Eugenio Barba has honoured NTQ by entrusting to its pages his very personal introduction to his most recent book, Le Mie vite nel terzo teatro: Diffrenza, mestiere, rivolta (My Lives in the Third Theatre: Difference, Craft, Revolt), which has here been specially translated into English by Judy Barba, the co-dedicatee, along with Julia Varley and Vera Gaeta, of his book: the ‘origins and accomplices of my journey to the archipelago of floating islands’. NTQ received this translation, here prepared by the journal’s editor, Maria Shevtsova, ahead of the book’s launch on 5 October 2023 at the Biblioteca Bernardini in Lecce in Puglia. On a grander scale, a few days later, the occasion also saw the opening in Barba’s honour of his and the Odin Teatret archives under the banner of LAFLIS (Living Archive Floating Islands), located in a wing of the three-dimensional immersive museum of the Bernardini. LAFLIS’s rich collection includes written material, film and video documentaries, recordings of performances, and such artefacts and equipment as instruments, masks, and costumes gathered during Third Theatre work. The latter is neither established-classical nor avant-garde theatre but ‘other’ – small-group, sometimes unofficial, and often self-taught theatre. LAFLIS is not exclusively intended for researchers and scholars, but is open as well to interested members of the general public. Barba’s introduction to My Lives in the Third Theatre is here published in full, clearly signposting, together with the author’s succinct commentary, the itinerary of his life’s multifarious work, which involved, and still involves, a wide range of participants and collaborators in different times, places, and languages, and in differing forms and patterns of creativity.Barba’s account begins with his departure from Italy to Norway (1954), and his apprenticeship as a welder, and then a mariner, before tracing his move to study in Poland (1961), where he meets and works with Grotowski, his return to Oslo, where he founds Odin Teatret (1964), and then his emigration to Denmark (1966), where Odin Teatret establishes its niche within the larger framework that Barba named the Nordisk Teaterlaboratorium. Barba’s journey continued, encompassing numerous theatre endeavours, including the development of the idea of a Third Theatre (the ‘floating islands’ alluded to above); the seminal ISTA (International School of Theatre Anthropology, 1979); and, although quite clearly not at journey’s end, the Fondazione Barba Varley established in 2020.

中文翻译：

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制造地震

尤金尼奥·巴尔巴 (Eugenio Barba) 向 NTQ 表示敬意，将他对自己最新著作的个人介绍委托给该版面，Le Mie vite nel terzo teatro：Diffrenza、mestiere、rivolta（我在第三剧院的生活：差异、工艺、反抗），这里由朱迪·巴尔巴（Judy Barba）专门翻译成英文，她与朱莉娅·瓦利（Julia Varley）和维拉·加埃塔（Vera Gaeta）共同撰写了他的书：“我的浮岛群岛之旅的起源和同谋”。NTQ 收到了这份由该期刊编辑 Maria Shevtsova 准备的翻译，该书于 2023 年 10 月 5 日在普利亚莱切的贝尔纳迪尼图书馆发行。几天后，在更大规模的活动中，巴尔巴还以 LAFLIS（浮岛生活档案馆）的名义开放了他和奥丁剧院的档案馆，这些档案馆位于浮岛三维沉浸式博物馆的侧翼。贝尔纳迪尼. 拉弗利斯丰富的收藏包括书面材料、电影和视频纪录片、表演录音，以及第三剧院工作期间收集的乐器、面具和服装等文物和设备。后者既不是既定的古典戏剧，也不是前卫戏剧，而是“其他”戏剧——小团体、有时是非官方的、通常是自学成才的戏剧。LAFLIS 不仅面向研究人员和学者，而且也向感兴趣的公众开放。巴尔巴的简介我的第三剧场生活本书全文出版，路标清晰，附有作者简洁的评论，讲述了他一生丰富多彩的作品的行程，其中涉及并且仍然涉及不同时间、地点、语言和不同语言的广泛参与者和合作者。创造力的形式和模式。巴尔巴的叙述始于他从意大利前往挪威（1954 年），作为一名焊工学徒，然后成为一名海员，然后追踪他前往波兰学习的经历（1961 年），在那里他遇到了并一起工作的人格洛托夫斯基回到奥斯陆，在那里创立了奥丁剧院（1964 年），然后移居丹麦（1966 年），奥丁剧院在巴尔巴命名为北欧剧院实验室的更大框架内确立了自己的地位。巴尔巴的旅程仍在继续，涵盖了许多剧院的努力，包括发展第三剧院的想法（上面提到的“浮动岛屿”）；开创性的ISTA（国际戏剧人类学学院，1979）；巴尔巴·瓦利基金会 (Fondazione Barba Varley) 于 2020 年成立，尽管显然还没有结束。