DAH Theatre
Beschreibung:
DAH Theatre: A Sourcebook is a collection of essays about the work of one of the most successful and innovative performance groups in contemporary history. With a direct line of descent from Jerzy Grotowski and Eugenio Barba, DAH Theatre, founded during the worst of times in the former Yugoslavia, amidst a highly patriarchal society, predominantly run by women, has thrived now for twenty-five years. The chapters in this book, for the most part, have been written by both theatre scholars and practitioners, all of whom have either seen, studied with or worked with this groundbreaking troupe. What makes DAH so exceptional? The levels of innovation and passion for them extend far beyond the world of mere performance. They have been politically and socially driven by the tragedies and injustices that they have witnessed within their country and have worked hard to be a force of reconciliation, equity and peace within the world. And those efforts, which began on the dangerous streets of Belgrade in 1991, today, have reached throughout the world. Though they still make their home in Serbia, audiences from as far afield as New Zealand, Mongolia, Brazil and the U.S. have discovered their power - both in purely aesthetic terms and as passionate activists.
DAH Theatre: A Sourcebook is both a contemporary history of the role this performance group has played throughout the dissolution of Yugoslavia up to the present and an inside look into the nuts and bolts of Eugenio Barba¿s notion of "Anthropological Theatre," told in surprisingly practical terms. It should be of interest to a wide range of academics, from cultural anthropologists to historians who specialize in eastern Europe, as well as to teachers in the field of performance studies.
Foreword: Butterflies Who Dream of Being a TheatreEugenio BarbaIntroductionDennis BarnettA PATH TO HEALING: PERFORMANCES IN SERBIAChapter 1 - Theatre that Matters: How DAH Theatre Came to BeDuca KnezevicChapter 2 - Honoring Memory and Articulating Truth: The Case of Serbia's DAH TheatreMax Stephenson and Lyusyena KirakosyanChapter 3 - DAH Theatre's Angels: Doubling the Directions of Community-based MemoryAmy SarnoChapter 4 - Two Main Tendencies in the Work of DAH Theatre: A Performance Analysis of Two Respective CasesIvan MedenicaChapter 5 - Story of TeaDennis BarnettChapter 6 - In/Visible City: Transporting Histories and Intersecting Identities in Post-war SerbiaShawn WomackChapter 7The Lost Show: Tender, Tender, Tenderly and Yugo-nostalgiaBeth ClearySPREADING THE PEACE: REACHING OUT TO THE WORLDChapter 8 - Enduring and Transforming: DAH Theatre and 7 Stages' Maps of Forbidden RemembranceLeigh ClemonsChapter 9 - On Directing A Lie of the Mind by Sam Shepard: DAH Theatre, Physical Theatre, and NeurobiologyElizabeth Carlin-MetzPERSONAL ACCOUNTSChapter 10 - Two Interviews: Erik Ehn and Siegmar SchroederDennis BarnettChapter 11 - My Experience of DAHArthur SkeltonChapter 12 - Elegance, Refusal, Survival: DAH TheatreJill GreenhalghChapter 13 - Changing Ourselves to Change SocietyDavid DiamondChapter 14 - On Making Devised Performances with DAH TheatreDel HamiltonChapter 15 - Previously Blue: Devising the Salvage of Disaster, Resilience and BeautyRuth MargraffAPPENDIX