Tuesday, October 17, 2006

further notes

'I work, as a director, very mathematically. Building a performance is like building an enigma, a sphinx, which has to be alive, evoked in the flesh of the actors.'
Eugenio Barba

Barba defined the essence of human condition as a simultaneity of paradoxical states.
In theatre, all elements attack the senses of the spectator - information is contiguous, two things that are not related share the same time/space.
The spectator might not understand it, but sense it.

He also spoke about the range in which the Odin actors are trained and about the ablative presence of the actor.
psychophysical quality that allows the same manifestations every time one performs - not the same feelings, it is not psychological.
The actions must be motivated. And precise.
The actor works enormously in the
kinaesthetic sense of the spectator.
how to destroy the predictability that the
kinaesthetic sense of the spectator knows? the actor has to cheat: go a little away from where he actually wants to go.
microscopically, so that it is not bizarre.
One can as well call it verfremdung.

1 comment:

João said...

Sounds familiar, no?
looking forward to more of your notes on the Odin week.