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    STUDIA DRAMATICA - Issue no. 1 / 2012  
         
  Article:   GROTOWSKI ET BARBA : SUR LA VOIE DU THÉÂTRE-DANSE / GROTOWSKI AND BARBA: TOWARDS DANCE-THEATRE.

Authors:  .
 
       
         
  Abstract:  Grotowski and Barba: towards Dance-Theatre. The starting point of the paper is represented by the desire to erase the barriers between theatre and dance, strongly affirmed by both Grotowski and Barba in their theoretical writings. This idea also guided their work with the actor. The approach allows the author of the paper to emphasize the unifying principles which represent the basis of Grotowski’s different creation stages (Laboratory Theatre, Theatre of Sources, Art as Vehicle) and which can be encountered in his work on the body (of the actor, of the Performer). This refers to work on movement techniques, on the impulses and organic processes that take place inside the actor, allowing him to become not just a plastic instrument, but “a body-memory”, “a body-life” opened towards the spiritual. On the other hand, by evoking Barba’s admiration of the oriental actor, the author analyses the director’s reflections on the actor-dancer and on the fusion between theatre and dance, which allows him to create a “fictive body”, an “artificial body”, a “dilated” body, through which the world of emotions and thoughts becomes visible.

Keywords: Grotowski, Barba, Delsarte, Jaques-Dalcroze, Meyerhold, Rudolf von Laban, theatre, dance, actor’s training, impulse, organic process, physical action, intimate experience, Laboratory Theatre, Theatre of Sources, Art as Vehicle, possesion rites, form, formalizing, performer, “artificial body”, “acculturate body”, “fictive body”
 
         
     
         
         
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