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Comments on the training of theatrical actors. Characteristics of a specialized actor; Significance of reciprocal liberty between theater students and teachers to the transmission of knowledge; Views on the development of an actor's creative ability.

Interviews Italian theater actor-director Eugenio Barba regarding his theater company Odin Teatret. Social processes of theater; Role of Barba in the group; Definition of political theatre.

This article discusses the creation of a training philosophy in relation to acting. Training is a process of self-creation and self-discipline which manifests itself through physical reactions. The justification for an individual's work is physiologically evident to the observer. This approach decides the meaning of the training. The actor in Oriental theater is immersed in a tradition that he must wholly respect. In contrast, the actor in Western theater serves as a creator. This difference determines one's approach to acting and training. Personal attitude or the inner necessity determines the creation of norms that become almost an artistic or ethical super-ego in the actor. Socio-economic factors together with a particular professional tradition influence the conception and elaboration of expressivity which is codified and transformed into technique. The myth of technique transforms into a process of self-definition, removed from utilitarian justification and guided by subjectivity.

Tento dopis napsal Eugenio Barba jednomu z herců Odinu v roce 1967. Často se objevuje v knihách a časopisech v nejrůznějších částech světa, buď aby ilustroval představu o divadle Odin či aby vysvětlil přístup nového herce k práci. [ABSTRACT FROM AUTHOR]

This article presents information about anthropological theatre. Theatre Anthropology is the study of human biological and sociocultural behavior in performative circumstances. Anthropological Theatre is a theatre in which the performer confronts her/his own identity. The notion of identity stems from the Latin Idem which means that what does not change remains the same. Each human being has an axis, a center, a kernal of values which orients her/him to life's circumstances, oppositions and obstacles. In the case of the performer, this identity manifests itself through craft. The concretization of this craft explores an historic and biographic horizon which determines the artistic results. As with any cultural expression, these results are relative to the performer's experience, heredity and vision of the world. It is this relativity which gives to each individual uniqueness in front of others. In same way, a theatre group should manifest its relativity in order to define itself in front of others. The Anthropological Theatre means protecting one's own axis, overcoming insecurities and self-defense in order to expose oneself to confrontation, disorientation, and crisis, so that the theatre can respect life's law of continual flow and change.