<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>The discoveries he makes in his journey around the world, the admiration for the way Grotowski thinks and for Brecht’s theories, but also the history of the years 1960-1978 stir up Eugenio Barba, causing him to look for new meanings related to this art. After going through a period of disorientation and hearing around him from many people the question: what is the meaning of doing theater today?, he finds the answer: “theatre is an empty and ineffective ritual that we fill with our own why, with our personal necessity”. Barba praises the modesty and strength of the actor who considers himself the servant of the stage and not the “navel of the crowd” that surrounds him. The concepts of yoga lead him to write about the “body-spirit” and how essential it is for a performer to exercise his spirit.</p>
</abstract>

The discoveries he makes in his journey around the world, the admiration for the way Grotowski thinks and for Brecht’s theories, but also the history of the years 1960-1978 stir up Eugenio Barba, causing him to look for new meanings related to this art. After going through a period of disorientation and hearing around him from many people the question: what is the meaning of doing theater today?, he finds the answer: “theatre is an empty and ineffective ritual that we fill with our own why, with our personal necessity”. Barba praises the modesty and strength of the actor who considers himself the servant of the stage and not the “navel of the crowd” that surrounds him. The concepts of yoga lead him to write about the “body-spirit” and how essential it is for a performer to exercise his spirit.

4. The Inner Mechanism of the Actor in the Vision of Eugenio Barba

Review of Artistic Education

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

{"article-title":"4. The Inner Mechanism of the Actor in the Vision of Eugenio Barba"}

The discoveries he makes in his journey around the world, the admiration for the way Grotowski thinks and for Brecht’s theories, but also the history of the...

4. The Inner Mechanism of the Actor in the Vision of Eugenio Barba

Publié en ligne: 06 avr. 2023

Pages: 126 - 131

DOI: https://doi.org/10.2478/rae-2023-0018

© 2023 Iuliana Moraru, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.