Creating Earthquakes

Abstract

Eugenio Barba has honoured NTQ by entrusting to its pages his very personal introduction to his most recent book, Le Mie vite nel terzo teatro: Diffrenza, mestiere, rivolta (My Lives in the Third Theatre: Difference, Craft, Revolt), which has here been specially translated into English by Judy Barba, the co-dedicatee, along with Julia Varley and Vera Gaeta, of his book: the ‘origins and accomplices of my journey to the archipelago of floating islands’. NTQ received this translation, here prepared by the journal’s editor, Maria Shevtsova, ahead of the book’s launch on 5 October 2023 at the Biblioteca Bernardini in Lecce in Puglia. On a grander scale, a few days later, the occasion also saw the opening in Barba’s honour of his and the Odin Teatret archives under the banner of LAFLIS (Living Archive Floating Islands), located in a wing of the three-dimensional immersive museum of the Bernardini. LAFLIS’s rich collection includes written material, film and video documentaries, recordings of performances, and such artefacts and equipment as instruments, masks, and costumes gathered during Third Theatre work. The latter is neither established-classical nor avant-garde theatre but ‘other’ – small-group, sometimes unofficial, and often self-taught theatre. LAFLIS is not exclusively intended for researchers and scholars, but is open as well to interested members of the general public. Barba’s introduction to My Lives in the Third Theatre is here published in full, clearly signposting, together with the author’s succinct commentary, the itinerary of his life’s multifarious work, which involved, and still involves, a wide range of participants and collaborators in different times, places, and languages, and in differing forms and patterns of creativity.

Barba’s account begins with his departure from Italy to Norway (1954), and his apprenticeship as a welder, and then a mariner, before tracing his move to study in Poland (1961), where he meets and works with Grotowski, his return to Oslo, where he founds Odin Teatret (1964), and then his emigration to Denmark (1966), where Odin Teatret establishes its niche within the larger framework that Barba named the Nordisk Teaterlaboratorium. Barba’s journey continued, encompassing numerous theatre endeavours, including the development of the idea of a Third Theatre (the ‘floating islands’ alluded to above); the seminal ISTA (International School of Theatre Anthropology, 1979); and, although quite clearly not at journey’s end, the Fondazione Barba Varley established in 2020.