Acting
Director/actor Eugenio Barba returns to Oslo, where he started Odin Teatret, to Opole, where Jerzy Grotowsky's " theatre of the poor" developed a new physical play style, to avoid communism's censorship. And to Holstebro, where Odin Teatrets presence has greatly influenced the city's development.
One day, Laffen, a family man, homeowner, and watchmaker, overhears his 17-year-old son lecturing his younger siblings. He gives them a shocking analysis of their poor father. The father puts on his workout clothes and goes for a jog in the neighborhood, to the amusement of his neighbors and the despair of his family. After a lucky shot, he wins the gold medal in athletics.
Every performance tells a story. The characters belonging to the world of fiction become credible reality for the spectator thanks to the actor's technique. In Traces in the Snow the technique itself becomes the protagonist. The actor carries on a dialogue with the secrets, which precede and follow the building of a character and the creation of a performance – and its process, she exposes these secrets. The tension, which characterises every drama, is also present in this performance/work demonstration, due to the confrontation between the actor’s two forms of behaviour: daily and scenic.
Victoria Santa Cruz, dancer and choreographer, talks about the work she's developing with her folklore ensemble and shares her experience as a black peruvian woman in an interview with Eugenio Barba.
