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liti sa drugima. Potrebno je da se pretpostavi reakcija najmanje troje gledalaca i da se zna kako da se zamisli četvrti. To su za mene četiri osnovna gledaoca; - dete koje radnje opaža bukvalno;, - gledalac kóji misii da ne razume ali, uprkos sebi, igra; - rediteljevo drugo ja; - četvrti gledalac vidi hroz predstavu kao da ona ne pripadá svetu prolaznog i uobrazilje. Svaki trenutak predstave mora se opravdati u očima svakog od ta četiri gledaoca. Rediteljski metod na ovom bitnom području rada sastoji se u tome da zna kako da se poistoveti najpre sa jednim, zatim drugim, zatim sledečim gledaocem, da nadzire njihove reakcije, zamišlja smeh četvrtog gledaoca. Zadatak mu je. takode, da četvoro različitih gledalaca uskladi da ono što omogučuje reakciju jednog od njih ne blokira kinestetičku ili mentálnu reakciju ostalih. Reditelj tako istražuje skalu koja omogučuje predstaví da zapupi u raznim Ijudima. Svaki konkrétni gledalac se u stvari môže zamisliti kao pojedinac u kóme je tih četvoro osnovnih gledalaca kombinováno u različitim srazmerama. Dete koje radnje vidi bukvalno neče zavěsti metafore, aluzije, simbolične slike, citati, apstrakcije, nagoveštaji. Ono posmatra ono što se prikazuje. Ako Hamlet deklamuje biti ili ne biti , bukvalno dete vidi čoveka kóji dugo govori, sám i ne radi ništa zanimljivo, Drugi gledalac ne razmišlja o razumevanju značenja predstave. Možemo da zamislimo da ne zna jezik kojím glumci govore i ne prepoznaje priču. Medutim, taj gledalac prepoznaje da je delo dobro pečeno , sa pažljivo odabranim pojedinostima, kao ručni rad zanatlije-majstora iz jedne od onih kultura gde se ne pravi razlika izmedu umetnosti i zanata. On/ona pre svega dopušta da ga dirne predizražajni nivo predstave, glumački igra energije, ritam kóji širi prostor i vrčme radnje i prati predstavu kinestetički. On/ona je budan-na jer ga/je predstava tera da igra na stolici. Gledalac kóji je rediteljevo drugo ja, do najsitnijih pojedinosti je obavešten o čitavom sadržaju predstave, tekstovima i dogadajima na koje se odnosí, dramaturškim mogučnostima. biografijama likova. Za njega/ /nju predstava je teritorija na kojoj tragovi bliskog i dalekog prošlog života dajú život novim kontekstima i neočekivanim odnosima. Način gledanja tog gledaoca prodire kroz tu živu arheologiju, prolazi od gornjih do najdubljih slojeva. Taj gledalac mora da bude u stanju da u svákom odiomku, u svakoj pojedinosti, u svakoj mikroradnji prepozna neki nepostojan

ostatak vlastitog znanja, zasičen informaeijama, ali i obdařen novom energijom koja izaziva neobične asocijacije. Sve to što se dešava sada i ovde mora da probudí u tom gledaocu odjek kóji se odmah preobražava u zvuk kóji se začuo prvi put. Samo na taj način taj treči gledalac se môže suočiti sa dogadajima u predstaví i od prepoznavanja štici do znanja, od informacije o jednom doživljaju do doživljaja o doživljaju. On-а mora biti u stanju da ponovo vidi predstavu svake večeri, a da mu/joj ne bude dosadne kao da luta po proširenom umu kóji svaki put izbacuje na površinu nova pitanja i suočava ga/je sa zagonetkom koja ga/je progoni. Ti gledaoci nisu čisté apstrakcije, vec oličenja kojima reditelj mora dati tačna lica i iraena. Cak i ako to nisu pravi gledaoci, reditelj mora biti u stanju da se poistoveti sa njima: oni su ličnosti (maske, uloge) koje reditelj prihvata da bi za sobom ostavio svoje poistovečenje sa samim sobom i svojim privátním razmišljanjima kao gledalac. Reditelj se usredsreduje najpre na jednog, zatim na drugog osnovnog gledaoca, tka- i podešava njihovc reakcije isto kao što tka i podešava radnje glumaca. Četvrti gledalac je gotovo nem. On-a se osmehuje majanskom pokrovu predstave i vidi ono što nijedan gledalac ne vidi kao materijalnu stvar: vez na košulji nekog lika, nepotreban jer ga sakriva sako, ali izvezen sa istom brigom kao vez kóji treba da se vidi jer ima svoju vrednost za glumca i reditelja. Vidi šta glumac ili glumica radi levom rukom dok gledaocima pokazuje desnú ruku. Vidi dobro pečen posao čak i kad je tajan i prepoznaje kad glumac to čini iz potrebe koja premašuje zahteve bilo kog gledaoca. Četvrti gledalac je saradnik kóji nam pomaže da poričemo pozorište baveči se njime. □ Eugenio Barba

Talabot A story of the generation of 1948 through the biography of the Danish anthropologist Kirsten Hastrup, authority on Icelandic culture, who lives and works in Aarhus. The events from her real life colllide with the presence of the ’Huldrefolk’, the 'hidden people'’ of Nordic legend, but also with the dead from the history of our times.

A piece of theatre about the dislocation of familiar reality. The title is the name of a boat. Antonin Artaud (1896-1948), writer, actor and poet. His lecture, The Theatre and the Plague, delivered at the Sorbonne in Paris on April 6, 1933, aroused the wrath and ire of the few people who came to hear it. The text of the lecture is included as part of one of the most prophetic and widely read books on theatre to appear this century, The Theatre and Its Double. In 1936. he spent time with the Tarahumaras Indians in Mexico. From 1937 to 1946, he underwent treatment in different psychiatric hospitals. Ernesto Guevara (19 -1967) bom in the interior of Argentina; doctor. Though afflicted by a severe form of asthma, travelled widely in Latin America. Supported the democratic movement of Arbenz in Guatemala. He joined, in 1956, a group of Cuban exiles lead by Fidel Castro in the struggle against the regime of Fulgencio Batista. Director of the National Bank of Cuba; Minister of Industry; father of four children. Killed in Bolivia by Rangers’ anti-guerilla forces. Bent Hastrup (1922-1985) doctor. Followed his profession in various cities in Denmark, Father of five daughters, the second of which was called Kirsten. Kirsten Hastrup (born in 1948), anthropologist; lives and works in Denmark, Studied biology and geography in 1966-1967. M. A. in Anthropology in 1973. Studied at Oxford in 1974-1975. Field work in India in 1975. Ph. D. from Oxford University in 1980. Field work in Iceland in 1982-1983. Research Professor/Fellow in 1985. Married in 1968 and divorced in 1984. Four children (1971, 1972, 1976,1978). Knud Rasmussen (1879-1933), polar explorer, son of a Greenlander mother and Danish father. His most impressive feat was his journey by dogsled along the length of the Arctic coast from Baffin Island, across Canada and Alaska, as far as Siberia. During this expedition, which lasted three years, he gathered Eskimo myths and songs, and collected numerous amulets which he donated to the National Museum in Copenhagen. For this accomplishment, he was awarded an Honourary Doctorate by the University of Copenhagen. Trickster: a grotesque character common to the myths of diverse cultures. It can transform itself from man into woman and from human being into animal. It creates and destroys, gives and receives, cheats and is cheated, bringing with its tricks disorder into the order of things. □

Working Notes Four Point of Reference The territory in which this production wanders has 4 points of reference: 1. A page from an essay by E. G. Craig on Commedia delľ Arte. 2. The name ’Talabot’. 3. The article „The Challenge of the Unreal” by Kirsten Hastrup. 4. A psalm by the Danish poet B. S. Ingemann which opens and closes the performance and is its leitmotif. 1. Edward Gordon Craig (18721966): La Commedia dell’Arte (SCENE, Oxford University Press, London 1923.) Too many such faces and bodies were brought to us to see - all tom bodies, all drawn mouths,-all grief and pain. We will go out - we try to find the door - we go out - we get out - fresh air... And for a time we go without the old tragic play altogether... And now sitting at our door in the sun one day we see over the way against the yellowgrey wall three strange figures - we peer at them with our eyes shaded. Are they not rather like... no, that was only a terrible fancy, to be forgotten... let us go in. Next day the same - and laughter too, and people watching too - and laughing. I go out. - I draw nearer. The same three strange figures leaping and gesticulating... not really at all likç those images with the tom faces and the broken knees - and now I am nearer still I see how absurd my notion was... they are laughing all the time. Misery and agony does not laugh: ... only the victorious laugh yet till I sleep I seem to see the woebegone vision of a martyr. These are the new performers, - we the new. rather terrified, grinning spectators - our theatre the street our scene the mound of earth. 2. Talabot Talabol is a Norwegian cargo ship. On it, Eugenio Barba embarked for the first time as an engine boy in 1956, crossing the Suez Canal enroule to India, China arid Japan. The ship took its name from the French engineer Paulin-François Ta-