Reviewed by:

• Eugenio Barba. The Moon Rises from the Ganges: My Journey Through Asian Acting Techniquesed. by Lluis Masgrau, and: The Five Continents of Theatre: Facts and Legends About the Material Culture of the Actorby Eugenio Barba and Nicola Savarese
• Jonah Salz

To scholars and practitioners of world theatre, Eugenio Barba is a well-known theatre director, having founded and nurtured the experimental international troupe Odin Teatret, known widely for their community-based barter theatre and intercultural spectacles for nearly six decades. Barba's productions continue to be produced, revived, and toured by his troupe and individual performers, some of whom have been with him from the beginning. As producer, he has created a wide and deep network of "Third World Theatre" groups in Europe, South and Central America, many of whom were nurtured, trained, and even financially supported through the frequent workshops and laboratory productions Odin sponsors at their home in Holsteboro, on an island in Denmark.

As an author, Barba has identified the technical and psychic qualities that make great actors and performances, expressed in [End Page 329]muscular prose in books that have become bibles to collaborative theatre groups around the world. In particular, The Secret Art of the Performer: A Dictionary of Theatre Anthropology(Routledge 1991, Italian original, 1983), opened up new ethnographic fields in performance studies.

Because of his many enterprises, it is perhaps less obvious that Barba is also a long-term student of and collaborator with Asian performing artists. Barba's company is informed by many "classical" traditions, including ballet and ballroom dance, folk-song, ritual, and festival performances from Europe, South America, and the Afro-Caribbean diaspora. However, as is clear from this book, the greatest influence on his work is the Asian theatre. Barba has studied formal movement patterns, breathing, "becoming a character," mask-work, and mise-en-scène of Asian traditions including Indian kathakaliand Odissi dance, Japanese noh and kabuki dance, Balinese masked topeng, and ancient gambuhtheatre. Most of these were made through observations of training practices and productions in situ; others were teased out during residencies and open workshops at Odin and Barba's International School for Theatre Anthropology (ISTA).

Barba is perhaps the most profound and practical practioner in a long tradition of theatre directors attracted to Asian theatre as inspiration and stimulation to their own work. However, as a working director, few since Craig, Eisenstein, and Peter Brook can put into words the precise technical vocabulary of astute observation coupled with a perspective of Western aesthetics, myth, and anthropology as he can. As artistic director and manager of the Odin Teatret in Holsteboro, Denmark since 1964 (he retired in 2020, passing the torch to long-term collaborator Julia Varley), Eugenio demonstrates the practical perspective of an actor, poet, and teacher's ability to offer sensory examples that are both romantic evocations yet reverberate as profound truths. Despite occasional excesses, there is a humility and purity to his work and life that comes out in this book summarizing his prolonged and profound encounters with Asian dance and theatre.

This book compiles Barba's writings over five decades on Asian theatre, including conference lectures and keynote speeches, book prologues, ¹theatre programs, and a disparate selection of essays, diary entries, and personal correspondence—many as-yet unpublished in English. The appendix also lists Asian performers who have participated in workshops and productions at Odin from 1963 to 2013 (pp. 260–277), a remarkable testament to a deep and ongoing knowledge-seeking and collaborative creativity. By taking a long sliver of one vital aspect of Barba's multifaceted career, Gangesprovides a [End Page 330]fascinating accounting of the (Asian) sentimental education of a great pioneer of 20th century theatre...

审核人：

• 尤金尼奥·巴尔巴。月亮从恒河升起：我的亚洲表演技巧之旅编辑。作者：Lluis Masgrau，和：戏剧的五大洲：关于演员物质文化的事实和传说，欧金尼奥·巴尔巴和尼古拉·萨瓦雷斯着
• 乔纳·萨尔兹

对于世界戏剧的学者和从业者来说，欧金尼奥·巴尔巴是一位著名的戏剧导演，他创立和培育了实验性国际剧团奥丁剧院，该剧团以社区以物易物剧院和跨文化奇观而闻名近六十年来。Barba 的作品继续由他的剧团和个人表演者制作、复兴和巡回演出，其中一些人从一开始就和他在一起。作为制片人，他在欧洲、南美洲和中美洲建立了广泛而深入的“第三世界剧院”团体网络，其中许多人通过奥丁在家里赞助的频繁研讨会和实验室制作得到培养、培训甚至经济支持在丹麦的一个小岛上的 Holsteboro。

作为一名作家，Barba 已经确定了塑造出色演员和表演的技术和精神品质，这些品质在[End Page 329]书中的肌肉散文中得到了表达，这些书籍已成为世界各地合作剧团的圣经。特别是表演者的秘密艺术：戏剧人类学词典（Routledge 1991，意大利原版，1983）开辟了表演研究的新人种学领域。

由于他的许多企业，巴尔巴也是亚洲表演艺术家的长期学生和合作者，这也许不太明显。Barba 的公司受到许多“古典”传统的影响，包括芭蕾舞和交谊舞、民歌、仪式和来自欧洲、南美和非洲裔加勒比侨民的节日表演。然而，从这本书中可以清楚地看出，对他的作品影响最大的是亚洲戏剧。Barba 研究了亚洲传统的正式动作模式、呼吸、“成为一个角色”、面具制作和布景，包括印度卡塔卡利舞和奥迪西舞、日本能剧和歌舞伎舞、巴厘岛蒙面托彭和古代甘布剧院。其中大部分是通过对培训实践和现场制作的观察得出的；其他人在奥丁和巴尔巴国际戏剧人类学学校 (ISTA) 的驻留和公开研讨会期间被梳理出来。

芭芭可能是亚洲戏剧的悠久传统中最深刻和最实际的实践者，因为他们对自己的工作充满了灵感和刺激。然而，作为一名工作导演，自从克雷格、爱森斯坦和彼得·布鲁克以来，很少有人能将敏锐观察的精确技术词汇与西方美学、神话和人类学的视角结合起来。自 1964 年起担任丹麦 Holsteboro Odin Teatret 的艺术总监和经理（他于 2020 年退休，将火炬传递给了长期合作者 Julia Varley），Eugenio 展示了演员、诗人和教师提供感官的能力的实用视角这些例子既是浪漫的回忆，又是深刻的真理。尽管偶尔有过激行为，

这本书汇集了芭芭 5 十年来关于亚洲戏剧的著作，包括会议讲座和主题演讲、书籍序言、¹戏剧节目，以及不同选择的散文、日记和个人信件——其中许多尚未以英文出版。附录还列出了 1963 年至 2013 年在 Odin 参加研讨会和制作的亚洲表演者（第 260-277 页），这是对深入而持续的知识寻求和协作创造力的显着证明。通过对巴尔巴多方面职业生涯的一个重要方面进行长篇大论，恒河提供了[End Page 330]对一位伟大的 20 世纪戏剧先驱的（亚洲）情感教育的引人入胜的叙述……