eugenio barba

Três perguntas sobre a formação do ator a Eugênio Barba
Alexandre Pieroni Caladoi (ECA/USP)
Resumo: O presente trabalho pertence ao campo heterodoxo gerado pelo encontro dos interesses da antropologia e dos estudos teatrais, dedicando-se, em particular, à denominada Antropologia Teatral. O problema que aqui se procura analisar é o de entender o modo como Eugenio Barba, fundador da International School of Theatre
Antropology (ISTA), concebe o ensino-aprendizagem do métier de ator.
Palavras chave: Formação de ator, Barba, antropologia teatral.
Abstract (expanded): This article belongs to the heterodox field born from the encounter of anthropology and theatre studies and is concerned with the so called Theatre Anthropology.
The main objective is to understand the way Eugenio Barba, founder of the International
School of Theatre Antropology (ISTA), conceives actor teaching. For this work were mainly used texts from Eugenio Barba himself, namely the books The Paper Canoe, Beyond the
Floating Islands and The Secret Art of the Actor, and the articles «La Course des
Contraires» and «An Amulet Made of Memory: The significance of exercises in the actor’s dramaturgy». The texts «A study in Motley: the Odin Actors», de Janne Risum, e, Towards a Third Theatre, de Ian Watson were also used considering their relevance for this work.
This text aims to make a provisional characterization of certain aspects of Eugenio
Barba’s discourse on actor training that deserve critical enquire. First, it looks at the theatrological axioms on which Theatre Anthropology is based – what are the «principles that return»? Then, it draws a sketch of the way Barba understands the teaches-pupil relationship – who is a «bad father»? Finally, it seeks to identify the main elements that form part of his conception of training through time – when do we reach a «transparent body»? Keywords: Actor’s training, Barba, theatre anthropology.

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Introdução
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