2408-932XResearch Result. Social Studies and Humanities2408-932X10.18413/2408-932X-2019-5-2-0-81730MISCCELLANEOUS: MESSAGES, DISCUSSIONS, REVIEWSSTAGE BODY, OR JUBILEE NOTES TO “THEATRICAL ANTHROPOLOGY” (RE)CONSTRUCTED BY EUGENIO BARBA AND NICOLA SAVARESESTAGE BODY, OR JUBILEE NOTES TO “THEATRICAL ANTHROPOLOGY” (RE)CONSTRUCTED BY EUGENIO BARBA AND NICOLA SAVARESEKupchichevSergey S.KupchichevSergey S.shamansss@mail.ru20195200

The Russian edition of Theatrical Anthropology by E. Barba and N. Savarese almost a decade ago appeared in the philosophical space of Russian culture. The close anniversary is quite correlated with another remarkable date, the fortieth anniversary of the International School of Theater Anthropology, founded by E. Barba. The jubilee notes are devoted to current interdisciplinary semantic structures and dominants of the encyclopedic publication as a kind of practical philosophy of theatrical action. The analysis of “Theater Anthropology” clarifies the boundaries or the threshold senses of real and effective manifestations of acting, in a wide range of theatrical practices. The concept of the stage body allows to point to the special bodily freedom of acting, or the simplest connections of the body in their correlation with the ineradicable freedom of the stage situation. It seems important to pay attention to the “psychophysical apparatus” of “becoming performer” of Barba’s anthropological performance; the quite refined forms of body-entertainment art proposed in “Theater Anthropology” seems allow not only to recognize any visual perceptions of stage behavior but to express a deep ontological dignity of theatrical action.

The Russian edition of Theatrical Anthropology by E. Barba and N. Savarese almost a decade ago appeared in the philosophical space of Russian culture. The close anniversary is quite correlated with another remarkable date, the fortieth anniversary of the International School of Theater Anthropology, founded by E. Barba. The jubilee notes are devoted to current interdisciplinary semantic structures and dominants of the encyclopedic publication as a kind of practical philosophy of theatrical action. The analysis of “Theater Anthropology” clarifies the boundaries or the threshold senses of real and effective manifestations of acting, in a wide range of theatrical practices. The concept of the stage body allows to point to the special bodily freedom of acting, or the simplest connections of the body in their correlation with the ineradicable freedom of the stage situation. It seems important to pay attention to the “psychophysical apparatus” of “becoming performer” of Barba’s anthropological performance; the quite refined forms of body-entertainment art proposed in “Theater Anthropology” seems allow not only to recognize any visual perceptions of stage behavior but to express a deep ontological dignity of theatrical action.

Eugenio BarbaNicola Savaresetheatrical anthropologystage bodyprinciple of oppositionacting presencecodification of the dramatized spectacleEugenio BarbaNicola Savaresetheatrical anthropologystage bodyprinciple of oppositionacting presencecodification of the dramatized spectacleСписок литературыAronson, O.V. (2007), “The unfinished polemic: Meyerhold's biomechanics or Stanislavsky's psychotechnics?”, Russkaya antropologicheskaya shkola. Trudy. Vypusk 1/4 [Russian anthropological school. Works. Issue 1/4], (1/4), RSUH, Moscow, Russia, 410-423 (in Russ.).Barba, E. (1998), “How to die standing”, Total theatre, 10 (3), [Online], available at: https://www.academia.edu/9501428/How_To_Die_Standing_-_Carran_Waterfield_interviews_Eugenio_Barba_1998 (Accessed 01 March, 2019).Barba, E. (2008), Bumazhnoe rfnoe: traktat o teatral’noy antropologii [The paper canoe. A Guide to Theatre Anthropology], Translated by Fowler, R., SPbGATI, Sankt-Petersburg, Russia (in Russ.).Barba, E. The paper canoe. A Guide to Theatre Anthropology, Translated by Fowler, R. [Online], available at: http://asset.soup.io/asset/0826/4375_63b2.pdf (Accessed: 01 March, 2019).Barba, E., Savarese, N. (2010), Slovar’ teatral’noy antropologii: taynoe iskusstvo ispolnitelya [Dictionary of theatrical anthropology: the secret art of the performer], Translated by Vasyuchenko, I., Artist. Rezhysser. Teatr, Moscow, Russia (in Russ.).Benjamin, Walter (1996), Proizvedenie iskusstva v epokhu ego tekhnicheskoy vosproizvodimosti [A work of art in the era of its technical reproducibility], Medium, Moscow, Russia (in Russ.).Kukhta, E. (2002), “Theatrical anthropology as it understood by Eugenio Barba”, Peterburgskiy teatral’niy zhurnal, [Petersburg theatre magazine], 2 (28) [Online], available at: http://ptj.spb.ru/archive/28/teachers-28/teatralnaya-antropologiya-kakponimaeteeeuzheniobarba (Accessed 10 May, 2019) (in Russ.).Novik, Y.O. (2019), “Anthropological foundation of the E. Barba’s theatre anthropology concept”, Vestnik Akademii russkogo baleta imeni A.Ya. Vaganovoy [Bulletin of Vaganova Ballet Academy], 2 (61), 100-113 (in Russ.).Otan-Mat’e, M.-K. Pervoprokhodtsy teatral’noy antropologii [Pioneers of theatrical anthropology] [Online], available at: http://nrgumis.ru/articles/147/ (Accessed: 10 May, 2019) (in Russ.).Popper, K. (2000), The Logic of Social Sciences, Evolutionary Epistemology and Logic of Social Sciences, Editorial URSS, Moscow, Russia, 94-105 (in Russ.).Shestakova, А.V. (2008), “The phenomenon of "theatrical anthropology" in the European culture of the second half of the XX century”, Abstract of Ph.D. dissertation, Moscow, Russia [Online], available at: http://cheloveknauka.com/fenomen-teatralnoy-antropologii-v-evropeyskoy-kulture-vtoroy-poloviny-xx-veka (Accessed 09 May, 2019) (in Russ.).Stoppard, T. Rosencrantz i Guildenstern mertvy [Rosencrantz and Guildenstern are dead] [Online], available at: http://lib.ru/PXESY/STOPPARD/r_g.txt_with-big-pictures.html (Accessed: 10 May, 2019) (in Russ.).Zolotukhin, V., Slovar’ teatral’noy antropologii Eugenio Barby: retsenziya ["A dictionary of theatre anthropology" of Eugenio Barba: review] [Online], available at: http://os.colta.ru/theatre/events/details/20566 (Accessed: 05 May, 2019) (in Russ.).