Bitef

Za početak im je ponudila jedno staro imanje i malu svocu novca. Od tog vremena Holscebro je za Barbu i njegove kolege, kao i Odin Teatret postao baza. Za proceklih trideset šest godina Eudenio Barba je režirao 23 predstave. Za neke od njih bilo je pocrebno čak i do dve godine priprema. Medu najpoznacijima su Ferai (1969) Min Fars Hus ( Киса maga oca , 1972), Brecht’s Ashes (Brehtov pepeo, 1980), The Gospel According to Oxyrhincus (Jevamelje prema Oksirinku, 1985), Talabot (1988), Kaosmos (1993), i, nedavno, Mythos (1998). Godine 1979. Euđenio Barba osniva Međunarodnu školu pozorišne ancropologije (ISTA). Clan je savetodavnih odbora naučnih časopisa, kao sto su „The Drama Review“, „Performance Research“, „New Theatre Quarterly“ i „Teatro e Storia“. U njegova novija objavljena dela, prevedena na nekoliko jezika, übrajaju se The Paper Canoe (Routledge), Theatre: Solitude, Grafi, Revolt (Black Mountain Press), Land of Ashes and Diamonds. My Apprenticeship in Poland, followed by 26 letters from Jerzy Grotoyski to Eugenio Barba (Black Mountain Press) i, u saradnji sa Nikolom Savarezeom (Nicola Savarese), The Secret Art of the Performer (Centre for Performance Research / Routledge). Eudenio Barba je nosilac počasnih doktorata Univerziteta u Arhusu, Ajakuću, Bolonji, Havani i Varšavi i Reconnaissance de mérite scientifique Univerziteta u Montrealu. Dobitnik je nagrade Danske akademije, nagrade meksičkih pozorišnih kritičara, nagrade „Diego Fabbri“, nagrade „Pirandello“ International i nagrade „Sonning“, koju dodeljuje Univerzitet u Kopenhagens ANDERSEN’S DREAM Two Tracks for the Spectator A circle of artists gathers in a garden in Denmark. It is a bright morning. They wait for a summer night when the setting sun will dance. A friend from another continent is about to join them. With him, dreaming with open eyes, they will depart on a pilgrimage into the regions of Andersen’s fairy tales. Europe is at peace, or at least their country is. Or perhaps only their garden. In that cofined space, time stands still and liquefies. It is summer, yet snow falls, and the snow becomes tainted with black. Their fantasies sail on a tenebrous

dream: a vessel chat transports men and women in chains. The artist feel the weight of invisible chains. Are they, too, enslaved? When the pilgrimage is about to end, the open-eyed dreamers become aware that their summers day lasted a lifetime. The bed of dreamless sleep awaits them. Figures are coming to cake them. Are they ghosts, puppets or toys? What kind of life do we live, when we stop dreaming? And which tragedy or farce does the sun dance? HANS CHRISTIAN ANDERSEN Hans Christian Andersen (1805-1875) wrote in his diary how he dreamt he was invited by the king to travel on his ship. Andersen reached, panting, to the habour but the royal vessel had already set sail. Called on board another ship, he was brutally thrown into die hold and there he realised he was part of a load of slaves.