Eugenio Barba by Jane Turner

By Jane Turner

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Sample text

We need to constantly seek out new stimuli and challenges within exercises, both for the mind and the body. Chemicals released in the body, such as endorphins, enable us to overcome the obstacle of tiredness that the body sets up. We each need to explore the well of energy that is our body so that we can engage the endorphins and overcome fatigue and, consequently, achieve a greater depth in our training work. In the work demonstration, Traces in the Snow, Carreri shows how an exercise can be changed through intensity, size and direction.

The subscore may have little, if any, literal relationship with the performance witnessed by the spectator. The other actors and Eugenio Barba do not need to know what constitutes the subscore or what it means; it is personal to the actor. The subscore does not need to have a rational logic but might have logic similar to dreams, coherent to the actor, although seemingly incoherent to anyone else. As we have noted earlier, the process of fixing the performer’s score is similar to the process undertaken by a dancer learning a piece of dance choreography, but it entails not just a dilation of outer physical energy but also an internal mental dilation, referred to as embodying the score.

This aim has influenced the scenic decisions and lighting – for example, only a part of the BUILDING A ‘SMALL TRADITION’ 19 20 BUILDING A ‘SMALL TRADITION’ performer’s body might be illuminated, like in a Rembrandt painting. The lighting design also allows the actor to move around in darkness as though invisible. Usually Odin does not work with a scenic designer, as the emphasis for the design is always that it should be efficient: functional, easy to transport, set up and dismantle. Their aim is always to have a show that the company can set up in eight hours.

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