SEGUICI:
The texts collected in the book analyse strategies, methods and resources of a poor art that constantly seeks spaces of autonomy and survival.
Eugenio Barba, Franco Ruffini, Nicola Savarese and Julia Varley sreveal the Terzo Teatro identity through the history of groups, individuals and territories belonging to a theatrical archipelago that is still very extensive and far from the entertainment market.
In this mysterious cultural ecosystem a common battle cry resounds in support of freedom, equality and collective participation.
The book, edited by Claudio La Camera, was published by the La Bussola publishing house, under the patronage of Ipazia Production, on July 26, 2021.
Among the activities relating to publications, the Barba Varley Foundation supports Journal of Theater Anthropology annual journal of theater anthropology founded by Eugenio Barba (https://jta.ista-online.org).
JTA is published annually in digital format with open access. It is published in paper form every March by Mimesis Edizioni (Milan). The magazine is available for consultation. HERE
Conceived as a part of a broad project on sharing knowledge on actors’ techniques, JTA is published under the auspices of International School of Theatre Anthropology (ISTA), with the support of the Fondazione Barba Varley, in collaboration with’Odin Teatret and with the Centre for Theatre Laboratory Studies Department of Aarhus University (Denmark).
Eugenio Barba: My Lives in the Third Theater – Difference, Craft, Revolt edited by Lluis Masgrau.
Eugenio Barba is one of the great masters of twentieth-century theater. He has written many books since 1962 and, even more, in a wide variety of languages, essays on his long experience as founder and director of the Odin Teatret, theorist and animator of a new form of group theater, distinct from more conventional forms of action and organization.
Almost sixty years after the creation of Odin Teatret, which brought together global technical and artistic experiences from both the West and the East, culminating in legendary performances and daring anthropological experiments and research, My Lives in the Third Theater is the great book of synthesis.
The fundamental question that Barba has focused his efforts on—why do theater?—is explored here in all its complexity. But one firm principle guides the inquiry: theater is only worthwhile if it transcends itself, if it seeks its value by trying to free itself from its obvious function as theater.
