To Find the Body of Lightning: On Selected Characters and Productions of the Odin Teatret

Magdalena Hasiuk


Institute of Art, Polish Academy of Sciences (Poland)
https://orcid.org/0000-0003-2736-5256

Abstract

The article aims to define theatrical characters in selected productions by Eugenio Barba: their distinctive qualities, the way they are constructed, the meanings they carry, and the functions they perform. A look at how theatrical character can be understood by a theatre practitioner, actor, director and pedagogue Charles Dullin; a sociologist, Jean Duvignaud; and a semiologist, Anne Ubersfeld, serves as the starting point for the inquiry. The origins of the characters that inhabit the world represented in Odin Teatret productions can be grasped by assuming two points of view: by construing the character as “a strictly poetic locus” (Ubersfeld), and by comprehending the actor’s techniques as techniques “of a personality, of a particular and unique body-mind” (Barba). The figures of human imagination brought onto the stage in Barba’s productions are born out of this bifocal vision. Seemingly paradoxical and nonsensical, they come from an unknown part of the soul, just as dreams do, according to Jung. Characters portrayed by Odin Teatret actresses, Iben Nagel Rasmussen (White Angel, Shaman, the mute Kattrin, and Trickster) and Julia Varley (Doña Musica, Kristen Hastrup, Mr Peanut, and Daedalus), supply examples for the analyses carried out by the author.


Keywords:

Eugenio Barba, Odin Teatret, character in theater

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Published
2017-06-30

Cited by

Hasiuk, M. (2017) “To Find the Body of Lightning: On Selected Characters and Productions of the Odin Teatret”, Pamiętnik Teatralny, 66(1/2), pp. 20–48. doi: 10.36744/pt.1195.

Authors

Magdalena Hasiuk 

Institute of Art, Polish Academy of Sciences Poland
https://orcid.org/0000-0003-2736-5256

Graduate of the University of Lodz (theater studies, college of foreign languages). D. in Humanities (University of Lodz) based on the thesis "Drama in Ariane Mnouchkine's Theatrical Laboratory". (supervisor: Kazimierz Kowalewicz, PhD). Scholarship holder of the Government of the French Republic (2004). Since 2012 she has worked at the Department of History and Theory of Theatre in Institute of Art, Polish Academy of Sciences



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