Notes From An Odin Actress: Stones of Water

"As an actress I sit, speak, run, sweat and, simultaneously, I represent someone who sits, speaks, runs and sweats. As an actress, I am both myself and the character I am playing. I exist in the concreteness of the performance and, at the same time, I need to be alive in the minds and senses of the spectators. How can I speak of this double reality?" ' Julia VarleyThis is a book about the experience of being an actress from a professional and female perspective. Julia Varley has been a member of Odin Theatret for 33 years, and Notes from an Odin Actress is a personal account of her work with Eugenio Barba and this world-renowned theatre company.This is a unique window onto the in-depth exercises and day-to-day process of an Odin member. It is a journal to enlighten anyone interested in the performances, the discoveries and the hard physical work that accompany a life in theatre.

Foreword	p. ix
Preface	p. xi
Acknowledgements	p. xv
Introduction	p. 1
Dancing history	p. 1
First steps	p. 7
Becoming an actress	p. 7
Odin Teatret	p. 13
Teachers	p. 15
The dramaturgy of the actress	p. 20
Personal terminology	p. 20
The echo of silence	p. 23
Stage presence	p. 28
Pursuing oppositions	p. 30
Rodin's torsos	p. 33
Precision and decision: the whole body	p. 36
Precision and decision: the whole voice	p. 40
Training	p. 43
Aspects of training	p. 43
My own training	p. 45
The purpose of training	p. 48
Reduction	p. 53
Improvisation and composition	p. 56
The creation of material	p. 56
Stimuli, strategies and procedures	p. 62
Repetition, memory, fixing	p. 66
Before, during and after improvisation	p. 68
Elaboration: from the actress's point of view	p. 71
Elaboration: from the director's point of view	p. 74
Score and subscore	p. 78
A useful but wrong word	p. 78
The paper song	p. 79
Thought	p. 80
The subscore of creation	p. 81
Chaotic order	p. 83
The subscore of repetition	p. 83
The subscore of performance	p. 85
Text and subtext	p. 86
Textual interpretation	p. 86
Textual analysis	p. 87
Physical actions as subtext	p. 89
Vocal actions as subtext	p. 92
Melodies and music as subtext	p. 94
The character	p. 96
Identities	p. 96
Mr Peanut	p. 102
Doña Musica	p. 110
Dramaturgy according to Daedalus	p. 114
The puppet character	p. 126
The director	p. 130
Meeting a director	p. 130
Working with a director	p. 133
The surgeon and the mountaineer	p. 139
The peasant and the cook	p. 148
The performance	p. 153
Replica and difference	p. 153
Faces, words, landscapes	p. 159
Table of Contents provided by Ingram. All Rights Reserved.

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Notes From An Odin Actress: Stones of Water

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Table of Contents

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