AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Authors: GÁBOR VIKTOR KOZMA.
DOI: 10.24193/subbdrama.2022.2.02
Published Online: 2022-11-30
Published Print: 2022-12-30
pp. 29-45
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In my recent research, I am interested in investigating the logic of actor training practices in different approaches, such as the training of the Odin Teatret, the Suzuki Method, or the Viewpoints technique, trying to compare them and expose the training''s common logic. The present paper focuses on the analysis of training at the Odin Teatret and tries to employ a deconstructive analytical technique to analyze this training according to a straightforward set of standards: (1) From where? – the context and history of the training practicing company (2) What? – a comparison of several concepts of training (3) When? – the scheduling of training inside the companies (4) For what? – the training''s objectives and the ideal actor image they create (5) How? – the training tools. To set the stage for my article, I will first define the term “training” as I use it, then I will examine Odin Teatret’s methods, and lastly, based on all of these, I will summarize the notion of training as a directing method from an Eastern European perspective.
Keywords: Actor’s training, Odin Teatret, education, Eugenio Barba.
