comes from training and the objective demands of the craft, and on the other, the actor’s personal mythology, her political and cultural beliefs as well as her commitment to the community s/he belongs to.</p> Eugenio Barba Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/26 Wed, 10 Mar 2021 00:00:00 +0000 El desmontaje de "Rosa Cuchillo" https://jta.ista-online.org/article/view/27 <p><em>El desmontaje de Rosa Cuchillo</em> (The deconstruction of Rosa Cuchillo) presents the process of creation of a performance by Ana Correa, an actress of the Peruvian theatre group Yuyachkani. The text gives an account on the artistic choices and elements of training, dance, martial arts and improvisation at the base of the work. Ana Correa reflects on her condition as an actress in the context of her family and society.</p> Ana Correa Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/27 Wed, 10 Mar 2021 00:00:00 +0000 El valor político de la antropología teatral https://jta.ista-online.org/article/view/29 <p>Ana Woolf, Argentinian actress and director, proposes an account on her relationship with theatre anthropology, since she very first ‘discovered’ it in the early 1990s, and its effect on her personal artistic work. In the article, Ana Woolf explains how theatre anthropology acquires social, political and intercultural functions in the Latin American context.</p> Ana Woolf Copyright (c) 2021 Journal of Theatre Anthropology https://creativecommons.org/licenses/by-nc-nd/4.0 https://jta.ista-online.org/article/view/29 Mon, 15 Mar 2021 00:00:00 +0000