- Havana, Ediciones Alarcos, 2003, pp.205-210 (together with La tierra de cenizas y diamantes under the title Obras escogidas I). *65-1(F). Un Théâtre de fracture, in Théâtre. Solitude, métier, révolte, Saussan, L’Entretemps, 1999, pp.29-35. *65-1(E). Creation of a “Rift-Theatre”, in Theatre. Solitude, Craft, Revolt, Aberystwyth, Black Mountain Press, 1999, pp.27-33. *65-1(GR). Ένα θέατρο ρήξης, in Θέατρο. Μοναζιά, δεζιοτεχνία, έζέγερση, Athens, Koan, 2001, pp.35-43. *65-1(P). Teatr rozlamu, in Teatr. Samotnosc, rzemioslo, bunt, Warsaw, Instytut Kultury Polskiej 2003, pp. 27-33. *65-1(K). Creation of a «Rift-Theatre » (Korean version), in Theatre. Solitude, Craft, Revolt, Seoul, Pyungminsa Publishing, 2005, pp. 22-28. *65-1(RM).Un teatru al fracturii, in Teatru. Singurǎtate, meşteşg, revoltǎ, Bucharest, Nemira, 2010, pp.35-45. 65-2(SW). Jósef Szajna och den autonoma scenografin, “Ord & Bild”, no.2 Stokholm 1965, p.116. 65-3(N). Kathakali (en klassisk indisk teaterskole), “Vindrosen”, vol.12 no.4, Copenhagen 1965, pp.53-61. 65-4(N). <strong>Odin</strong>teatret, - in the programme for the performance Ornitofilene, Oslo 1965, p.0 - in Ornitofilene, Kaspariana, Ferai, Holstebro, <strong>Odin</strong> <strong>Teatret</strong>s Forlag, 1969, p.0 *65-4(F). Without title, - in Ornitofilene, Kaspariana, Ferai, Holstebro, <strong>Odin</strong> <strong>Teatret</strong>s Forlag, 1969, p.0. - in Expériences, Holstebro, <strong>Odin</strong> <strong>Teatret</strong> Forlag, 1973, last page with no number. *65-4(S). Without title, in A mis espectadores, Gijón, Oris Teatro, 2004, p.15. 65-5(N). Ornitofilene, (Text introducing the <strong>Odin</strong> <strong>Teatret</strong> performance Ornitofilene), in the programme for the performance, Oslo 1965, p.1. *65-5(S). Ornitofilene, in A mis espectadores, Gijón, Oris Teatro, 2004, pp.19-20. 65-6(N). Profesjonelt teater og amatørteater, in the programme for the performance Ornitofilene, Oslo 1965, pp.3-10. *65-6(D). Professionelt teater og amatørteater, ”Rampelyset” no.132, Thisted 1978, pp.2-4. *65-6(S). Teatro profesional y teatro aficionado, in A mis espectadores, Gijón (Spain), Oris Teatro, 2004, pp.21-27 65-7(N). Om vår trening, - in the programme for the performance Ornitofilene, Oslo 1965, pp.10-12. - (Excerpt) in Ornitofilene, Kaspariana, Ferai, Holstebro, <strong>Odin</strong> <strong>Teatret</strong>s Forlag, 1969, p.7. *65-7(F). Sur l’entraînement, 28
- (Excerpt) in Ornitofilene, Kaspariana, Ferai, Holstebro, <strong>Odin</strong> <strong>Teatret</strong>s Forlag, 1969, p.7 - (Excerpt) in Expériences, Holstebro, <strong>Odin</strong> <strong>Teatret</strong> Forlag, 1973, p.173. *65-7(S). Acerca de nuestro entrenamiento, in A mis espectadores, Gijón, Oris Teatro, 2004, pp.28-32. 65-8(N). Don Quijoter, “<strong>Teatret</strong>s Teori og Teknikk” no.1, Oslo 1965, p.2. 65-9(N). Stanislavskijs tvil, “<strong>Teatret</strong>s Teori og Teknikk” no.2, Oslo 1965, p.2. 1966 66-1(N). Efterskrift, in Det dobbelte teater by Antonin ARTAUD, Copenhagen, Arena, 1967, pp.151-160. *66-1(F). Postface à l’edition danoise de Le théâtre et son double Arena, 1967, not published. 1967 67-1(D). Brev til skuespilleren D., (This letter was written by Eugenio Barba to one of the actors of <strong>Odin</strong> <strong>Teatret</strong>). - in Synspunktet i kunsten, ed. by Ole WAHL OLSEN, Copenhagen, Brøndums Forlag, 1968, pp.31-34. - in De flydende øer, Copenhagen, Borgens Forlag, 1989, pp.25-27. *67-1(DU). Brief aan D.,“Kentering” no.1, Amsterdam 1969, pp.54-55. *67-1(N). Brev til skuespilleren D., in Ornitofilene, Kaspariana, Ferai, Holstebro, <strong>Odin</strong> <strong>Teatret</strong>s Forlag, 1969, pp.73-75. *67-1(F). Lettre à l’acteur D., - in Ornitofilene, Kaspariana, Ferai, Holstebro, <strong>Odin</strong> <strong>Teatret</strong>s Forlag, 1969, pp.77-79. - (Excerpt) Théâtre des Nations 1969, Paris, pp.117. - in Expériences, Holstebro, <strong>Odin</strong> <strong>Teatret</strong>s Forlag, 1973, pp.163-165. - in L’étranger qui danse, ed. by Tony D’URSO and Ferdinando TAVIANI, Maison de la Culture de Rennes, 1977, pp.11-12. - in L’archipel du Théâtre, Lectoure, « Contrastes » Bouffonneries, 1982, pp.9-10. - in Théâtre. Solitude, métier, révolte, Saussan, L’Entretemps, 1999, pp.36-38. *67-1(I). Lettera all’attore D., - “Quaderni del Cut/Bari”, Bari 1974, pp.52-54. - Lo straniero che danza, ed. by Tony D'URSO and Ferdinando TAVIANI, Turin, Studio Forma, 1977, pp.13-14. 29
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- Page 7 and 8: VARIATIONS - A Decisive Phase……
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- Page 11 and 12: - Lettera a un fratello peruviano..
- Page 13 and 14: - Stemme, lyd, musik...............
- Page 15: - Zapiski dla zaklopotanych (i dla
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- 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
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- Page 32 and 33: - “The Soul of the American Actor
- Page 34 and 35: - in Beyond the Floating Islands, N
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- Page 38 and 39: “Training” of The Secret Art of
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- 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
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- 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
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- 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
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- Page 74 and 75: - in The Theatre Cercles, Bagdad 19
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*90-1(J). (Excerpt) ISTA Internatio
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*90-7(PR). Terceiro Teatro: a heran
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- Sólo la acción está viva, pero
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*91-3(GR). όι άνθρωποι τ
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- (Excerpt chapter II and III), Ant
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1994 94-1(E). The Steps on the Rive
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*94-7(E). All Theatre is Made of Da
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- Mexico City, Escenología, 1998,
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*96-1(PR). Um amuleto feito de mem
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*97-3(G). Pirandellos ohrringe, not
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97-10(D). DEN BLINDE HEST (In colla
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98-8(P). Dario Fo i Franca Rame: Pr
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- (Excerpt) Conocimiento tácito, i
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01-3(F). L’éléve est plus impor
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in the second French version), Mont
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- “I Encuentro mundial de teatro.
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SAVARESE, Wroclaw, Ośrodek Badań
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05-8(I). La danza dell’algebra e
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07-4(S). LA CONQUISTA DE LA DIFEREN
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09-3(I). Il cielo del teatro (Speec
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Ap.1/9(I). Tradizioni e tradimenti
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Ap.1/I(I). Perché siamo qui (Lette
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Ap.2/8(I). Memoria (Text written in
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*Ap.3/7(PR). Duas tribos, in Além
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*Ap.3/19(E). Creating the Roles,
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Ap.3/37(S). Rosa Ileana BOUDET, Cr
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Ap.3/54(S). Antonio CÉLICO, Camino
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Ap.3/75(SR/CR) and (E). Dijana MILO