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4 results

  • What is ISTA (International School of Theatre Anthropology)?

  • Julia Varley
  • Journal:
    New Theatre Quarterly / Volume 40 / Issue 2 / May 2024
    Published online by Cambridge University Press:
    29 April 2024, pp. 103-124
    Print publication:
    May 2024
    • Article
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  • Eugenio Barba first defined ‘theatre anthropology’ as the study of the human being in an organized performance situation in a lecture in Warsaw in May 1980. The first session of ISTA (International School of Theatre Anthropology) was held in October 1980 and the last to date in 2023. This article gives a personal account of ISTA’s history from its origins, rooted in Eugenio Barba’s interest in Asian classical theatre techniques and the founding of Odin Teatret in Denmark, to the most recent experiences, which include the intercultural production of Anastasis/Resurrection at the 2023 Theatre Olympics in Budapest. It identifies masters of given ISTA sessions and their invaluable contribution to the School’s emphasis on, and understanding of, craft, as well as the distinguishing characteristics and points of change and development of selected ISTAs.

  • Chapter 3 - The Second Decade (1567–1577)

  • Laurie Johnson, University of Southern Queensland, Australia
  • Book:
    Leicester's Men and their Plays
    Published online:
    08 November 2023
    Print publication:
    12 October 2023, pp 114-163

  • Summary

    Chapter 3 links the company’s touring destinations in their second decade to Dudley’s attempts to influence the parliaments of 1571 and 1572 and to expand his landholdings. I argue that this should also make us rethink the players’ letter of 1572 and their receipt of a royal patent in 1574. Rather than a knee-jerk reaction to the Vagabond Act of 1572, the players’ letter leveraged their patron’s ambitions to expand their touring activity and to curry favour with the crown. Where the players did face renewed hostility was from within London. I argue that the patent of 1574, the company’s move out of the Red Lion, and the shift of their base of operations to the Theatre in Shoreditch by 1576, all respond to attempts by London’s mayors and aldermen to shut down their activities in or near the city. The second half of Chapter 3 focuses on making sense of the design of the Theatre and describes the company’s adoption of the repertory playing system as a logical extension of the goals that had not been fully accomplished with the Red Lion, along with the continued accumulation of theatrical capital during the 1570s.