Year: 1992
Type: article
Abstract: In the margin of Julia Varley’s work for The Castle of Holstebro (her performance directed by Eugenio Barba), M. Schino puts down in writing those impressions – which she names loose thoughts – that are produced in the mind before orderly thought, half-way between personal incommunicable experience and critical objective thought. They are notes on learning to watch a performance, day after day, until one is allowed to see, beyond the chain of actions, the stratifying of manifold layers that make up the complexity and thickness of the actress’s action. Such effort of ‘seeing again’ enables the onlooker to pass the threshold where the memory of the performer’s life and art is unveiled and a dramaturgy comes to life.
Source: Teatro e Storia
Author: Mirella Schino
Language: Italian
Subfield: Visual Arts and Performing Arts
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: diamond
OpenAlex ID: W2920848109