INDICE CONCEPTUAL DE LA OBRA ESCRITA

DE EUGENIO BARBA

LLUIS MASGRA

CRITERIA
. La obra escrita de Eugenio Barba es un laboratorio de conceptos. Ms all de los distintos
textos que la integran y de la dispersin aparente de materiales, en la obra de Barba hay una serie de
lneas de fuerza internas que la estructuran y la convierten en un todo coherente. Estas lneas de
fuerza estn compuestas por una serie de conceptos que Barba retoma y reelabora de un texto a otro.
Estos conceptos viajan por la obra de Barba a travs de inumerables peripecias intelectuales.
. Este documento es un ndice de conceptos con sus respectivas indicaciones bibliogrficas
correspondientes a la obra escrita de Eugenio Barba. Las indicaciones bibliogrficas no se refieren a
los lugares donde Eugenio Barba cita los conceptos en cuestin, sino a los fragmentos donde
Eugenio Barba formula y elabora esos conceptos.
. El documento incluye todos los coneceptos que tienen una formulacin precisa y concreta en
la obra de Barba, aunque slo tengan una sla referencia bibliogrfica. En cambio, el documento no
incluye toda una serie de conceptos que son muy importantes en la obra de Barba, pero que no
tienen una formulacin precisa: Exilio, Etca o Ethos, Viaje, Transcendencia. Esa
vaguedad intencionada constituye una especie de msica o transfondo que recorre toda la obra
escrita de Barba.
. En cada caso damos los ttulos en ingls. Si el texto en cuestin no existe en ingls, lo
citamos en la lengua de su primera publicacin.
. Los artculos aparecen citados en minscula. Los libros en mayscula.
. Las referencias que aparecen bajo cada voz estn ordenadas cronolgicamente de ms
reciente a ms antigua.
. En negrita damos el texto de Eugenio Baba donde aparece la formulacin ms elaborada de
cada concepto.
. Cuando el concepto en cuestin es desarrollado slo en una parte del artculo o libro que
citamos, al lado del ttulo del texto damos entre parntesis la indicacin del captulo del libro o la
seccin del artculo donde aparece desarrollado el concepto.
. Al final de cada voz damos una lista de conceptos relacionados con esa voz.

1. Action
2. Actors dramaturgy
3. Ancestors
4. Artaud, Antonin
5. Atahualpa del Cioppo
6. Autodidactism
7. Balance (principle of)
8. Barter
9. Big History / Small History
10. Body-Mind
11. Brecht, Bertolt
12. Chines Opera
13. Consistent Inconsistency (principle of)
14. Copeau, Jacques
15. Craig, Gordon
16. Dance
17. Decroux, Etienne
18. Difference
19. Disorder
20. Dissidence
21. Dramaturgy
22. Eastern Theatre
23. Emotion
24. Empty Ritual
25. Energy
26. Equivalence (principle of)
27. Evocative Dramaturgy
28. Exercises
29. Extra-daily technique
30. Eurasian Theatre
31. Fo, Dario
32. Garca, Santiago
33. Grotowski, Jerzy
34. Group (theatre)
35. Guru
36. History
37. Identity (professional ident. / cultural ident.)
38. Improvisation
39. Inculturation / Acculturation
40. Interculturalism
41. ISTA

42. Kabuki
43. Kathakali
44. Laboratory (Theatre)
45. Latinoamerica (and latinoamerican theatre)
46. Legacy
47. Marceau, Marcel
48. Master
49. Meaning (of the theatre)
50. Method
51. Meyerhold
52. Narrative Dramaturgy
53. No Theatre
54. Odissi Dance
55. Omission (principle of)
56. Organic Dramaturgy
57. Organicity
58. Opposition (principle of)
59. Pedagogy (theatrical)
60. Pre-expressivity
61. Presence
62. Reformers (the)
63. Sats
64. Score
65. Spectator
66. Spontaneity
67. Stanislavski, Konstantin
68. Sub-score
69. Subterranean History of Theatre
70. Superstition
71.Technique
72. Theatre Anthropology
73. Third Theatre
74. Tradition
75. Training
76. Utopia
77. Vakthangov, Eugeni
78. Value (of the theatre)
79. Vocation
80. Voice
81. Wound

1. ACTION (Physical)
1996: An Amulet Made of Memory (A Physical Action: The Smallest Perceptible Action)
(Cf. Actors Dramaturgy, Body-Mind, Emotion, Energy, Organic Dramaturgy,
Organicity, Pre-expressivity, Presence, Score)
2. ACTORS DRAMATURGY (See Dramaturgy)
3. ANCESTORS
2000: The Essence of Theatre
1999: Le protagoniste absent (Eclatement du thtre dart et naissance des petites traditions)
1988: Eugenio Barba to Phillip Zarrilli
1987: The Third Bank of the River
(Cf. Identity, Reformers, Subterranean History of the Theatre, Superstition,
Tradition, Value)
4. ARTAUD, Antonin (See Reformers)
5. ATAHUALPA DEL CIOPPO (See Reformers)
6. AUTODIDACTISM
2002: Grandfathers, Orphans, and the Family Saga of the European Theatre (introito)
1999: The Transmission of a Legacy: Theatrical apprenticeship and Tacit Knowledge
(Introito The Collective Guru The Organic Environment Waste and Legacy)
1981: Paradosso pedagogico
1980: Theatre Antrhopology: First Hypothesis
(Cf. Exercises, Method, Pedagogy, Theatre Anthropology, Third Theatre,
Training)
7. BALANCE (Principle of)
1992: THE PAPER CANOE (3. Recurring Principles)
1981: Theatre Anthropology (Balance in Action)
1980: Theatre Anthropology: First Hypothesis

(Cf. Actors Dramaturgy, Body-Mind, Consistent Inconsistency, Dance, Energy,

Extra-daily Technique, Inculturation / Acculturation, Organicity, Opposition, Preexpressivity, Presence, Technique, Theatre Anthropology)
8. BARTER
2004: La conquista della differenza (Terra di nessuno)
1983: Written Silence (Secrecy and Barter)
1976: Roots and Leaves (chap.III)
1975: Letter from the South of Italy
1974: Two Tribes
(Cf. Difference)
9. BIG HISTORY / SMALL HISTORY (See History)
(Cf. Difference, Dissidence, Group, Identity, Laboratory, Utopia, Vocation)
10. BODY-MIND
1992: THE PAPER CANOE (6. The Dilated Body. Notes on the Search for Meaning - 7.
A Theatre not Made of Stones and Bricks)
1987: The Fiction of Duality (Organicity and Spontaneity)
1985: The Dilated Body
(Cf. Action, Actors Dramaturgy, Dance, Energy, Inculturation / Acculturation,
Organicity, Presence, Spontaneity, Theatre Anthropology)
11. BRECHT, Bertolt (See Reformers)
12. CHINES OPERA (See Eastern Theatre)
13. CONSISTENT INCONSISTENCY (Principle of)
1992: THE PAPER CANOE (3. Recurring Principles)
1980: Theatre Anthropology: First Hypothesis
(Cf. Actors Dramaturgy, Balance, Body-Mind, Energy, Equivalence, Exercises,
Extra-daily Technique, Inculturation / Acculturation, ISTA, Omission, Organicity,
Opposition, Pre-expressivity, Presence, Spontaneity, Technique)

14. COPEAU, Jacques (See Reformers)

15. CRAIG, Gordon (See Reformers)
16. DANCE
1994: All Theatre is Made of Dance
1990: THE SECRET ART OF THE PERFORMER (Meyerhold: the Grotesque, that is Biomechanics)
1985: Silver Horse
(Cf. Actors Dramaturgy, Body-Mind, Emotion, Energy, Extra-daily Technique,
Inculturation / Acculturation, Organicity, Pre-expressivity, Presence, Spontaneity,
Theatre Anthropology)
17. DECROUX, Etienne (See Reformers)
18. DIFFERENCE
2004: La conquista della differenza
2001: Fabricantes de sombras
1991: People of Ritual
1978: Theatre-Culture
1975: Letter from South of Italy
(Cf. Dissidence, Group, Interculturalism, Laboratory, Meaning, Subterranean
History of Theatre, Superstition, Vocation, Wound)
19. DISORDER
2006: Angelanimal
2004: Children of Silence
2000: Incredulity and Seduction (A Story that is Not to Be Believed)
(Cf. Dramaturgy, Empty Ritual, Spectator, Value, Wound)
20. DISSIDENCE
2004: La conquista della differenza (Viaggi verso la differenza)
2002: A Chosen Diaspora in the Guts of the Monster

2001: Fabricantes de sombras

2000: No pertenecer al mundo al cual pertenecemos
1998: Coltivare semi di dissidenza
(Cf. Ancestors, Autodidactism, Difference, Theatre, History, Identity,
Laboratory, Legacy, Meaning, Reformers, Superstition, Third Theatre, Tradition,
Utopia, Value, Vocation, Wound)
21. DRAMATURGY
2004: Children of Silence (A Clearing in the Confusion The Anarchy of Fairy Tales and the
Art of Error)
2002: The Torrid Zone of Memory
1999: Action, Structure, Coherence. Dramaturgical Techniques in the Performing Arts
1998: The Deep Order Called Turbulence
1997: Il fabbro di Abunaga
1990: Something Rich and Strange
1988: Four Spectators
1985: Diners and Banquets
1983: Dramaturgy
1983: Montage
(Cf. Disorder, Empty Ritual, Method, Spectator, Wound)
21/1. ORGANIC DRAMATURGY
2002: Grandfathers, Orphans, and the Family Saga of the European Theatre
(Perspicacious Theatre)
1998: The Deep Order Called Turbulence
1997: Il fabbro di Abunaga (Forme dellattesa)
21/2. NARRATIVE DRAMATURGY
2002: Grandfathers, Orphans, and the Family Saga of the European Theatre
(Perspicacious Theatre)
1998: The Deep Order Called Turbulence
1997: Il fabbro di Abunaga (Forme dellattesa)
21/3. EVOCATIVE DRAMATURGY
2002: Grandfathers, Orphans, and the Family Saga of the European Theatre
(Perspicacious Theatre)
1998: The Deep Order Called Turbulence
1997: Il fabbro di Abunaga (Forme dellattesa Stati di mutamento)

21/4. ACTORS DRAMATURGY

1999: Le protagoniste absent (Nouveau Thtre, noveaux exercices)
1996: An Amulet Made of Memory (The Age of Exercices The Complexity of
Emotion)
22. EASTERN THEATRE
2004: La conquista della differenza (Viaggi verso la differenza)
2002: The Ripe Action
1992: THE PAPER CANOE
1982: Orientalsk teater bevegelse og uttrykk
1981: Theatre Anthropology
1981: Paradosso pedagogico
1980: Theatre Anthropology: First Hypothesis
1972: Words or Presence
(Cf. Balance, Consistent Inconsistency, Dance, Energy, Equivalence, Extra-daily
Technique, Eurasian Theatre, Inculturation / Acculturation, Interculturalism, Omission,
Opposition, Pre-expressivity, Technique, Theatre Anthropology)
22/1. CHINES OPERA
2005: The Geography of Illusions
1971: Mei Lan-Fan
22/2. KABUKI
1971: Kabuki: en introduksjon
22/3. KATHAKALI
1994: The Steps on the River Bank (A Footnote)
1977: Unaltra cultura del corpo
1965: Kathakali (en klassisk indisk teaterskole)
1964: The Kathakali Theatre
22/4. NO THEATRE
1971: Prim ostranneja, Verfremdung, Hana
22/5. ODISSI DANCE
1998: Sanjukta Panigrahi: In Memory

23. EMOTION
1996: An Amulet Made of Memory (The Complexity of Emotion)
(Cf. Action, Body-Mind, Energy, Presence)
24. EMPTY RITUAL
1992: THE PAPER CANOE (6. The Dilated Body: Notes on the Search for Meaning
People of Ritual)
1991: People of Ritual
1987: The Third Bank of the River (The Why: the Meaning)
1987: The Fiction of Duality (The Body-Actor and Ritual)
(Difference, Disorder, Dramaturgy, Method, Spectator, Wound)
25. ENERGY
1992: THE PAPER CANOE (5. Energy, or Rather, the Thought
1988: La conferencia de Santiago (El trabajo de la energa)
1985: The Actors Energy: Male/Female versus Animus/Anima
1985: The Dilated Body: The Energies of Acting
1981: Theatre Anthropology
1980: Theatre Anthropology: First Hypothesis
1979: The Way of Opposites (Communication)
(Cf. Actors Dramaturgy, Balance, Body-Mind, Dance, Equivalence, Extra-daily
Technique, Inculturation / Acculturation, Omission, Organicity, Opposition, Preexpressivitiy, Presence, Sats, Spontaneity, Technique, Theatre Anthropology)
26. EQUIVALENCE (Principle of)
1992: THE PAPER CANOE (3. Recurring Principles)
1985: Identidad nacional y Antropologa Teatral (Crear equivalents)
1981: Theatre Anthropology (The Virtue of Omission Intermezzo)
(Cf. Actors Dramaturgy, Body-Mind, Eastern Theatre, Extra-daily Technique,
Inculturation / Acculturation, Omission, Presence, Technique, Theatre Anthropology)
27. EVOCATIVE DRAMATURGY (See Dramaturgy)

28. EXERCISES
2002: The Transmission of a Legacy. Theatrical Apprenticeship and Tacit Knowledge (The
Paradox of Exercises)
2000: The Essence of Theatre (The paradox of Exercises Exercises to Forget the Moon and
the Finger)
1999: Le protagoniste absent (Noveau Thtre, noveaux exercises)
1996: An Amulet Made of Memory (The Age of Exercises Inner Life and Interpretation)
1992: THE PAPER CANOE (7. A Theatre not Made of Stones and Bricks)
1979: The Way of Opposites (Communication)
1972: Il training
(Cf. Autodidactism, Energy, Extra-daily Technique, Inculturation / Acculturation,
Pedagogy, Pre-expressivity, Technique, Training)
29. EXTRA-DAILY TECHNIQUE (See Technique)
30. EURASIAN THEATRE
1994: The Steps on the River Bank (Legacy)
1992: THE PAPER CANOE (4. Notes for the Perplexed and for Myself)
1997: Eurasian Theatre
(Cf. Eastern Theatre, Identity, Interculturalism, ISTA, Technique, Theatre
Anthropology, Tradition)
31. FO, Dario (See Reformers)
32. GARCA, Santiago (See Reformers)
33. GROTOWSKI, Jerzy (See Reformers)
34. GROUP (Theatre)
2004: La conquista della differenza
1990: Klarsyn
1983: The Written Silence (The Secrecy and Barter)
1978: Theatre-Culture
1976: Roots and Leaves
1975: Letter from South of Italy

10

(Cf. Barter, Difference, Dissidence, Meaning, Superstition, Third Theatre,

Vocation)
35. GURU (See Master)
36. HISTORY
36/1. BIG HISTORY / SMALL HISTORY
2002: A Chosen Diaspora in the Guts of the Monster (The Dance of the Big
and the Small)
(Cf. Difference, Dissidence, Group, Laboratory, Meaning, Third
Theatre, Utopia, Value)
36/2. THE SUBTERRANEAN HISTORY OF THEATRE
2002: A Chosen Diaspora in the Guts of the Monster (The Other Face of
Continuity)
2000: The Essence of Theatre (Tradition Does Not Exist)
1988: Eugenio Barba to Phillip Zarrilli
(Cf. Ancestors, Legacy, Reformers, Superstition, Tradition)
37. IDENTITY. PROFESSIONAL IDENTITY / CULTURAL IDENTITY
1994: The Steps on the River Bank (Cultural Identity and Professional Identity
Tradition and Founders of Traditions)
1993: Cultural Identity and Professional Identity
1988: The House with Two Doors (A House with To Doors)
1988: La conferencia de Santiago (La identidad profesional)
1987: Teatro antropolgico
(Cf. Eastern Theatre, Eurasian Theatre, Interculturalism, ISTA)
38. IMPROVISATION
2005: Luomo del contrappunto
2004: Improvisation. Memory, Repetition, Discontinuity
2001: Llve est plus important que la mthode (Premire cole: lobservation)
1992: THE PAPER CANOE (7. A Theatre not Made of Stones and Bricks)
1981: Pre-expressivity / Improvisation
1979: The Way of Opposites (Creativity)

11

(Cf. Actors Dramaturgy, Organicity, Spontaneity)

39. INCULTURATION / ACCULTURATION
1999: The Transmission of a Legacy. Theatrical Apprenticeship and Tacit Knowledge
(Inculturation and Acculturation)
1993: Le corps credible (Le corps-en-vie Codification: technique dinculturation et
technique dacculturation)
1988. La conferecia de Santiago (Inculturacin La presencia extra-cotidiana La lgica de
la aculturacin)
1987: The Third Bank of the River (The How: Techinique)
1987: The Fiction of duality (Organicity and Spontaneity)
1984: The Way of Refusal (Body Techniques and Aculturation Natural / Artificial)
(Cf. Eastern Theatre, Extra-daily Technique, Organicity, Spontaneity, Technique,
Theatre Anthropology, Training)
40. INTERCULTURALISM
2004: La conquista della differenza
1991: People of Ritual
1985: The Etymological Intellectual
(Cf. Eastern Theatre, Eurasian Theatre, Identity, ISTA, Theatre Anthropology)
41. ISTA
2004: La conquista della differenza (Terra di nessuno)
1994: How ISTA Came into Being
1994: Aqu no se puede hacer nada
1988: Euenio Barba to Phillip Zarrilli
1987: Eurasian Theatre (The Performer Village)
1981: The Pedagogical Paradox: Learn to Learn
1981: Introduzione allAntropologia Teatrale
1981: Prefazione per La scuola degli attori
1980: Theatre Anthropology: First Hypothesis
(Cf. Autodidactism, Eastern Theatre, Eurasian Theatre, Identity, Interculturalism,
Pedagogy, Pre-expressivity, Technique, Theatre Anthropology)
42. KABUKI (See Eastern Theatre)
43. KATHAKALI (See Eastern Theatre)

12

44. LABORATORY (Theatre)

2004: Lettera ai relatori del convegno internazionale Why a Theatre Laboratory?
1990: The Theatre of the Polis, and the Sanctuary of the Metropolis
1977: Senza illusioni
1975: Non il teatro politico ma, col teatro, una politica
(Cf. Autodidactism, Difference, Dissidence,
Pedagogy, Technique, Training, Vocation)

Group,

ISTA,

Meaning,

45. LATINOAMERICA (AND LATINOAMERICAN THEATRE)

2002: ARAR EL CIELO
1988: The House with Two Doors
(Cf. Atahualpa del Cioppo, Garca, Group, Meaning, Third Theatre)
46. LEGACY
1992: THE PAPER CANOE (4. Notes for the Perplexed and for Myself)
1991: The Legacy from Us to Ourselves
1990: Eftermle, that which Will Be Said Afterwards
(Cf. Difference, Dissidence, Group, Meaning, Superstition, Value)
47. MARCEAU, Marcel (See Reformers)
48. MASTER (Guru)
1999: The Transmission of a Legacy. Theatrical Apprenticeship and Tacit Knowledge
(Introito The Many Faces of the Guru The Collective Guru The Theatre
Schools)
1992: THE PAPER CANOE (6. The Dilated Body. Notes on the Search for Meaning)
1979-1989: The Pedagogical Paradox: Lear to Learn
(Cf. Autodidactism, Grotowski, ISTA, Method, Pedagogy)
49. MEANING (of the theatre)
2001: Llaneza y vaivn
1991: The Legacy from Us to Ourselves

13

1987: The Third Bank of the River (The Why: the Meaning)
1988: The House with two Doors
(Cf. Ancestors, Difference, Dissidence, Empty Ritual, Group, Subterranean
History, Latinoamerica, Legacy, Reformers, Superstition, Third Theatre, Tradition,
Utopia, Value, Wound)
50. METHOD
2003: I Dont Need Money, I Dont Need Buildings
2002: The Torrid Zone of Memory (Concrete and Subtle Questions)
2001: Llve est plus important que la methode
1999: The Transmission of a Legacy. Theatrical Apprenticeship and Tacit Knowledge
(Introito The Theatre Schools)
(Cf. Dramaturgy, Master, Meaning, Pedagogy, Superstition, Technique,
Training, Wound)
51. MEYERHOLD, Vsevolod (See Reformers)
52. NARRATIVE DRAMATURGY (See Dramaturgy)
53. NO THEATRE (See Eastern Theatre)
54. ODISSI DANCE (See Eastern Theatre)
55. OMISSION (Principle of)
1992: THE PAPER CANOE (3. Recurring Principles)
1990: THE SECRET ART OF THE PERFORMER (Omission)
1981: Theatre Anthropology (The Virtue of Omission)
(Cf. Actors Dramaturgy, Eastern Theatre, Equivalence, Extra-daily Technique,
Inculturation / Acculturation, Theatre Anthropology)
56. ORGANIC DRAMATURGY (See Dramaturgy)
57. ORGANICITY
2005: THE SECREAT ART OF THE PERFORMER (Organicity)

14

2002: The Ripe Action (Organic Effect Working Languages)

1997: O-Effect. That Which is Organic for the Actor / That Which is Organic for the Spectator
1987: The Fiction of duality (Organicity and Spontaneity)
(Cf. Dance, Energy, Pre-expressivity, Presence, Sats, Score, Spectator,
Spontaneity)
58. OPPOSITION (Principle of)
1992: THE PAPER CANOE (3. Recurring Principles)
1990: THE SECRET ART OF THE PERFORMER (Oppostion)
1981: Theatre Anthropology (The Dance of Oppositions)
1980: Theatre Anthropology (First Hypothesis)
1979: The Way of Opposites (Communication)
(Cf. Actors Dramaturgy, Balance, Eastern Theatre, Energy, Extra-daily
Techquine, Pre-expressivity, Presence, Score, Spontaneity, Technique, Theatre
Anthropology)
59. PEDAGOGY (Theatrical)
1999: The Transmission of a Legacy. Theatrical Apprenticeship and Tacit Knowledge.
1979-1989: The Pedagogical Paradox: Lear to Learn
1983: Written Silence (How the Essential is Kept Silent)
1981: Paradosso pedagogico
1973: Two Letters
1972: Words or Presence
1972: Training
(Cf. Autodidactism, Exercises, ISTA, Master, Method, Technique, Theatre
Anthropology, Training)
60. PRE-EXPRESSIVITY
2005: THE SECRET ART OF THE PERFORMER (Pre-expressivity)
1993: Le corps crdible (La foudre et les trusques, autrement dit lAntropologie Thtrale)
1992: THE PAPER CANOE (2. Definition 7. A Theatre not Made of Stones and Bricks)
1987: Eurasian Theatre (The Performers Village)
1981: Paradosso Pedagogico
1980: Theatre Anthropology: First Hypothesis
(Cf. Balance, Consistent Inconsistency, Eastern Theatre, Energy, Equivalence,
Exercises, Omission, Organic Dramaturgy, Organicity, Opposition, Presence, Score,
Technique, Theatre Anthropology)

15

61. PRESENCE
2002: The Ripe Action (Working Languages)
1993: Le corps crdible
1994: Exister avant de represnter
1988: La conferencia de Santiago
1985: The Dilated Body (The Bridge)
1979: The Way of Opposites (Communication)
(Cf. Actors Dramaturgy, Balance, Body-Mind, Consistent Inconsistency, Eastern
Theatre, Energy, Equivalence, Extra-daily Technique, Organicity, Opposition, Preexpressivity, Sats, Score, Technique, Theatre Anthropology)
62. REFORMERS (The)
2004: Children of Silence (Silence)
2001: Los teatros del mundo
2000: The Essence of Theatre
1999: La edad de oro del teatro contemporneo
1998: Caballeros con espadas de agua
1997: Os deus que morreram en Canudos
1991: The Legacy from Us to Ourselves
1990: The Theatre of the Polis and The Sanctuary of the Metropolis (The Reformers)
1980: Dialogue With Brecht
1978: Theatre-Culture (Anti-historical Images
(Cf. Ancestors, Subterranean History, Meaning, Superstition, Tradition, Value)
62/1. ARTAUD, Antonin
1967: Effterskrift in Det Dobbelte teater
62/2. ATAHUALPA DEL CIOPPO
2001: Fabricantes de sombras
1988: The House with Two Doors (Atahualpa del Cioppo and the Tradition-inlife)
62/3. BRECHT, Bertolt
1998: Om Brecht
1992: THE PAPER CANOE (6. The Dilated Body: Notes on the Search for
Meaning 7. A Theatre Not Made of Stones and Bricks)
1980: Dialogue with Brecht
1977: Dialoghi su Brecht: agli attori

16

1971: Prim, Ostranneja, Verfremdung, Hana

62/4. COPEAU, Jacques
1992: THE PAPER CANOE (7. A Theatre Not Made of Stones and Bricks)
62/5. CRAIG, Gordon
1992: THE PAPER CANOE (7. A Theatre Not Made of Stones and Bricks)
62/6. DECROUX, Etienne
1997: The Hidden Master
1993: Lettera di Eugenio Barba a Marco De Marinis
1992: THE PAPER CANOE (6. The Dilated Body: Notes on Search for
Meaning 7. A Theatre Not Made of Stones and Bricks)
62/7. FO, Dario
1997: Dario Fo and Franca Rame: amicizie di un altro milenio
1970: Teater ud til folket
62/8. GARCA, Santiago
2001: Llaneza y vaivn
62/9. GROTOWSKI, Jerzy
1998: Letter to Jerzy Grotowski
1998: LAND OF ASHES AND DIAMONDS
1992: THE PAPER CANOE (6. The Dialed Body: Notes on Search for
Meaning 7. A Theatre Not Made of Stones and Bricks)
1991: Letter to Aramis
1979-1989: The Pedagogical Paradox: Learning to Learn
1965: ALLA RICERCA DEL TEATRO PERDUTO
1964: Det magiske teater (13-rkkers teater i Opole)
1963: Ritual Theatre
1962: Theatre Laboratory 13 Rzedw
62/10. MARCEAU, Marcel
1993: Lettera di Eugenio Barba a Marco De Marinis
62/11. MEYERHOLD, Vsevolod
2002: Grandfathers, Orphans, and the Family Saga of the European Theatre
1999: La edad de oro del teatro contemporneo
1992: THE PAPER CANOE (7. A Theatre Not Made of Stones and Bricks)

17

1990: THE SECRET ART OF THE PERFORMER (Meyerhold: the Grotesc,

that is, Bio-mechanics)
1970: Vsevolod Meyerhold
1968: Meyerhold-Dapertutto
62/12. STANISLAVSKI, Konstantin
2002:Grandfathers, Orphans, and the Family Saga of the European Theatre
1997: Os dues que morreram em Canudos
1992: THE PAPER CANOE (7. A Theatre Not Made of Stones and Bricks)
1984: The Way of Refusal (To Be and To Seem)
1965: Stanislavski Tvil
62/13. VAKTHANGOV
1968: Kjetteren Vakthangov
63. SATS
1992: THE PAPER CANOE (4. Notes for the Perplexed and for Myself 5. Energy, or
Rather, the Thought)
1979: The Way of Opposites (Communication)
(Cf. Action, Dance, Organic Dramaturgy, Energy, Organicity, Pre-expressivity,
Presence)
64. SCORE
1992: THE PAPER CANOE (7. A Theatre Not Made of Stones and Bricks)
64/1. SUB-SCORE
1996: An Amulet Made of Memory (The Revolution of the Invisible)
1992: THE PAPER CANOE (7. A Theatre Not Made of Stones and Bricks)
(Cf. Actors Dramaturgy, Body-Mind, Eastern Theatre, Energy, Extra-daily
Technique, Inculturation / Acculturation, Organic Dramaturgy, Organicity, Preexpressivity, Presence)
65. SPECTATOR
2006: Angelanimal
2000: The Essence of Theatre (The Nonliving Spectators)
1988: Four Spectators
1987: The Actors Tradition and the Spectators Identity

18

1987: Eurasian Theatre (Spectator)

1968: Il regista e la provocazione del pubblico
(Cf. Disorder, Dramaturgy, Empty Ritual, Value)
66. SPONTANEITY
1999: The Transmission of a Legacy. Theatrical Apprenticeship and Tacit Knowledge
(What the Feet Know Inculturation and Acculturation)
1987: The Third Bank of the River (The How: Technique)
1987: The Fiction of Duality (Organicity and Spontaneity)
1984. The Way of Refusal (Natural / Artificial)
1979: The Way of Opposites (Spontaneity)
(Cf. Actors Dramaturgy, Consistent Inconsistency, Extra-daily
Improvisation, Inculturation / Acculturation, Organicity, Technique)

Technique,

67. STANISLAVSKI, Konstantin (See Reformers)

68. SUB-SCORE (See Score)
69. SUBTERRANEAN HISTORY OF THEATRE (See History)
70. SUPERSTITION
2005: Scale dombra
2001: Los teatros del mundo
2000: The Essence of Theatre (Tradition Does Not Exist)
(Cf. Ancestors, Difference, Dissidence, Group, Legacy, Meaning, Reformers,
Subterranean History, Third Theatre, Tradition, Utopia, Vocation, Wound)
71. TECNIQUE
2006: La danza dellalgebra e del fuoco
1988: La conferencia de Santiago (El organismo en vida)
1987: The Third Bank of the River (The How: Technique)
1979-1989: The Pedagogical Paradox: Learn to Learn
1972: Words or Presence
1972: Training
1965: Acerca de nuestro entrenamiento (Text included in the programme of Ornitofilene.
Published also in A mis espectadores)

19

71/1. EXTRA-DAILY TECHNIQUE

1992: THE PAPER CANOE (3. Recurring Principles)
1988: La conferencia de Santiago (La presencia extra-cotidiana)
1984: The Way of Refusal (Body Techniques and Acculturation Natural /
Artificial)
1981: Theatre Anthropology (Lokadharmi and Natyadharmi)
1981: Introduzione allAntropologia Teatrale
1981: Paradosso pedagogico
1980: Theatre Anthropology: First Hypothesis
(Cf. Autodidactism, Inculturation / Acculturation, Master, Method, Preexpressivity, Theatre Anthropology)
72. THEATRE ANTHROPOLOGY
1994: What is Theatre Anthropology
1992: THE PAPER CANOE
1990: Prefazione a Il corpo scenico ovvero la tradizione tecnica
1981: Theatre Anthropology
1980: Theatre Anthropology: First Hypothesis
1980: Introduzione allAntropologia Teatrale
(Cf. Actors Dramaturgy, Balance, Consistent Inconsistency, Eastern Theatre,
Energy, Equivalence; Identity, Inculturation / Acculturation, ISTA, Omission,
Opposition, Pre-expressivity, Technique)
73. THIRD THEATRE
1998: El juramento de Atahualpa
1991: The Legacy from Us to Ourselves
1988: The House with Two Doors (Third Theatre)
1988: Reflections upon the Reencuentro Ayacucho 1988
1987: The Third Bank of the River
1979: Speech at the Opening of Madrid Meeting
1978: Theatre-Culture
1977: Senza illusioni
1976: The Mutation
1976: Third Theatre
(Cf. Big History / Small History, Difference, Dissidence, Group, Latinoamerica,
Meaning, Superstition, Vocation)

20

74. TRADITION
2004: La conquista della differenza (Per una storia ermafrodita del teatro)
2002: Grandfathers, Orphans, and the Saga Family of the European Theatre (The Microscope
and History The Grandfathers House Connecting the Disconnected Tradition)
2001: Los teatros del mundo
2000: The Essence of Theatre
1999: Le protagoniste absent (Eclatement du theatre et naissance des petites traditions)
1997: Os dues que morreram em Canudos
1995: Ships of Stone and Floating Islands (The Two Faces of Tradition)
1994: The Steps on the River Bank (The Legacy Tradition and Founders of Traditions)
1993: Tradition and Founders of Traditions
1988: The House with Two Doors (Atahualpa del Cioppo and the Tradition-in-life)
1987: Eurasian Theatre
(Cf. Ancerstors, Difference, Dissidence, Eurasian Theatre, Legacy, Meaning,
Reformers, Subterranean History, Superstition)
75. TRAINING
2004: Children of Silence (Organic Material)
2003: I Dont Need Money, I Dont Need Buildings
1999: The Transmission of a Legacy. Theatrical Apprenticeship and Tacit Knowledge (A
garden of Ones Own)
1992: THE PAPER CANOE (7. A Theatre Not Made of Stones and Bricks)
1987: The Third Bank of the River (The How: technique)
1985: The Actors Energy: Male/Female versus Animus/Anima (The Actor in His Origins)
1973: Two Letters
1972: Words or Presence
1972: Training
1965: Acerca de nuestro entrenamiento (Text included in the programme of Ornitofilene.
Published also in A mis espectadores)
(Cf. Autodidactism, Exercises, Laboratory, Meaning, Pedagogy, Technique)
76. UTOPIA
2002: A Chosen Diaspora in the Guts of the Monster (Dissidence and Utopia: a Time within
another Time)
(Cf. Difference, Dissidence, Big History / Small History, Superstition, Value,
Vocation)
77. VAKTHANGOV, Eugeni (See Reformers)

21

78. VALUE (Of the Theatre)

1999: Le protagoniste absent (Eclatement du theatre et naissance des petites traditions)
1999: La edad de oro del teatro contemporneo
(Cf. Ancestors, Difference, Dissidence, History, Legacy, Reformers, Spectator,
Superstition, Tradition)
79. VOCATION
1995: Ships of Stone and Floating Islands
1990: The Theatre of the Polis and the Sanctuary of the Metropolis
1983: Written Silence
1975-1978: The Disciple Who Walked on the Water
1968: Waiting for Revolution
1967: Letter to Actor D.
1965: Professionelt teater og amatrteater
1964: A Rift Theatre
(Cf. Difference, Group, Laboratory, Latinoamerica, Legacy, Meaning,
Superstition, Third Theatre)
80. VOICE
2000: THE ELOQUENCE OF THE DUMB
1972: Words or Presence
1972: Training (Vocal Training)
1965: Acerca de nuestro entrenamiento (Text included in the programme of Ornitofilene.
Published also in A mis espectadores)
81. WOUND (The)
2002: The Torrid Zone of Memory (A Castle of Perfumes)
2000: The Essence of Theatre (The Essential Can Only Be Mute)
1996: Nostalgia (The Wounds from Memory)
(Cf. Difference, Dissidence, Meaning, Method, Reformers, Superstition, Third
Theatre, Vocation)

22