A SYSTEMATIC BIBLIOGRAPHY OF EUGENIO ... - Odin Teatret

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- Interview d’Eugenio Barba à Volterra........................................................ Ap.3/20(F) - Imparare a imparare………………………………………………………. 79-2(I) - Jęzki robocze /Obecność / Axé, Shinmyong, taksu / Matah, mijuku, kacha.. 02-2(P) - Kjære Jennifer Merin.................................................................................. 75-4(D) - Komunikacija.............................................................................................. 79-2(SR/CR) - Kun handlingen er levende, men ordet alene vil bestå................................. 91-2(D) - L’azione reale.............................................................................................. 92-1(I) - La danse de la foi sur le squelette de la Baleine Blanche......................... Ap.3/25(F) - La danza della fede sullo scheletro della Balena Bianca........................... Ap.3/25(I) - La fisión teatral de Meyerhold.................................................................... 02-3(S) - La fission théâtrale de Meyerhold............................................................... 02-3(F) - La fissione teatrale di Mejerchol´d............................................................. 02-3(I) - La lunga iniziazione.................................................................................... 63-4(I) - La paradoja pedagógica : aprender a aprender........................................ Ap.3/43(S) - La présence physique.................................................................................. 79-2(F) - La presencia física...................................................................................... 79-2(S) - La presenza fisica........................................................................................ 79-2(I) - La teoría después de la acción..........................67-1(S), 76-2(S), 93-4(S) and Ap.3/7(S) - Langues de travail / La présence / Axé, shinmyong, taksu / Matah, mi-juku, kacha...... 02-2(F) - Le mythe de la technique............................................................................. 72-2(F) - Le paradoxe pédagogique: apprendre à apprendre..............Ap.3/43(F) and Ap.3/43(K) - Le silence écrit……………………………………………………………. 83-1(F) - Lenguas de trabajo………………………………………………………… 02-2(S) - Letter by Eugenio Barba to Nitis Jacon...................................................… 94-5(E) 10
- Lettera a un fratello peruviano.................................................................. ... 98-7(I) - Lettera da Eugenio Barba a Nitis Jacon................................................... . 94-5(I) - Lo strumento addormentato nel bosco. Musica come teatralità................. 79-1(I) - Los cultivadores de oasis.......................................................................... .. 97-5(S) - Lingue di lavoro / La presenza / Axé, Shinmyong, taksu / Matah, mi-juku, kacha...... 02-2(I) - Materiali di lavoro……………………………………….04-1(I), 04-6(I) and 04-7(I) - Min fars hus……………………………………………………………… 72-1 - Mit Tehnike................................................................................................ 72-2(SR/CR) - Mit techniki………………………………………………………………. 72-2(P) - Meyerhold´s Theatre Fission………………………………………………. 02-3(I) - Modsætningernes spil.................................................................................. 79-2(D) - Nasza czastk zyjaca na wygnaniu............................................................... 82-2(P) - Mot et sakralt og profant teater................................................................... 63-3(N) - Natura dramaturgii...................................................................................... 82-2(P) - Notas sobre Antropología Teatral y técnicas de la representación historiográfica... 90-1(S) - Nur die Handlung ist lebendig, doch nur das Wort bleibt........................... 91-2(G) - Obras escogidas I………………………………………………………….. 95-9(S) - Obecność fizyczna ......................................................................................... 79-2(P) - Odin Teatret (dets historie og idag)............................................................ 83-1(D) - Odin Teatret: storia e oggi.......................................................................... 83-1(I) - Odlučujuća faza…………………………………………………….… … 73-3(SR/CR) - Only the Action is Alive, But Only the World Remains............................... 91-2(E) - Organic Effect................................................................................................ 02-2(E) 11
Page 1: NORDISK TEATERLABORATORIUM - ODIN T
Page 5 and 6: CRITERIA 1. The bibliography is in
Page 7 and 8: VARIATIONS - A Decisive Phase……
Page 9: - Et dramaturgisk grundprincip.....
Page 13 and 14: - Stemme, lyd, musik...............
Page 15: - Zapiski dla zaklopotanych (i dla
Page 18 and 19: (A) Masirat al-mu-askin, Damascus,
Page 20 and 21: Two Doors (88-4), The Part of Us wh
Page 22 and 23: etorno (03-1), Angelanimal (06-4),
Page 24 and 25: other instructors who directed the
Page 26 and 27: *63-3(T). Ritüel tiyatro, “Mimes
Page 28 and 29: - Havana, Ediciones Alarcos, 2003,
Page 30 and 31: - in Aldilà delle isole galleggian
Page 32 and 33: - “The Soul of the American Actor
Page 34 and 35: - in Beyond the Floating Islands, N
Page 36 and 37: - L’énergie qui danse, by Eugeni
Page 38 and 39: “Training” of The Secret Art of
Page 40 and 41: - included in the article De “apr
Page 42 and 43: 75-4(E). Letter from the South of I
Page 44 and 45: - Havana, Ediciones Alarcos, 2003,
Page 46 and 47: *76-2(CAT). Tercer Teatre, in Les i
Page 48 and 49: - in Teatr. Samotnosc, rzemioslo, b
Page 50 and 51: *79-1(CAT). Veus, sons, música, in
Page 52 and 53: *79-2(PR). (Excerpt) Presença tota
Page 54 and 55: - in Más allá de las islas flotan
Page 56 and 57: - in Jenseits der Schwimmenden Inse
Page 58 and 59: - Mexico City, Escenología, 2009,
Page 60 and 61:
- Premisa sobre el silencio escrito
Page 62 and 63:
84-2(S). El matrimonio con Dios, o
Page 64 and 65:
- (Excerpt) Tebe dalle sette porte,
Page 66 and 67:
*85-2(GR). Ή σκιά τηςΆντ
Page 68 and 69:
86-3(I). Uomo-donna o Animus-Anima,
Page 70 and 71:
- in Além das ilhas flutuantes, S
Page 72 and 73:
- Mexico City, Escenología, 1998,
Page 74 and 75:
- in The Theatre Cercles, Bagdad 19
Page 76 and 77:
- Milan ubulibri, 2000 (Third revis
Page 78 and 79:
*90-1(J). (Excerpt) ISTA Internatio
Page 80 and 81:
*90-7(PR). Terceiro Teatro: a heran
Page 82 and 83:
- Sólo la acción está viva, pero
Page 84 and 85:
*91-3(GR). όι άνθρωποι τ
Page 86 and 87:
- (Excerpt chapter II and III), Ant
Page 88 and 89:
1994 94-1(E). The Steps on the Rive
Page 90 and 91:
*94-7(E). All Theatre is Made of Da
Page 92 and 93:
- Mexico City, Escenología, 1998,
Page 94 and 95:
*96-1(PR). Um amuleto feito de mem
Page 96 and 97:
*97-3(G). Pirandellos ohrringe, not
Page 98 and 99:
97-10(D). DEN BLINDE HEST (In colla
Page 100 and 101:
98-8(P). Dario Fo i Franca Rame: Pr
Page 102 and 103:
- (Excerpt) Conocimiento tácito, i
Page 104 and 105:
01-3(F). L’éléve est plus impor
Page 106 and 107:
in the second French version), Mont
Page 108 and 109:
- “I Encuentro mundial de teatro.
Page 110 and 111:
SAVARESE, Wroclaw, Ośrodek Badań
Page 112 and 113:
05-8(I). La danza dell’algebra e
Page 114 and 115:
07-4(S). LA CONQUISTA DE LA DIFEREN
Page 116 and 117:
09-3(I). Il cielo del teatro (Speec
Page 118 and 119:
Ap.1/9(I). Tradizioni e tradimenti
Page 120 and 121:
Ap.1/I(I). Perché siamo qui (Lette
Page 122 and 123:
Ap.2/8(I). Memoria (Text written in
Page 124 and 125:
- in Más allá de las islas flotan
Page 126 and 127:
*Ap.3/7(PR). Duas tribos, in Além
Page 128 and 129:
*Ap.3/19(E). Creating the Roles,
Page 130 and 131:
Ap.3/37(S). Rosa Ileana BOUDET, Cr
Page 132 and 133:
Ap.3/54(S). Antonio CÉLICO, Camino
Page 134:
Ap.3/75(SR/CR) and (E). Dijana MILO
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