A SYSTEMATIC BIBLIOGRAPHY OF EUGENIO ... - Odin Teatret

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- Con nombre propio…………………………………………………….... 08-7(S) - Creating the Roles...........................................................................…..... Ap.3/19(E) - Cuando el actor abandona los territorios conocidos.................................. 79-2(S) - Danza profunda y danza evidente................................................................. 95-5(S) - Decydujący etap…………………………………….................................... 73-3(P) - Dîners et banquets...................................................................................... 85-5(F) - Dinners and Banquets.................................................................................. 85-5(E) - Director as Innovator and Author: Grotowski’s Laboratory Theatre......... 62-1(E) - Discurso de agradecimiento de Eugenio Barba con ocasión del nombramiento como Doctor Honoris Causa por la Universidad de Bolonia (1998)..............98-10(S) - Doctor Faustus in Poland………………………………………………….. 63-1(E) - Dramaturgia: el orden profundo llamado turbulencia................................. 98-11(S) - Dårlig far og dårlig sønn............................................................................. 79-2(N) - E dove risaliamo alle parole pubbliche del regista...................................... 74-3(I) - Efekt organiczności……………………………………………………….. 02-2(P) - Effet d’organicité………………………………………………………….. 02-2(F) - El mito de la técnica..................................................................................... 72-2(S) - El Odin Teatret, treinta años de actividad................................................... 95-4(S) - El periodo de la vulnerabilidad................................................................... 86-3(S) - El silencio escrito......................................................................................... 83-1(S) - En nat uden måne…………………………………………………………. 97-2(D) - Entre texto escrito y espectáculo.................................................................. 82-2(S) - Entrevista con Eugenio Barba..................................................................... Ap.3/7(S) - Estrangers en el teatre.............................................................................. Ap.3/2(CAT) 8
- Et dramaturgisk grundprincip..................................................................... 00-5(D) - Étrangers dans le théâtre........................................................................... Ap.3/2(F) - Eugenio Barba y el Odin Teatret................................................................ 83-1(S) - Extraer lo difícil de lo difícil...................................................................... 98-11(S) - Extrangeros en el teatro............................................................................... Ap.3/2(S) - Feljegyzések (Kételkedók és saját magam számára)................................... 92-1(H) - Forord til en skreven stilhed........................................................................ 83-1(D) - Fremde im Theatre....................................................................................... Ap.3/2(G) - Holstebro come Atene.................................................................................. 90-4(I) - I metalli più disparati.................................................................................. 72-2(I) - Il corpo stesso.............................................................................................. 84-4(I) - Il mito della tecnica..................................................................................... 72-2(I) - Il paradosso pedagogico: apprendere ad apprendere.................................. Ap.3/43(I) - Il periodo della vulnerabilità....................................................................... 86-3(I) - Il problema del training............................................................................... Ap.3/12(I) - Il silenzio scritto.......................................................................................... 83-1(I) - Il teatro come emigrazione.......................................................................... 96-4(I) - Il veleno di Bertolt Brecht........................................................................... 98-2(I) 1(I) - Il viaggio delle identità........................................................................93-3(I) and 94- - Immagini da una realtà senza teatro............................................................ 75-2(I) - In the Heart................................................................................................. 83-1(E) - İncinebilirlik dönemi.................................................................................... 86-3(T) - Intervista con Eugenio Barba....................................................................... Ap.3/7(I) 9
Page 1: NORDISK TEATERLABORATORIUM - ODIN T
Page 5 and 6: CRITERIA 1. The bibliography is in
Page 7: VARIATIONS - A Decisive Phase……
Page 11 and 12: - Lettera a un fratello peruviano..
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:
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:
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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A SYSTEMATIC BIBLIOGRAPHY OF EUGENIO ... - Odin Teatret

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