Cover image for A dictionary of theatre anthropology : the secret art of the performer
A dictionary of theatre anthropology : the secret art of the performer
Barba, Eugenio.
2nd ed.
Publication Information:
London ; New York : Routledge, 2006.
Physical Description:
320 s.
General Note:
Previous edition published under title : The secret art of the performer. 1991.
Theatre anthropology / Similar principles, different performances Lokadharmi and Natyadharmi Balance in action The dance of oppositions The virtue of omission Intermezzo A decided body A fictive body A million candles Anatomy -- Can the sea rise above the mountain tops? / Apprenticeship -- Western examples / Founding fathers and pedagogical theatre at the beginning of the twentieth century Creative process, theatre school and theatre culture Author's pedagogy An Indian example / Guru as parent, honoured preceptor Guru-kula, study in the guru's home Guru-dakshina, gifts and fees Ekalavya, disciple extraordinaire Gurushishya-parampara Balance -- Extra-daily balance Luxury balance Extra-daily technique: the search for a new posture Generalisations regarding balance Balance in action Steel and cotton Why does the performer aim for a luxury balance? What does the performer's alteration of balance mean for the spectator? Balance and imagination Brecht's unknown dance Dilation -- The dilated body / The bridge Peripeteias The negation principle To think the thought Twin logics Seven-gated Thebes The dilated mind / Dramaturgy -- Actions at work / Energy -- Kung-fu Energy and continuity Koshi, ki-hai, bayu Animus, anima Keras and manis Lasya and tandava Santai, the actor's three bodies Tame Energy in space and energy in time Braking the action The performer's presence Equivalence -- The equivalence principle Dhanu: archery in Indian odissi dance How one shoots an arrow in Japanese kyogen theatre Shooting with a bow Eurasian Theatre -- Eurasian theatre / Dawn Eurasian theatre Anti-tradition Why Roots Village To interpret a text or to create a context Spectator Incomprehensions and inventions: from the Silk Road to Seki Sano / Score and subscore: the significance of exercise in the actor's dramaturgy / A physical action: the smallest perceptible action The age of exercises Inner life and interpretation The complexity of emotion The real relationship Sport as dance The physical dialogue with the spectators The real action Meyerhold's theatre fission The exercise: a model of organic and dynamic dramaturgy Form, rhythm, flow Tacit knowledge Face and eyes -- Physiology and codification The concrete gaze The action of seeing Showing that one is seeing The natural face The provisional face The painted face Feet -- Microcosm, macrocosm On point Foot grammar Hands -- Physiology and codification of the hands The hands: pure sound or silence How to invent hands in movement India: hands and meaning Hands and the Peking Opera Hands and Balinese dance Hands and the Japanese theatre Hands and classical dance Two examples from contemporary Western theatre Historiography -- Energetic language / Henry Irving under the microscope Living marble Underneath Harlequin's costume Stanislavsky's 'system' / Stanislavsky's words 'The simplest human condition': the organic body-mind The mind makes demands: perezhivanie The body responds appropriately: personification Organic body-mind, character, role Conditions for meaning and the pre-expressive level Meyerhold: the grotesque; that is, biomechanics / A plasticity that does not correspond to the words The grotesque Biomechanics Montage -- The performer's montage and the director's montage / The performer's montage The director's montage Further montage by the director Nostalgia -- Nostalgia or the passion for a return / Omission -- Fragmentation and reconstruction The virtue of necessity To perform absence The virtue of omission Opposition -- The dance of oppositions The beauty line Tribhangi, or the three arches The shadow test Organicity -- Organic effect / Organicity, presence, scenic bios That which is organic for the actor / that which is organic for the spectator Natural and organic / Organic and natural Performance as an organic unity Always nature, but a different nature Working languages Presence Axe, shinmyong, taksu Matah, mi-juku, kacha At work with physical actions: the double articulation / The first articulation The second articulation Pre-expressivity -- Totality and its levels of organisation Inculturation and acclturation technique Physiology and codification Codification in the East and the West The fictive body Martial arts and theatricality in the East Martial arts and theatricality in the West Body architecture The spectator's preinterpretation Restoration of behaviour -- Restoration of behaviour / Bharatanatyam Purulia chhau Trance and dance in Bali Rhythm -- Carved time Jo-ha-kyu Biological motions and the body's micro-rhythms Meyerhold: rhythm is essential Set and costume design -- The costume is the set Daily clothing, extra-daily costume The water sleeves Technique -- The notion of body techniques Biographical list of body techniques / Techniques of birth and obstertrics Techniques of infancy: rearing and feeding the child Techniques of adolescence Techniques of adult life Consumption techniques The spine: energy's helm The silent scream Pragmatic laws / Sats Logos and bios Text and stage -- The culture of the text and the culture of the stage / The sound of two hands clapping 'Poor' text and 'rich' stage Dramaturgy Role type and character Training -- From 'learning' to 'learning to learn' / The myth of technique A decisive phase Total presence The period of vulnerability Training interculturally / Training and the point of departure / Exercise models Acrobatics Training with the master Views -- The view of the performer and the view of the spectator / Previous editions of this dictionary Collective works ISTA: International School of Theatre Anthropology Invited artists Scientific staff and special guests Photos


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Dictionary 7.2/14/3529 PN2041 .A57 A53 2006
Dictionary 7.2/14/101574 PN2041 .A57 A53 2006

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