AuthorFederico Fanella

Eugenio Barba concludes the series of ten films on Theatre Anthropology.

The film is dedicated to Cristina Wistari, an Italian dancer who for years in Bali struggled to keep alive the tradition of gambuh which, together with Japanese nô is the oldest form of dance-theatre still in existence.

This film presents works by Umberto Boccioni, Auguste Rodin, Edgar Degas, Antoine Bourdelle, Henri Matisse, Giorgio Vasari, El Greco, Pablo Picasso, Paul Klee commented by Eugenio Barba: “Where there is movement there is transformation.

This film shows an Odin Teatret exercise called “Tre-tre” which shapes the flow of energy through continuous changes in tension.

This film is dedicated to Augusto Omolu, whose dances of the orixás in the Brazilian candomble made Eugenio Barba experience the thousand colours of energy.

Manzo Nomura, a famous Japanese kyogen actor, teaching his three-year-old grandson Kosuke, Then an extract of Ludmilla Pavlovna Sakharova teaching classical ballet in 1983.

Eugenio Barba comments Japanese nô scene from the play Dojoji and an extract of Carolyn Carlson’s modern dance. The film shows examples of this perceptive stimulation with paintings by Franz Marc, Cara V. Stacey, Pablo Picasso.

The film is dedicated to the Balinese dancer I Made Pasek Tempo who was part of the artistic staff at the first session of ISTA, the International School of Theatre Anthropology, in October 1980, in Bonn, Germany.

The film is dedicated to the Japanese dancer Katsuko Azuma, and the demonstration in the film is followed by that of Keiin Yoshimura, Japanese dancer of kamigata-mai, the dance of the nô theatre at ISTA in Albino, Italy, in 2016.

The film is dedicated to Sanjukta Panigrahi, a classical Indian Odissi dancer. Then the film jumps to the ISTA session in Albino, Italy, in 2016, and to Eugenio Barba’s talk introducing the principles of Theatre Anthropology.