By Eugenio Barba
The empty ritual -- natural dramaturgy as a degree of service provider -- Narrative dramaturgy as a degree of service provider -- Evocative dramaturgy as a degree of organization -- Theatre-in-liberty
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Additional resources for On Directing and Dramaturgy: Burning the House
I was sustained by my faith that if I worked without giving in, after some months I would meet the sphinx: the performance. Once again I would experience the emotion of seeing it approaching from far away, independent and with a proud life of its own. Fidelity and need to overturn went hand in hand. But I still had a third perspective from which I looked at my activity. And this too I used to call dramaturgy. In the course of the years my actors began to create materials for a new performance in an ever more autonomous way – each with his logical threads, associations and work on the organic and narrative level.
If fairy tales can teach us something, then it is that error can be a blessing. The foolishness or the forgetfulness of a protagonist, a person mistaken for another, a prolonged sleep, a dead crow that you put in your pocket – these are the premises and conditions for an unexpected happy ending. In the confrontation between the old Odin and the young Odin I can clearly perceive an indissoluble bond: the desire to break the chains, the hunger for Disorder, the panic in front of the sphinx – the new performance to prepare – the attraction to obstacles and errors.
I wonder how much, in the struggle against my chains, the influence of my ancestors has weighed? I speak of a few theatre reformers whom I recognise as maîtres fous, masters of Disorder, possessed by an almost shameless fervour which they expressed in words of fire and through rigorous practices. When I think about the extremism of their thought, the protagonists of the theatre revolt in the twentieth century from Stanislavski on, become for me maîtres fous. In a climate of aesthetic, technical and economic renewal, they raised questions which were so absurd that they were met with indifference and derision.
On Directing and Dramaturgy: Burning the House by Eugenio Barba