{"id":3294,"date":"2025-04-18T13:30:59","date_gmt":"2025-04-18T13:30:59","guid":{"rendered":"https:\/\/odinteatret.org\/?page_id=3294"},"modified":"2025-05-22T17:18:59","modified_gmt":"2025-05-22T17:18:59","slug":"odin-teatret-separation-from-ntl","status":"publish","type":"page","link":"https:\/\/odinteatret.org\/index.php\/archival-information\/odin-teatret-separation-from-ntl\/","title":{"rendered":"Odin Teatret separation from NTL"},"content":{"rendered":"\n<p class=\"has-black-color has-text-color has-link-color wp-elements-1 wp-block-paragraph\">Some chronological documents and statements from Odin Teatret&#8217;s Archive about the separation process and re-founding of Odin Teatret.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>1) 28 March 2019<\/strong><\/p>\n\n\n\n<p class=\"has-vivid-red-color has-text-color has-link-color wp-elements-2 wp-block-paragraph\"><strong>Eugenio Barbas official statement stepping down from as leader of Nordisk Teaterlaboratorium (NTL).<\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-3 wp-block-paragraph\"><em>28 March 2019<\/em><em><\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-4 wp-block-paragraph\"><em>On December 31, 2020, I will leave my position as director of the Nordisk Teaterlaboratorium-Odin Teatret in Holstebro. The task of artistic coordinator will be assumed by Julia Varley, and from 1<sup>st<\/sup> January 2021 the overall responsibility will be in the hands of Per Kap Bech Jensen, the new director chosen by the Board of Directors.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-5 wp-block-paragraph\"><em>We were five in 1964, myself and four youngsters rejected by the State Theatre School in Oslo, Norway, including Torgeir Wethal and Else Marie Laukvik who have remained at my side. We founded a joint-stock company and divided the shares among ourselves because the earth belongs to those who till it. We gave to our theatre the name of Odin, a Nordic god who unleashes his dark forces to destroy or give insight. We were a tiny curious and naive amateur group. We loved travelling in the realm of the dead &#8211; the history of theatre. We were convinced that we had to pay from our own pocket for the theatre we wanted to make. In silence, with Trappist rigour, we took our first steps as autodidacts towards a knowledge that also became the conquest of our difference.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-6 wp-block-paragraph\"><em>In 1966 our theatre group moved to Holstebro in Denmark. Its politicians welcomed these young unknown foreign actors and &#8211; as an exception in the history of Europe &#8211; generation after generation supported them even in the early years when the population was hostile to their strange way of doing theatre. Holstebro became our homeland, here our children were born, here some of us are buried, here our wings grew.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-7 wp-block-paragraph\"><em>Over the years we transformed ourselves into the Nordisk Teaterlaboratorium, an international environment of initiatives in the field of the actors\u2019 technique and the use of their craft in the community. Theatre cannot be reduced simply to a performance that can be bought with a ticket. Our profession has a dimension whose values are imponderable, but which leave deep traces: the quality of relationships, the development of a micro-culture, the practice of a social laboratory in continuous research, a daily obstinacy that is spiritual and political commitment, the ability to nourish a resilience against the wearing routine and the spirit of time.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-8 wp-block-paragraph\"><em>Our laboratory opened the way to numerous activities: site specific and street performances, alternative pedagogy and pure research, sociological surveys, publication of journals and books, production of didactic films, encounters and regular exchanges with theatre groups from all over the planet, collaboration with masters of Asian and Latin American traditions and Afro-Brazilian culture. Our actors have become directors, guides for generations, forgers of adventures: &#8220;The Bridge of Winds&#8221; by Iben Nagel Rasmussen, the Transit Festival and the Magdalena Project by Julia Varley and other women in the profession, the Odin Week Festival by Roberta Carreri, the Laboratory Village of Kai Bredholt and Per Kap Jensen, the practice of a theatre of reciprocity as a cultural barter, the ISTA, the International School of Theatre Anthropology, Odin Teatret\u2019s Living Archives, and the Festuge &#8211; the Festive Week &#8211; which theatricalises and unveils the variety of Holstebro&#8217;s subcultures.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-9 wp-block-paragraph\"><em>Today the Nordisk Teaterlaboratorium is deeply rooted in Holstebro&#8217;s history and its challenges in the present. Its environment includes several independent groups headed by theatre artists, scholars and start-uppers with a &#8220;laboratory&#8221; mentality and way of proceeding: to explore, through the art of the actor, new relationships and conditions so that the unforeseeable may happen.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-10 wp-block-paragraph\"><em>It is time for me to leave the command, the responsibility and the burden of the 101 daily decisions to those who will keep alive the essential that I and my companions have distilled during these 56 years. I have been the director of a theatre that wanted to intervene in the surrounding reality. I followed the strategy of circles in the water. I threw a stone that I knew how and where to hurl. The circles widen, move things which are close, produce tiny invisible currents. But I who threw the stone, cannot nor do I want to determine their future.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-11 wp-block-paragraph\"><em>Like a cloud I continue my journey. I am rehearsing two new performances with my Odin actors. I will continue to meet the groups of the Third Theatre. I will not give up my research on the transition from the actor\u2019s inner space to his\/her first perceptible sign in the space shared with the spectator.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-12 wp-block-paragraph\"><em>I have no heirs nor a legacy to leave. My teaching is not passed on or extinguished. It evaporates. And falls as rain on the head of whom least expects it.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-13 wp-block-paragraph\"><em>Eugenio Barba<\/em><\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>2) 16 December 2020<\/strong><\/p>\n\n\n\n<p class=\"has-vivid-red-color has-text-color has-link-color wp-elements-14 wp-block-paragraph\"><strong>Eugenio Barbas letter of thanks to NTL-Odin Teatret\u2019s Board of Directors (BoD) Arne L\u00e6g\u00e5rd, Karoline H. Larsen, Louise Eigod Hansen, Lene Dybdal, Peter Christensen Teilmann and S\u00f8ren Kjems.<\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-15 wp-block-paragraph\"><em>16. december 2020<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-16 wp-block-paragraph\"><em>Kj\u00e6re Arne, Karoline, Lene, Louise, Peter og S\u00f8ren, kj\u00e6re mine skattede bestyrelsesmedlemmer,<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-17 wp-block-paragraph\"><em>jeg har det vanskelig ved \u00e5 uttrykke i ord min takknemlighet for det kj\u00e6rlighets b\u00e5nd som knytter dere til Odin Teatret og dets iherdige folk. Samarbejdet med dere har v\u00e6rt en gave av viten, kompetanse, faglig inspirasjon og f\u00f8lelsesmessig engasjement. I det \u00f8yeblikk jeg forlater mitt ansvar som leder, kan jeg ikke la v\u00e6re \u00e5 stille et sp\u00f8rsm\u00e5l: hvorfor har dere ofret s\u00e5 mye tid, tanker og energi for Holstebrodinerne? TAKK, TAKK, TAKK. Jeg er klar hvor meget jeg skylder mine bestyrelsesmedlemmer \u2013 til en og enhver av dem, helt fra de f\u00f8rste \u2013 Christian Ludvigsen og Martin Berg.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-18 wp-block-paragraph\"><em>S\u00f8ren: det har v\u00e6rt s\u00e5 betryggende \u00e5 ha deg ved min side i alle disse mange \u00e5r med din rolige forst\u00e5elsesfulle styrke og skarp analytisk blikk som dempet og overbeviste mitt impulsive gemytt.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-19 wp-block-paragraph\"><em>Arne: sammen med Kai K. Nielsen, er du den politiker som har f\u00e5tt meg til \u00e5 tro at det lar seg gj\u00f8re \u00e5 skape fruktbare allianser og symbolske spor mellom den politisk\/pragmatiske og den kunstnerisk\/imagin\u00e6re verden. Du har v\u00e6rt den borgmester som har bes\u00f8kt v\u00e5rt teater mest, og jeg tror du gjorde det fordi du, ogs\u00e5 som menneske, f\u00f8lte&nbsp;at hva som skjedde blant veggene p\u00e5 S\u00e6rk\u00e6rg\u00e5rd sa deg noe.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-20 wp-block-paragraph\"><em>Lene: jeg \u00f8nsket ikke \u00e5 ha politikere i min bestyrelse. Det var Lisbet Gormsen som overbeviste meg at det ville v\u00e6re klokt \u00e5 forandre min holdning. Hun hadde rett. Jeg h\u00f8rte imponert hver eneste gang du sa noe. Og jeg ble beveget da jeg fikk vite at du hadde stemt imot besparelsen og ditt eget parti.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-21 wp-block-paragraph\"><em>Karoline, Louise, Peter: som kunstnere og kunstner-allierte har jeg nytet de nye ideer og perspektiver dere hat p\u00e5f\u00f8rt v\u00e5rt teater. Viktigst: dere har klart \u00e5 utvikle et betryggende tett forhold med Per p\u00e5 hvis skuldre hviler byrden av 40 medarbejderes innsats.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-22 wp-block-paragraph\"><em>Den 27. november [2020] holdte jeg min siste tale som NTL direkt\u00f8r til samtlige medarbejdere. Jeg minnet dem at v\u00e5rt teaterlaboratorium hadde utviklet sin kunstneriske diversitet gjennon v\u00e5r spesielle arbeidskultur. Det var ikke en ideologi, teorier og credo som styret v\u00e5r daglige arbejdsroutine, men en h\u00e5ndverkmessig bevissthet om de forpliktelser enhver av oss hadde i forhold til det arbeid vi hadde valgt. Jeg fortalte dem at jeg s\u00e5 optimistisk p\u00e5 fremtiden, b\u00e5de \u00f8konomisk og kunstnerisk. Jeg p\u00e5skj\u00f8nnet den gamle Odin kjerne som fortsatte stedig og koncentrert i disse covid-tider i full sats til \u00e5 springe ut i nye initiativer med en gang virus var besejret. Samtidig kunne jeg konstatere at vi i l\u00f8pet av de siste 10 \u00e5r hadde klart \u00e5 utdanne og st\u00f8tte \u00f8konomisk en ny generasjon med flere selvstendige og annerledes kunstnere som allerede gikk sine vejer: DOO-Giuseppe Bonifati, Ikarus, Vali barneteater, Mia\u2019s Riotous Company, Anna Stigsg\u00e5rd med sine originale community initiativer.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-23 wp-block-paragraph\"><em>Til slutt p\u00e5pekte jeg en fare: innlemmelsen av nye kunstneriske medarbejdere i NTL s\u00e5frem de ikke blir engasjert ut fra de samme faglige premisser som har styret NTL inntil nu. Vesentlig er interessen som f\u00f8rer en person til v\u00e5rt arbejdsmilj\u00f8 i Holstebro hvor de i m\u00e5nedsvis blir satt p\u00e5 pr\u00f8ve og absorberer noen grunnleggende prinsipper: beslutnings giennomsiktighet, like l\u00f8nn, ubegrenset arbejdsdag, personlig ansvar p\u00e5 de lokaler som beskytter v\u00e5r individuelle og felles \u00e5nd i v\u00e5re daglige gj\u00f8rem\u00e5l, et forhold til byen de har valgt \u00e5 arbejde i. \u00c5 blande mennesker som kommer fra to radikalt forskjellig arbejdskulturer kan utgj\u00f8re et Damokles sverd. Konsekvensen kan hurtig bli at det menneskelige-kunstneriske kapital som ble skapt i over halv sekel vil forvandles til en konfliktfylt og fremmedgjort milj\u00f8 og vil g\u00e5 i oppl\u00f8sning p\u00e5 f\u00e5 m\u00e5neder.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-24 wp-block-paragraph\"><em>Det er, i mine \u00f8yne, den st\u00f8rste utfordring som Per, som ansvarlig leder, og bestyrelsen st\u00e5r overfor.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-25 wp-block-paragraph\"><em>Mere har jeg ikke \u00e5 si. Personlig g\u00e5r jeg til verks i min nye stilling med energi og optimisme. Pr\u00f8vene til Odins nye forestilling Thebes i den gule feber tid skrider fint frem, og n\u00e5r tidene blir normale regner jeg med \u00e5 finne noen produsenter som vil pumpe noen penger inn i den. Det er gode sjanser at vi kan selge en kopi av hele Odin Teatret Arkiver til en bibliotek i Italien til en klekkelig bel\u00f8p som n\u00e6rmer seg en million kr. Kontaktene med det greske National Teater vil sikkert gi bonus med en gang coronavirus vil tillate det.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-26 wp-block-paragraph\"><em>Jeg har startet et par prosjekter som ikke direkte er knyttet til Odin Teatret. Den ene er et Barba Varley Foundation som skal st\u00f8tte \u00abnavnl\u00f8se\u00bb teaterfolk og kvinner. Den er styret av andre mennesker i Italien og vil neppe kollidere med mine og Julias oppgaver p\u00e5 Odin Teatret.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-27 wp-block-paragraph\"><em>Det andre er et tidskrift JOURNAL OF THEATRE ANTHROPOLOGY som jeg vil redigere i min fritid hvor jeg ogs\u00e5 lar Odin arkiver figurere som utgiver. Samtidig vil jeg ogs\u00e5 lave en hjemmeside om teaterantropologi. &nbsp;<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-28 wp-block-paragraph\"><em>Nyt festlighetene, fremtiden viser gunstige trekk og vi alle p\u00e5 teatret gleder oss \u00e5 flyve h\u00f8yt takket v\u00e6re deres omhu og omsorg.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-29 wp-block-paragraph\"><em>Jeg sier enda en gang takk, omfavner hver eneste av dere, og gleder meg til \u00e5 fortsette sammen mot v\u00e5rens lysere tider<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-30 wp-block-paragraph\"><em>Eugenio<\/em><\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>3) June 2022<\/strong><\/p>\n\n\n\n<p class=\"has-vivid-red-color has-text-color has-link-color wp-elements-31 wp-block-paragraph\"><strong>On request of Eugenio Barba, the chair of NTL\u2019s BoD, Louise Ejgod Hansen, sent the following information to the members of NTL.<\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-32 wp-block-paragraph\"><em>June 2022<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-33 wp-block-paragraph\"><strong><em>Memorandum about OTA-Odin Teatret Archives <\/em><\/strong><em><\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-34 wp-block-paragraph\"><strong><em>To people working at or connected with NTL-OT and OTA<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-35 wp-block-paragraph\"><em>In May 2022, many objects from the Odin Teatret Archive was transferred from Holstebro to Italy. In June, the archivist Simone Dragone left Holstebro in order to concentrate on his own academic research. These events are part of a process that has caused a lot of questions and uncertainty for the people connected to NTL-OT about the future of OTA in Holstebro. In this memorandum, the board address the current situation for OTA as well as the future of OTA in Holstebro.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-36 wp-block-paragraph\"><strong><em>History<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-37 wp-block-paragraph\"><em>In 2002, NTL-OT signed an agreement with Aarhus University concerning a Centre for Theatre Laboratories Studies (CTLS). CTLS was a collaboration between NTL-OT and the Dramaturgy Department of Aarhus University, acknowledged by the Faculty of Arts.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-38 wp-block-paragraph\"><em>This collaboration should provide a framework and stimulate a milieu with exchange of knowledge and competences between the two involved institutions. Their collaborators should contribute to initiatives and projects aiming to sharpen the interest of theatre as a cognitive, social and artistic laboratory. An archive \u2013 Odin Teatret Archive \u2013 should be established to gather and administrate the wealth of written documents and audio-visuals materials kept at the theatre in S\u00e6rkj\u00e6rparken. CTLS and NTL-OT among other activities, organized international symposia, publications and a Summer School.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-39 wp-block-paragraph\"><em>In 2007 the OTA, Odin Teatret Archives, was separated from CTLS and became an autonomous activity within the NTL-OT. (See Mirella Schino The Odin Teatret Archives, Routledge, London\/New York, 2018, p.4). OTA\u2019s staff managed to digitalise the first 50 years of NTL-OT\u2019s activity. This impressive task was the merit of the Italian theatre Professor Mirella Schino who was helped by Francesca Romana Rietti (previously engaged at the CTLS) and Valentina Tibaldi together with a dozen PhD and MA students from various country.&nbsp;<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-40 wp-block-paragraph\"><em>In 2014, all the original documents of the first 50 years of Odin Teatret\u2019s activities as a laboratory were sent to the Royal Library in Copenhagen while a digitalized copy was kept at S\u00e6rkj\u00e6rparken as OTA which was a busy branch of the Holstebro laboratory. Its staff consisted of an archivist (first Sabrina Martelli and later Simone Dragone) in collaboration with Francesca Romana Rietti and Llu\u00eds Masgrau. They were continuing the work of gathering and digitalizing new documents and to inform and guide students and scholars visiting and contacting OTA.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-41 wp-block-paragraph\"><em>From 2021 on, NTL-OT has been going through an extensive restructuring that has effected all activities and all staff. This process is ongoing and the board acknowledge the troubles and costs that this process has had for the people working at and connected to NTL-OT. As for all other parts of the theatre, the archive has also been affected by this process. In spring 2021, Francesca Romana Rietti and Llu\u00eds Masgrau vacated the archive and in June 2022 Simone Dragone stopped working at the OTA. This means that at the moment OTA remains without any personnel. This is not a sustainable solution, and Per Kap Bech Jensen and the board is currently working on a solution, which will solve both the immediate need for a contact person present at the archive in S\u00e6rkj\u00e6rparken and for a long-term solution for the archive in Holstebro.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-42 wp-block-paragraph\"><em>At this moment, the board of directors agree that the situation is uncertain, but we also see great potentials for OTA in the future. One aspect of that is the initiative by Eugenio Barba to establish a LIVING ARCHIVE in Lecce (Italy). This included a copy of the digitalized documents kept in OTA (Holstebro) as well as Barba\u2019s personal library and artistic objects. Until today, all expenses connected to the continuation of the archives in Lecce have been financed personally by Barba. The Board of Directors expresses its thanks to Barba for his initiative which enables the archive to become alive in Lecce.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-43 wp-block-paragraph\"><em>While acknowledging that the transfer of physical objects to Lecce is experienced as a loss for Holstebro and for the people working at and visiting S\u00e6rkj\u00e6rparken, it is the intention of the board to use this as an occasion to strengthen OTA in Holstebro. This will happen in collaboration with old partners like The Royal Library and CTLS as well as new partners such as the local archive and the archive in Lecce. We share the vision of Per Kap Bech Jensen to preserve the archive in Holstebro and the process of keeping the history as well as archiving what is coming will continue. As agreed with the Royal Library in Copenhagen NTL-OT hands over the last material to be securely stored. This will allow students, scholars and researchers to access the material as well the generations to come. In Holstebro the archive will continue to digital archiving the activities, which means students, scholars and researchers today and in the future will be able to access the archive of OTA and the new digital archive. Another perspective is to use XR technologies. This will be implemented by time in relation to dissemination of archival content, which opens up for new possibilities for users to interact and experience the history.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-44 wp-block-paragraph\"><em>We hope that this information clarifies the status of the OTA.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-45 wp-block-paragraph\"><em>On behalf of the board of directors<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-46 wp-block-paragraph\"><em>Louise Ejgod Hansen, chair.<\/em><\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>4) 3 June 2022<\/strong><\/p>\n\n\n\n<p class=\"has-vivid-red-color has-text-color has-link-color wp-elements-47 wp-block-paragraph\"><strong>In June 2022 Eugenio Barba proposed a plan to NTL\u2019s BoD in order to find a collaborative solution to the impasse situation between Odin Teatret, Eugenio Barba and NTL.<\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-48 wp-block-paragraph\"><strong>NTL BoD\u2019s answer below.<\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-49 wp-block-paragraph\"><em>Opl\u00e6g til bestyrelsen, 3 juni 2022<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-50 wp-block-paragraph\"><em>Jeg har tenkt \u00e5 drive videre teatergruppen Odin Teatret i sine mangfoldige aktiviteter \u2013 ISTA\/NG, forestillinger, interkulturelle produktioner, Levende Arkiv, JTA-Journal of Theatre Anthropology, festivaler, forskning, universitets samarbejd og community prosjekter.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-51 wp-block-paragraph\"><em>1. Jeg foresl\u00e5r at mine aktiviteter under navnet Odin Teatret helt atskilles fra NTL-OT b\u00e5de som administration og i det kunstneriske program. a. Alle Odin Teatrets aktiviteter krediteres NTL-OT som et samarbejde. (Se liste over aktiviteter allerede planlagt for 2023-24)<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-52 wp-block-paragraph\"><em>b. Jeg\/Odin Teatret dekker alle utgifter i forbindelelse med aktiviterne.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-53 wp-block-paragraph\"><em>c. NTL-OT bidrager til Odin Teatret med et fast \u00e5rligt bel\u00f8p p\u00e5 DKK 750.000.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-54 wp-block-paragraph\"><em>d. Avtaleperioden gjelder 2023, med mulighed for forlengelse til 2024.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-55 wp-block-paragraph\"><em>2. Jeg \u00f8nsker at navnet Odin Teatret (dom\u00e6net odinteatret.dk) overf\u00f8res til meg til \u00e5 videref\u00f8re teaterkompagniet Odin Teatrets aktiviteter. NTL-OT kan\/skal fremover bruke fx navnet NTL-OT eller liknende dom\u00e6ne. Alle sociale medie sider med navnet \u2018Odin Teatret\u2019 skal overleveres til meg. NTL-OT kan\/skal fremover bruke fx. \u2018NTL-OT\u2019 eller liknende navne p\u00e5 sine sociale mediesider (Facebook, Instagram etc).<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-56 wp-block-paragraph\"><em>3. De gamle skuespillere fra teaterkompagniet Odin Teatret skal ha lov \u00e5 bruke salene p\u00e5 S\u00e6rkj\u00e6rparken 144, hvis de \u00f8nsker det, p\u00e5 like fot med andre af NTLs faste skuespillere. De skal ogs\u00e5 ha lov til \u00e5 kunne oppbevare deres kostymer og rekvisiter som tilh\u00f8rer dem og deres forestillinger de har lavet med meg som instrukt\u00f8r. De skal kunne spille n\u00e5r de \u00f8nsker det og n\u00e5r der er tid\/plads i salene til det. Jeg \u00f8nsker ikke \u00e5 f\u00e5 noen betaling for instrukt\u00f8r eller forfatter rettigheter.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-57 wp-block-paragraph\"><em>Eugenio Barba<\/em><\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>5) 1 July 2022<\/strong><\/p>\n\n\n\n<p class=\"has-vivid-red-color has-text-color has-link-color wp-elements-58 wp-block-paragraph\"><strong>NTL BoD\u2019s answer to Eugenio Barba\u2019s proposition.<\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-59 wp-block-paragraph\"><em>Viborg 1\/7 2022<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-60 wp-block-paragraph\"><em>Bestyrelsens svar p\u00e5 henvendelse fra Eugenio Barba 3\/6 2022<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-61 wp-block-paragraph\"><em>F\u00f8rst og fremmest s\u00e5 udtrykker bestyrelsen gl\u00e6de over, at du forts\u00e6tter dine aktiviteter i al deres mangfoldighed. Det er dejligt, at du har energien og m\u00f8der den store interesse og anerkendelse af, at dine og Odin Teatrets aktiviteter er vigtige.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-62 wp-block-paragraph\"><em>Vi anerkender i overensstemmelse med de aftaler, vi har lavet tidligere, at navnet Odin Teatret f\u00f8lger dig.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-63 wp-block-paragraph\"><em>Punkt 1:<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-64 wp-block-paragraph\"><em>Vi er indforst\u00e5ede med, at dine aktiviteter helt adskilles fra Nordisk Teaterlaboratorium. Vi vil gerne underst\u00f8tte disse aktiviteter gennem et bel\u00f8b til disse aktiviteter p\u00e5 250.000 kr. i 2023. Dette bel\u00f8b overdrages ved indgangen af \u00e5ret til Fondazione Barba Varley. Bel\u00f8bet svarer til det, der blev sat i udsigt i aftalen mellem dig og bestyrelsen i vores aftale for 2022, men im\u00f8dekommer ikke din nye anmodning om et for\u00f8get bel\u00f8b p\u00e5 750.000 kr. I og med at vores finansiering af aktiviteterne kun d\u00e6kker en lille del af udgifterne, forventer vi ikke, at vi krediteres i forbindelse med aktiviteterne.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-65 wp-block-paragraph\"><em>Punkt 2:<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-66 wp-block-paragraph\"><em>Ved udl\u00f8bet af din kontrakt 31\/12 2022 overdrages navnet Odin Teatret til dig, hvorefter det ikke l\u00e6ngere anvendes af Nordisk Teaterlaboratorium. Dom\u00e6net odinteatret.dk tilh\u00f8rer fortsat NTL, men anvendes alene som en side, der henviser til b\u00e5de NTLs kommende dom\u00e6ne og Odin Teatrets kommende dom\u00e6ne i en overgangsperiode indtil brugerne har v\u00e6nnet sig til de nye dom\u00e6nenavne.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-67 wp-block-paragraph\"><em>Senest pr. 31\/12 2022 oprettes der nye mails som erstatning for alle @odinteatret.dk-mails, som ops\u00e6ttes til videresendelse i en overgangsperiode.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-68 wp-block-paragraph\"><em>P\u00e5 sociale medier m.m. foretages en adskillelse af NTLs og Odin Teatrets aktiviteter pr. 1\/1 2023. Facebook er allerede i dag adskilt, mens Twitter kan overtages af Odin Teatret. Instagram skifter navn men forbliver NTLs. I tilf\u00e6lde af, at Odin Teatret \u00f8nsker en Instagramkonto, henviser vi brugerne til den nye profil, n\u00e5r den er oprettet. LinkedIn \u00e6ndres, s\u00e5 Odin Teatret-navnet udg\u00e5r som binavn. Youtube og Vimeo adskilles og Odin Teatrets materiale stilles til r\u00e5dighed til nyoprettede kanaler i Odin Teatrets navn.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-69 wp-block-paragraph\"><em>Punkt 3:<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-70 wp-block-paragraph\"><em>Adgang til sale og opbevaring af rekvisitter og kostumer aftales mellem teaterlederen og de enkelte skuespillere. Udgangspunktet er, at Odin Teatrets skuespillere vil f\u00e5 adgang til lagerplads og til salene p\u00e5 lige fod med de \u00f8vrige ensembler p\u00e5 teatret.&nbsp;<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-71 wp-block-paragraph\"><em>P\u00e5 vegne af bestyrelsen<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-72 wp-block-paragraph\"><em>Louise Ejgod<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-73 wp-block-paragraph\"><strong>After this letter was received by Barba and Barbas solution had been declined by NTL BoD, dismissed actors and administrative staff had to give back their keys and had no longer admission to the theatre they had built. <\/strong><strong><\/strong><\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>6) 4 November 2022<\/strong><\/p>\n\n\n\n<p class=\"has-vivid-red-color has-text-color has-link-color wp-elements-74 wp-block-paragraph\"><strong>On the 4<sup>th <\/sup>of November 2022 Eugenio Barba gathers in his home all Odin Teatret\u2019s members who had been dismissed by NTL and establishes the cultural association Odin Teatret.<\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-75 wp-block-paragraph\"><strong><em>THE NEW HOUSE OF OLD DREAMS. ODIN TEATRET REBORN FROM ITS ASHES<\/em><\/strong><em><\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-76 wp-block-paragraph\"><em>Now that we have won the bet of staying together almost an entire lifetime, we have burned our house. But we are going to build another one, still with the same name, still with the same dreams.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-77 wp-block-paragraph\"><em>Today, 4 November 2022, we, Eugenio Barba, Judy Barba and Else Marie Laukvik, founders of Odin Teatret in Oslo on 1 October 1964, have founded the Odin Teatret Association, which will continue with performances and activities in Holstebro and abroad.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-78 wp-block-paragraph\"><em>We have a long past behind us. Our memories are not regrets; they help us to free ourselves from illusions and certainties. We learned to be proud when we were overwhelmed with fatigue, not to shy away from challenges, not to calculate the time needed to refine a detail, to trust our obstinacy, to reject our tendency for mediocrity.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-79 wp-block-paragraph\"><em>We do not know if at our age and in our time it is worth continuing. An obsession pushes us to belong to the TRADITION OF THE IMPOSSIBLE, whose origin dates back to Isadora Duncan and Stanislavski, and which includes Meyerhold, Vakhtangov, Brecht and Helene Weigel, Artaud, Julian Beck and Judith Malina, Atahualpa del Cioppo, Santiago Garcia and Patricia Ariza, our older brother Jerzy Grotowski, and the hundred thousand tribes of the Third Theatre.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-80 wp-block-paragraph\"><em>Odin Teatret lives on. Not a day goes by without some sign. Someone, somewhere needs these signs.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-81 wp-block-paragraph\"><em>PRESENT AT THE FOUNDATION CEREMONY: Eugenio Barba, Judy Barba, Else Marie Laukvik, Ulrik Skeel, Tage Larsen, Julia Varley, Rina Skeel, Claudio Coloberti, Dorthe K\u00e6rgaard, Leif Beck, Lisbet Gormsen, Antonia Cezara Cioaza, Jakob Nielsen and, in absentia, Jan Ferslev and Anne Savage.<\/em><\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>7) 1 December 2022<\/strong><\/p>\n\n\n\n<p class=\"has-vivid-red-color has-text-color has-link-color wp-elements-82 wp-block-paragraph\"><strong>1st December 2022 Eugenio Barba announces officially Odin Teatret\u2019s separation from NTL with the following text.<\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-83 wp-block-paragraph\"><em>ODIN TEATRET\u2019S WANDERING OLD AGE<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-84 wp-block-paragraph\"><em>Here is the epilogue of a long odyssey and the beginning of a new one.&nbsp;<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-85 wp-block-paragraph\"><em>At the end of November 2022, I and Odin Teatret will leave Nordisk Teaterlaboratorium-Odin Teatret, the institution that my actors and I founded and have developed in Holstebro since 1966, and which I led until December 2020.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-86 wp-block-paragraph\"><em>This separation is due to the artistic choices and organisational transformations of the new director and the board of directors. Their way of thinking and realising theatre diverges fundamentally from the ideals and work culture that have characterised the identity of Odin Teatret as a theatre group.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-87 wp-block-paragraph\"><em>I and Odin Teatret will continue our activities in Holstebro and abroad. You can follow us on our new website <\/em><a href=\"http:\/\/www.odinteatret.org\"><em>www.odinteatret.org<\/em><\/a><em> <\/em><em>and on the social media networks bearing our name.&nbsp;<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-88 wp-block-paragraph\"><em>I, an eighty-six-year-old director, and my actors of more than seventy springs, rejoice at the prospect of continuing to meet Holstebro citizens and Odin\u2019s \u2018secret people\u2019 who have followed us for more than half a century.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-89 wp-block-paragraph\"><em>We count on actively spending our old age on performances and projects, adapting to the rhythm of our vitality. This will not be at the farm that we transformed into a theatre laboratory\u2019, the home that welcomed so many of you. But we all know that theatre is the men and women who make it, and not a building.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-90 wp-block-paragraph\"><em>Odin Teatret will continue to dance with indestructible faith in the values that inspired us, and with unchanged gratitude towards the citizens and politicians of Holstebro who supported us when we were anonymous foreigners.<\/em><\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>8) February 2023<\/strong><\/p>\n\n\n\n<p class=\"has-vivid-red-color has-text-color has-link-color wp-elements-91 wp-block-paragraph\"><strong>IN FEBRUARY 2023, A GROUP OF ITALIAN THEATRE SCHOLARS AND CRITICS WROTE TO THE DANISH MINISTER OF CULTURE AND TO THE MAYOR OF HOLSTEBRO EXPRESSING THEIR CONCERN ABOUT THE LOSS OF ODIN TEATRET\u2019S LEGACY.&nbsp;<\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-92 wp-block-paragraph\"><strong><em>From:<\/em><\/strong><em> Anna Bandettini &lt;<a href=\"mailto:abandettini@icloud.com\">abandettini@icloud.com<\/a>&gt;<br><strong>Sent:<\/strong> Saturday, 8 February 2023 10.52<br><strong>Subject:<\/strong> Letter to the mayor of Holstebro about Eugenio Barba and Odin Teatret<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-93 wp-block-paragraph\"><em>To Jakob Engel-Schmidt, Minister of Culture of Denmark,<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-94 wp-block-paragraph\"><em>To&nbsp;H.C. \u00d8sterby, Mayor of Holstebro.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-95 wp-block-paragraph\"><em>We are a group of Italian scholars, cultural operators and journalists who have followed the artistic history of Odin Teatret and Eugenio Barba for decades.&nbsp;<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-96 wp-block-paragraph\"><em>We are writing to you because we have learned with astonishment the latest news concerning the extraordinary artistic and cultural adventure that from Holstebro has spread worldwide, becoming a milestone in the history of international theatre. &nbsp;<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-97 wp-block-paragraph\"><em>We refer to the news of a definitive exclusion of Eugenio Barba and Odin Teatret from Nordisk Teaterlaboratorium (NTL), i.e. from the theatre they founded back in 1964.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-98 wp-block-paragraph\"><em>It is clear that the life of a theatre group, as with that of people, has an evolution &#8211; youth, maturity and old age &#8211; and that especially in this last phase it is necessary to change and to graft new forces, investing in the younger generation as NTL is doing. But it is equally clear that a generational transition in NTL cannot be lived as an ordinary change, but must take into account the artistic and cultural value that Eugenio Barba and Odin Teatret represent in theatre history and in the international community.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-99 wp-block-paragraph\"><em>We believe that the renewal of the NTL should not prevent the necessary link with its artistic root and the material and conceptual recognition of the artistic and historical value of the Odin Teatret and Eugenio Barba in the NTL itself.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-100 wp-block-paragraph\"><em>It is not necessary to remind you how important Denmark and Holstebro have been for Odin Teatret and its history, and how much security and stability the city has given to their work. But at the same time how important Eugenio Barba and Odin Teatret have been for Denmark and Holstebro which today are remembered in books on the history of theatre as an enlightened example of cultural policy.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-101 wp-block-paragraph\"><em>Is it not a paradox not to take into consideration a piece of theatre history which is also a piece of Danish and Holstebro history?<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-102 wp-block-paragraph\"><em>It was the Mayor of Holstebro who in 1966 invited and welcomed an unknown Barba and his theatre from Norway. Today, what does the present Mayor of Holstebro, who on behalf of the entire city has a historical and cultural responsibility, think when he sees that Barba\u2019s legacy has been transferred to Italy, where the Apulia Region finances a large archive on Barba and Odin Teatret in Lecce?<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-103 wp-block-paragraph\"><em>We trust in the prospect of seeing the cultural value of Odin Teatret and Eugenio Barba officially and publicly recognised in the place they founded and made grow.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-104 wp-block-paragraph\"><em>Best regards<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-105 wp-block-paragraph\"><em>Anna Bandettini theatre critic and journalist \u201cLa Repubblica\u201d<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-106 wp-block-paragraph\"><em>Francesco Cappa, associate professor, University of Milano-Bicocca<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-107 wp-block-paragraph\"><em>Marco De Marinis, professor, University of Bologna<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-108 wp-block-paragraph\"><em>Vito Di Bernardi, professor, University La Sapienza, Roma<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-109 wp-block-paragraph\"><em>Raimondo Guarino, professor, Universit\u00e0 of Roma Tre<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-110 wp-block-paragraph\"><em>Massimo Marino, theatre critic and journalist \u201cCorriere della Sera-Bologna Spettacolo\u201d<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-111 wp-block-paragraph\"><em>Franco Perrelli, professor, University Aldo Moro, Bari<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-112 wp-block-paragraph\"><em>Andrea Porcheddu, theatre critic \u201cStati Generali\u201d<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-113 wp-block-paragraph\"><em>Mirella Schino, professor, University of Roma Tre<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-114 wp-block-paragraph\"><strong><em>THE DANISH MINISTER OF CULTURE DID NOT ANSWER THIS LETTER. FOLLOWING IS THE ANSWER OF THE MAYOR OF HOLSTEBRO.<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-115 wp-block-paragraph\"><strong><em>Da: <\/em><\/strong><em>&#8220;Anette S. Madsen (Holstebro Kommune)&#8221; &lt;<\/em><em><a href=\"mailto:Anette.S.Madsen@Holstebro.dk\">Anette.S.Madsen@Holstebro.dk<\/a>&gt;<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-116 wp-block-paragraph\"><strong><em>Oggetto: SV: Letter to the mayor of Holstebro about Eugenio Barba and Odin Teatret<\/em><\/strong><em><\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-117 wp-block-paragraph\"><strong><em>Data: <\/em><\/strong><em>9 feb 2023 alle 14:19<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-118 wp-block-paragraph\"><strong><em>A: <\/em><\/strong><em>&#8216;Anna Bandettini&#8217; &lt;<\/em><em><a href=\"mailto:abandettini@icloud.com\">abandettini@icloud.com<\/a><\/em><em>&gt;<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-119 wp-block-paragraph\"><em>Thank you for your mail and concern about the future of Nordisk Teater Laboratorium \u2013 Odin Teatret.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-120 wp-block-paragraph\"><em>Over several years, and in close collaboration with Eugenio Barba, the theatre has been working on a planned generational change to ensure NTL going forward &#8211; and that it is a process that everyone agreed on including Eugenio Barba.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-121 wp-block-paragraph\"><em>Eugenio Barba has done an excellent job and everyone in and outside Holstebro recognizes him for his efforts and &#8220;imprint&#8221;. But the board and new director has a task to secure the future theatre &#8211; in respect for this foundation &#8211; so that we also in the future will have an internationally recognized theatre.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-122 wp-block-paragraph\"><em>The theatre is an independent institution with an independent board and it is their task to ensure that the heritage is managed appropriately \u2013 not Holstebro Municipality&#8217;s. Our financial contribution remains unchanged.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-123 wp-block-paragraph\"><em>Therefore I\u2019m not the right one to ask the questions you ask. You have to contact the director and the chairman of the board.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-124 wp-block-paragraph\"><em>Best regards<\/em><br><em>H.C. \u00d8sterby<\/em><br><em>Mayor<\/em><br><em>Holstebro Municipality<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-125 wp-block-paragraph\"><strong><em>FRENCH THEATRE HISTORIANS, CRITICS AND DIRECTORS WRITE IN FRENCH, ENGLISH AND DANISH TO THE DANISH MINISTRY OF CULTURE AND TO THE MAYOR OF HOLSTEBRO ASKING TO PROTECT THE CULTURAL HERITAGE OF ODIN TEATRET<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-126 wp-block-paragraph\"><em>Monsieur Jakob Engel-Schmidte&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-127 wp-block-paragraph\"><em>Ministre de la Culture<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-128 wp-block-paragraph\"><em>Nybrogade 2, 1203 K\u00f8benhavn K, Danemark<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-129 wp-block-paragraph\"><em>Sous couvert de Monsieur Klaus Ib J\u00f8rgensen<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-130 wp-block-paragraph\"><em>Conseiller Culturel et de Presse<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-131 wp-block-paragraph\"><em>Ambassade du Danemark en France<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-132 wp-block-paragraph\"><em>77 avenue Marceau<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-133 wp-block-paragraph\"><em>75116<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-134 wp-block-paragraph\"><em>Copie au maire d\u2019Holstebro H.C \u00d8sterby<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-135 wp-block-paragraph\"><em>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Paris 25 f\u00e9vrier 2023<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-136 wp-block-paragraph\"><em>Monsieur le Ministre de la Culture,<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-137 wp-block-paragraph\"><em>Universitaires et artistes fran\u00e7ais, engag\u00e9s dans la vie th\u00e9\u00e2trale sur le plan scientifique et de la cr\u00e9ation, nous avons une tr\u00e8s grande admiration pour l\u2019\u0153uvre d\u2019Eugenio Barba fondateur en 1964 d\u2019une troupe de th\u00e9\u00e2tre mondialement connue, &#8211; l\u2019Odin Teatret &#8211; install\u00e9e depuis 1966 dans la ville de Holstebro, gr\u00e2ce au soutien de sa municipalit\u00e9. N\u00e9 en Italie en 1936, titulaire d\u2019un passeport danois, E. Barba a \u00e9t\u00e9 r\u00e9compens\u00e9 par plus d\u2019une dizaine d\u2019universit\u00e9s internationales qui lui ont accord\u00e9 le doctorat Honoris Causa. Il a re\u00e7u le Sonning Prize \u00e0 l\u2019 Universit\u00e9 de Copenhague en 2000. Ce Prix prestigieux n\u2019a \u00e9t\u00e9 accord\u00e9 qu\u2019\u00e0 deux Danois&nbsp;: Niels Bohr et Barba. C\u2019est au Danemark que ce dernier a cr\u00e9\u00e9 plusieurs institutions associ\u00e9es, dont le Nordisk Teater Laboratorium et l\u2019International School of Theatre Anthropology.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-138 wp-block-paragraph\"><em>En juin 2014, afin de c\u00e9l\u00e9brer le cinquantenaire de la cr\u00e9ation de l\u2019Odin Teatret, une c\u00e9r\u00e9monie solennelle a \u00e9t\u00e9 c\u00e9l\u00e9br\u00e9e \u00e0 l\u2019H\u00f4tel de Ville de Holstebro pour signifier symboliquement le \u00ab&nbsp;mariage&nbsp;\u00bb de l\u2019Odin et de la Ville. La qualit\u00e9 des festivit\u00e9s a impressionn\u00e9 les invit\u00e9s venus des quatre coins du monde.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-139 wp-block-paragraph\"><em>Il est vrai que le nom de l\u2019Odin Teatret est intimement associ\u00e9 \u00e0 la ville de Holstebro dont la renomm\u00e9e, en raison de son souci de la culture, a fait l\u2019objet de travaux universitaires. Cette ville du Danemark est ainsi devenu un point de r\u00e9f\u00e9rence historique pour les artistes comme pour les universitaires, et les jeunes d\u2019aujourd\u2019hui en qu\u00eate de mod\u00e8le. L\u2019exemple de cette association \u2013 Holstebro-Odin Teatret \u2013 est d\u00e9sormais enracin\u00e9 dans la m\u00e9moire et l\u2019imaginaire collectif, comme peut l\u2019\u00eatre Paris \u00e0 sa tour Eiffel&nbsp;!<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-140 wp-block-paragraph\"><em>Or nous apprenons avec stup\u00e9faction que, sans doute \u00e0 l\u2019issue d\u2019un malentendu, l\u2019Odin Teatret et Eugenio Barba sont d\u00e9tach\u00e9s du Nordisk Teater Laboratorium, comme si une partie du patrimoine du Danemark disparaissait \u00e0 la suite d\u2019un vol. Nous apprenons \u00e9galement qu\u2019un mus\u00e9e consacr\u00e9 \u00e0 l\u2019Odin Teatret doit s\u2019ouvrir \u00e0 Lecce, en Italie. Il nous para\u00eet essentiel de conserver \u00e0 Holstebro la pr\u00e9sence de l\u2019Odin Teatret, ce qui ne s\u2019oppose pas \u00e0 la cr\u00e9ation d\u2019autres lieux de m\u00e9moire.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-141 wp-block-paragraph\"><em>En ces temps o\u00f9 plus que jamais nous devons prendre soin du patrimoine europ\u00e9en et de la m\u00e9moire de ceux et celles qui ont particip\u00e9 \u00e0 sa cr\u00e9ation, nous vous demandons, Monsieur le Ministre, d\u2019intervenir pour agir en ce sens. Nous vous savons attentifs \u00e0 d\u00e9fendre l\u2019h\u00e9ritage culturel, et \u00e0 d\u00e9velopper la coop\u00e9ration internationale. L\u2019Odin Teatret et son fondateur Eugenio Barba sont l\u2019exemple original d\u2019un h\u00e9ritage culturel associant une ville du Danemark, l\u2019Italie et le monde.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-142 wp-block-paragraph\"><em>Nous sommes certains que votre intervention permettra de trouver une solution \u00e0 un probl\u00e8me dont chacun s\u2019accorde \u00e0 penser qu\u2019il se fonde sur un malentendu.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-143 wp-block-paragraph\"><em>En vous remerciant, nous vous prions Monsieur le Ministre de recevoir l\u2019expression de notre haute consid\u00e9ration.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-144 wp-block-paragraph\"><em>Professeur \u00c9m\u00e9rite Jean-Marie Pradier, universit\u00e9 de Paris 8<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-145 wp-block-paragraph\"><em>Mr. Minister of Culture,<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-146 wp-block-paragraph\"><em>French academics and artists, involved in theatrical life on a scientific and creative level, we have a great admiration for the work of Eugenio Barba, founder in 1964 of a world-famous theatre company, &#8211; the Odin Teatret &#8211; installed since 1966 in the city of Holstebro, thanks to the support of its municipality. Born in Italy in 1936 and holding a Danish passport, E. Barba has been awarded an honorary doctorate by more than ten international universities. He received the Sonning Prize at the University of Copenhagen in 2000. This prestigious prize has only been awarded to two Danes: Niels Bohr and Barba.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-147 wp-block-paragraph\"><em>It was in Denmark that the latter established several associated institutions, including the Nordisk Teater Laboratorium and the International School of Theatre Anthropology. In June 2014, in order to celebrate the fiftieth anniversary of the founding of the Odin Teatret, a solemn ceremony was held at the Holstebro City Hall to symbolically signify the &#8220;marriage&#8221; of the Odin and the City. The quality of the festivities impressed the guests from all over the world.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-148 wp-block-paragraph\"><em>It is true that the name of Odin Teatret is intimately associated with the city of Holstebro, whose reputation for its concern for culture has been the subject of academic research. This city in Denmark has thus become a historical reference point for artists as well as academics, and for today&#8217;s youth in search of a role model. The example of this association &#8211; Holstebro-Odin Teatret &#8211; is now rooted in the collective memory and imagination, as Paris and its Eiffel Tower can be!<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-149 wp-block-paragraph\"><em>Now we learn with amazement that, probably as a result of a misunderstanding, the Odin Teatret and Eugenio Barba are detached from the Nordisk Teater Laboratorium, as if a part of Denmark&#8217;s heritage had disappeared as a result of a robbery. We also learn that a museum dedicated to the Odin Teatret is to be opened in Lecce, in Italy. We believe that it is essential to keep the Odin Teatret in Holstebro, which does not prevent the creation of other places of memory. In these times when more than ever we must take care of the European heritage and the memory of those who participated in its creation, we ask you, Mr. Minister, to intervene to act in this sense. We know that you are attentive to defend the cultural heritage and to develop international cooperation. The Odin Teatret and its founder Eugenio Barba are an original example of a cultural heritage that links a Danish city, Italy and the world.&nbsp; We are sure that your intervention will help to find a solution to a problem that everyone agrees is based on a misunderstanding.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-150 wp-block-paragraph\"><em>Most respectfully,<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-151 wp-block-paragraph\"><em>Professeur \u00c9m\u00e9rite Jean-Marie Pradier, universit\u00e9 de Paris 8<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-152 wp-block-paragraph\"><em>Franske akademikere og kunstnere, involveret i teaterlivet p\u00e5 et videnskabeligt og kreativt plan, har vi en meget stor beundring for arbejdet af Eugenio Barba, grundl\u00e6gger i 1964 af en verdensber\u00f8mt teatertrup, &#8211; Odin Teatret &#8211; installeret siden 1966 i Holstebro by takket v\u00e6re kommunens st\u00f8tte. F\u00f8dt i Italien i 1936, indehaver af et dansk pas, E. Barba er blevet bel\u00f8nnet af mere end ti internationale universiteter, som har givet ham doktorgraden Honoris Causa. Han modtog Sonning-prisen p\u00e5 K\u00f8benhavns Universitet i 2000. Denne prestigefyldte pris er kun blevet givet til to danskere: Niels Bohr og Barba. Det var i Danmark, at sidstn\u00e6vnte etablerede flere tilknyttede institutioner, herunder Nordisk Teater Laboratorium og International School of Theatre Anthropology.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-153 wp-block-paragraph\"><em>I juni 2014, for at fejre 50-\u00e5ret for oprettelsen af Odin Teatret, blev der fejret en h\u00f8jtidelig ceremoni p\u00e5 R\u00e5dhuset i Holstebro for symbolsk at betegne Odins og byens &#8220;\u00e6gteskab&#8221;. Kvaliteten af festlighederne imponerede g\u00e6ster fra hele verden.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-154 wp-block-paragraph\"><em>Det er rigtigt, at navnet p\u00e5 Odin Teatret er intimt forbundet med Holstebro by, hvis ber\u00f8mmelse p\u00e5 grund af sin omtanke for kulturen har v\u00e6ret genstand for videnskabeligt arbejde. Denne by i Danmark er s\u00e5ledes blevet et historisk holdepunkt for kunstnere s\u00e5vel som for akademikere og unge i dag p\u00e5 jagt efter et forbillede. Eksemplet p\u00e5 denne forening \u2013 Holstebro-Odin Teatret \u2013 er nu forankret i den kollektive hukommelse og fantasi, som Paris og dets Eiffelt\u00e5rn kan v\u00e6re! Vi erfarer dog med forbl\u00f8ffelse, at Odin Teatret og Eugenio Barba, formentlig som f\u00f8lge af en misforst\u00e5else, er l\u00f8srevet fra Nordisk Teater Laboratorium, som om en del af Danmarks arv forsvandt efter et tyveri. Vi l\u00e6rer ogs\u00e5, at et museum dedikeret til Odin Teatret skal \u00e5bne i Lecce, Italien. Det forekommer os v\u00e6sentligt at beholde Odin Teatrets tilstedev\u00e6relse i Holstebro, hvilket ikke udelukker, at der skabes andre erindringssteder.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-155 wp-block-paragraph\"><em>I disse tider, hvor vi mere end nogensinde skal tage vare p\u00e5 den europ\u00e6iske arv og mindet om dem, der deltog i dens skabelse, beder vi Dem, minister, om at gribe ind for at handle i denne retning. Vi ved, at du er opm\u00e6rksom p\u00e5 at forsvare kulturarven og udvikle internationalt samarbejde. Odin Teatret og dets grundl\u00e6gger Eugenio Barba er det originale eksempel p\u00e5 en kulturarv, der forbinder en by i Danmark, Italien og verden. Vi er sikre p\u00e5, at din indgriben vil hj\u00e6lpe med at finde en l\u00f8sning p\u00e5 et problem, som alle er enige om, er baseret p\u00e5 en misforst\u00e5else. Takket v\u00e6re Dem beder vi Dem, minister, om at modtage udtryk for vores mest udm\u00e6rkede h\u00f8jagtelse.<\/em><em><\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-156 wp-block-paragraph\"><em>Professeur \u00c9m\u00e9rite Jean-Marie Pradier, universit\u00e9 de Paris 8<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-157 wp-block-paragraph\"><em>Signatures&nbsp;: lettre au Ministre de la Culture du Danemark<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li class=\"has-black-color has-text-color has-link-color wp-elements-158\"><em>Jean-Marie Pradier, Professeur \u00e9m\u00e9rite, universit\u00e9 de Paris 8 \u2013 Maison des Sciences de l\u2019Homme Paris Nord<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-159\"><em>Ariane Mnouchkine, fondatrice et animatrice du Th\u00e9\u00e2tre du Soleil<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-160\"><em>Nathalie Gauthard, Professeure, universit\u00e9 d\u2019Arras<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-161\"><em>Patrice Pavis, Professeur, universit\u00e9 de Paris 8<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-162\"><em>Martial Poirson, Professeur, universit\u00e9 de Paris 8<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-163\"><em>Pierre Philippe Meden, Ma\u00eetre de conf\u00e9rences, universit\u00e9 de Montpellier<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-164\"><em>Laurent Berger, Ma\u00eetre de conf\u00e9rences universit\u00e9 de Montpellier<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-165\"><em>Arianna Berenice De Sanctis, Ma\u00eetresse de conf\u00e9rences universit\u00e9 de Nice<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-166\"><em>Jean-Loup Horwitz, auteur, dramaturge, com\u00e9dien, Paris<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-167\"><em>Patrick Pezin, \u00e9diteur, com\u00e9dien, formateur<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-168\"><em>Luis Torreao, directeur de la Cie Hippocampe \u2013 mime corporel<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-169\"><em>Christophe Bara, g\u00e9rant de la maison d\u2019\u00e9dition Deuxi\u00e8me \u00e9poque<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-170\"><em>Carolane Sanchez, Ma\u00eetresse de Conf\u00e9rences en Arts de la sc\u00e8ne et du spectacle vivant &#8211; Universit\u00e9 Bourgogne Franche-Comt\u00e9 &#8211; Artiste-chercheuse<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-171\"><em>Fran\u00e7oise Gr\u00fcnd ethnosc\u00e9nologue<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-172\"><em>Ch\u00e9rif Khaznadar fondateur de la Maison des cultures du monde.<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-173\"><em>Nicole Revel, Directrice de recherche \u00e9m\u00e9rite, Centre National de la Recherche Scientifique<\/em><\/li>\n\n\n\n<li class=\"has-black-color has-text-color has-link-color wp-elements-174\"><em>Tiziana Leucci, CNRS, CEIAS-CESAH<\/em><\/li>\n<\/ul>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-175 wp-block-paragraph\"><strong><em>THE DANISH MINISTER OF CULTURE DID NOT ANSWER THIS LETTER. THE MAYOR OF HOLSTEBRO ANSWERED WITH THE SAME LETTER SENT TO THE ITALIAN SCHOLARS AND CRITICS.<\/em><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>9 &#8211; 26 March 2023<\/strong><br><a href=\"https:\/\/dagbladet-holstebro-struer.dk\/navne\/odin-teatrets-grundlaegger-taler-ud-det-var-tydeligt-at-de-ville-af-med-mig\" data-type=\"link\" data-id=\"https:\/\/dagbladet-holstebro-struer.dk\/navne\/odin-teatrets-grundlaegger-taler-ud-det-var-tydeligt-at-de-ville-af-med-mig\" target=\"_blank\" rel=\"noreferrer noopener\">link to the Danish newspaper>><\/a> <br><\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><a href=\"https:\/\/dagbladet-holstebro-struer.dk\/navne\/odin-teatrets-grundlaegger-taler-ud-det-var-tydeligt-at-de-ville-af-med-mig\"><img loading=\"lazy\" decoding=\"async\" width=\"849\" height=\"1024\" src=\"https:\/\/odinteatret.org\/wp-content\/uploads\/2025\/05\/Skaermbillede-2025-05-22-191213-849x1024.png\" alt=\"\" class=\"wp-image-3356\" style=\"width:144px;height:auto\" srcset=\"https:\/\/odinteatret.org\/wp-content\/uploads\/2025\/05\/Skaermbillede-2025-05-22-191213-849x1024.png 849w, https:\/\/odinteatret.org\/wp-content\/uploads\/2025\/05\/Skaermbillede-2025-05-22-191213-249x300.png 249w, https:\/\/odinteatret.org\/wp-content\/uploads\/2025\/05\/Skaermbillede-2025-05-22-191213-768x927.png 768w, https:\/\/odinteatret.org\/wp-content\/uploads\/2025\/05\/Skaermbillede-2025-05-22-191213.png 924w\" sizes=\"auto, (max-width: 849px) 100vw, 849px\" \/><\/a><\/figure>\n\n\n\n<p class=\"has-vivid-red-color has-text-color has-link-color wp-elements-176 wp-block-paragraph\"><strong>Interview given by Barba to the local Holstebro newspaper, Holstebro Dagblad, 26 March 2023. English version.<\/strong> <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-177 wp-block-paragraph\"><strong>Eugenio Barba interviewed by Mette S\u00f8rensen<\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-178 wp-block-paragraph\"><strong>Odin Teatret&#8217;s founder speaks out:&nbsp; It was clear that they wanted to get rid of me<\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-179 wp-block-paragraph\"><em>Odin Teatret&#8217;s founder, Eugenio Barba, has been in bitter dispute with his successor, Per Kap Bech Jensen, and the Board of the Nordisk Teaterlaboratorium (NTL) for almost two years. He chose to say \u201cno thanks\u201d to 250,000 kroner (33.500 euros), took his private collections and went his way.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-180 wp-block-paragraph\"><em>Holstebro: On December 2, 2022, you could read in Holstebro Dagbladet under the headline &#8220;Barba goes solo &#8211; and takes the name Odin Teatret with him&#8221; that the founder and long-time director of Odin Teatret, Eugenio Barba, would leave the theatre building in S\u00e6rk\u00e6rparken together with some of his trusted collaborators.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-181 wp-block-paragraph\"><em>It came after rumours had circulated for a few months after an Italian newspaper suggested a break-up was brewing.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-182 wp-block-paragraph\"><em>&#8220;The fact that Eugenio is leaving on December 1<sup>st<\/sup> is a rounding off of the generational change that has been under way at the local theatre for several years&#8221; commented the head of the Board of the theatre, Louise Ejgod.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-183 wp-block-paragraph\"><em>But it wasn&#8217;t quite that simple.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-184 wp-block-paragraph\"><em>In fact, one can almost speak of a previous feud, where Odin Teatret\u2019s founder finally left the theatre he had built up over almost 60 years. At the time, neither party told the public anything about how high the waves actually went.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-185 wp-block-paragraph\"><em>The course has been &#8211; in the words of someone in the closest circle, who didn\u2019t want to be quoted &#8211; &#8220;a textbook example of a generational change that has gone off the rails&#8221;.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-186 wp-block-paragraph\"><strong><em>A theatre director with his own ideas<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-187 wp-block-paragraph\"><em>One could rightfully claim that Eugenio Barba, who was probably not on the appointment committee, but who was nevertheless asked for advice, chose to point to Per Kap Bech Jensen as his replacement, because he saw him as &#8220;a capable person, who was already known by the theatre&#8221;.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-188 wp-block-paragraph\"><em>&#8211; He was modest, and I figured he would be a good moderator, says Eugenio Barba today about his successor.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-189 wp-block-paragraph\"><em>The surprise was that the talented, modest new director had completely new ideas and his own opinion about things. Not least about the economy, which had to be tightened up. As he told Dagbladet in August 2022:<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-190 wp-block-paragraph\"><em>&#8220;The world is changing, and so are the demands for what a theatre must be able to do. (&#8230;) We pay for the work that is done. Anything else would be irresponsible since we receive public money&#8221;.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-191 wp-block-paragraph\"><em>The relationship between the ex-leader and his successor already became so inflamed during 2021 that Per Kap Bech Jensen chose to let the head of the Board, Louise Ejgod, speak on his behalf when negotiating with Barba. In 2022, Barba followed suit and got help from people close to him to continue a dialogue with the Board that gradually became characterised by frustration and a lack of trust.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-192 wp-block-paragraph\"><em>For Holstebro and the town&#8217;s citizens, this means that two theatres now exist: One is NTL, which is located where it has always been, namely in the often remodelled farm that Odin Teatret moved into in 1966. Here it is Per Kap Bech Jensen, who in 2021 took over as the new leader of what was then called Nordisk Teaterlaboratorium-Odin Teatret, leads the battle.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-193 wp-block-paragraph\"><em>Then there is Odin Teatret, whose director and founder, Eugenio Barba, has received the Board&#8217;s acceptance that he has the right to keep for himself the name of the theatre he founded in Oslo in 1964. He did so at the turn of the year 2022-2023 when Odin Teatret moved out of S\u00e6rk\u00e6rparken and now has its main office at Barba&#8217;s private address by Vandkrafts\u00f8en. The idea is that the activities should still take place both in Holstebro and abroad as always because, according to Barba, they still receive invitations.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-194 wp-block-paragraph\"><em>&#8211; Will I remain in Holstebro? Yes, that is clear. After all, I also pay for a plot in the cemetery here, on behalf of Odin Teatret, where the collaborators who so wish and I will one day lie. And no one can throw us out, says Eugenio Barba with a smile.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-195 wp-block-paragraph\"><strong><em>The legend\u2019s own choice<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-196 wp-block-paragraph\"><em>It&#8217;s a beautiful, sunny day in February, and the theatre legend has invited us for coffee and a chat about what went so wrong.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-197 wp-block-paragraph\"><em>The &#8220;theatre legend&#8221; is not something Barba or Dagbladet have invented. In 2019, Holstebro really gained a place in theatre history when the respected theatre professor Paul Allain published eight books about the most important directors of the 20<sup>th<\/sup> century. One of the volumes is simply called &#8220;Grotowski\/Brook\/Barba&#8221;. Barba is indisputably an icon in modern theatre history.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-198 wp-block-paragraph\"><em>The above is not without significance as to why it was as surprising and unpleasant as a bucket of ice-cold water in the director&#8217;s face when it dawned on him that his status in the theatre world was apparently of little importance to either the Board or the new director.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-199 wp-block-paragraph\"><em>For outsiders, it was a small thing that really ignited the fire that has fuelled the conflict ever since. On March 17, 2021, the new director Per Kap Bech Jensen wrote in an email to the director of Odin Teatret, Eugenio Barba, that Nordisk Teaterlaboratorium would not cover the cost of 3,600 euros for printing and mailing a theatre journal (JTA, Journal of Theatre Anthropology) that Barba had just started and published with documents from the archive.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-200 wp-block-paragraph\"><em>The following conflict ended barely two years later, in January 2023, with the Board of Nordisk Teaterlaboratorium writing in an email:<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-201 wp-block-paragraph\"><em>&#8220;Unfortunately, this has meant that the Board has assessed that it is not possible to maintain Eugenio&#8217;s association with the theatre&#8221;.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-202 wp-block-paragraph\"><em>The &#8220;Archive\u201d is at the centre of the entire conflict.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-203 wp-block-paragraph\"><strong><em>A private project<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-204 wp-block-paragraph\"><em>In 2004, Aarhus University established a decentralised research centre for theatre studies at Odin Teatret, S\u00e6rk\u00e6rparken. Here, frequented by researchers, there was a very large collection of documents &#8211; letters, programmes, photographs, notes, working diaries and more. Here too, Barba&#8217;s private library was to be placed and preserved.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-205 wp-block-paragraph\"><em>Over a ten-year period, Odin Teatret itself paid a number of people from home and abroad to register and archive all documents. In 2014, the Royal Library\u2019s theatre department offered to become the new home for Odin Teatret&#8217;s Archive. Today, all original documents are in Copenhagen.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-206 wp-block-paragraph\"><em>But there is also a digital copy in S\u00e6rk\u00e6rparken in Holstebro.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-207 wp-block-paragraph\"><em>&#8211; I was aware that we had cognitive capital there, so I decided to use the archive and create a journal, both digital and in print, and send it out into the world, explains Eugenio Barba.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-208 wp-block-paragraph\"><em>That kind of thing costs money.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-209 wp-block-paragraph\"><em>And so it was that in March 2021, Eugenio Barba asked the recently appointed director of the Nordisk Teaterlaboratorium (NTL) in an email for the aforementioned 3,600 euros for printing 420 copies of the theatre journal as well as for postage to send them to the most important libraries in the world.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-210 wp-block-paragraph\"><em>Per Kap Bech Jensen said explicitly no, but suggested the money be taken from the Stanislavskij Fond &#8211; the actors&#8217; private Fond for financially strained theatre groups and people.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-211 wp-block-paragraph\"><strong><em>Cancellation and limited budget<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-212 wp-block-paragraph\"><em>&#8211; What he said between the lines was: &#8220;I consider what you are doing a private project, so I will not finance it&#8221;, explains Eugenio Barba.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-213 wp-block-paragraph\"><em>For him, it wasn&#8217;t just a little detail that he could let go. Theatre research and international endeavours were precisely what he intended to concentrate on in his later years.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-214 wp-block-paragraph\"><em>And everything only got worse afterwards.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-215 wp-block-paragraph\"><em>In April 2021, approximately one month after the famous email exchange, Per Kap Bech Jensen chose to cancel the planned annual Odin Week with 50 participants &#8211; allegedly because he wanted to present another guest performance and also needed to use the premises for rehearsing a large Danish-Korean project.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-216 wp-block-paragraph\"><em>Eugenio Barba was astonished and wrote to the former Chairman of the Board, who was now an ordinary Board member, stressing his concern.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-217 wp-block-paragraph\"><em>He received no answer.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-218 wp-block-paragraph\"><em>In November 2021, Eugenio Barba was summoned to a meeting with the Board. At that time, communication with Per Kap Bech Jensen had come to a complete standstill. The two did not speak at all after Barba had presented a budget for the new performance Thebes in the Time of Yellow Fever of 380,000 kroner (60,000 euros), and Per Kap Bech Jensen had said that he could only get 10,000 kroner (1350 euros) to make a performance, and that was it.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-219 wp-block-paragraph\"><strong><em>Queuing for premises<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-220 wp-block-paragraph\"><em>Eugenio expressed his concerns to the Board &#8211; and was subsequently informed that, for the good of all, any future communication should now take place through the head of the Board, Louise Ejgod.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-221 wp-block-paragraph\"><em>&#8211; If I bought a sheet for the performance, I should send the bill to her, and then she would send it to the bookkeeper. I have not received a salary since 2001. Since then I got only 2,000 kroner (265 euros) a month. I myself chose to leave the rest of my salary to Odin Teatret to finance the archive and other activities. The entire first floor of one wing of our building has been paid for by a loan that I took on my house. My presence was not a financial burden. I and the actors had chosen to live on a reduced salary in order to give money to young, upcoming actors for a few years, says Eugenio Barba.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-222 wp-block-paragraph\"><em>He, who had previously been the theatre&#8217;s founder and director, was now told that he had to stand in line and wait for a venue to work on an equal footing with everyone else in the NTL.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-223 wp-block-paragraph\"><em>&#8211; In the two years I was employed, after I was replaced as director by Per Kap Bech Jensen, I did not get the opportunity to use the working spaces to the extent I needed to rehearse my &#8220;last&#8221; performance. I was deprived of the opportunity to work in the theatre I had built with my own hands together with my actors. Instead, I sat at home and made ten films about theatre anthropology &#8211; financing the production myself &#8211; with documents from the archive that are available gratis online, says Eugenio Barba.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-224 wp-block-paragraph\"><strong><em>The offer from Lecce<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-225 wp-block-paragraph\"><em>At one point, Barba was informed that his private collection of 5,000 books, which he had placed at NTL, was an impediment in the case of a fire. The fire authorities demanded that the books be moved. They were, and thus the whole cataloguing process disappeared, according to Barba.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-226 wp-block-paragraph\"><em>&#8211; I was aware that those books were on the verge of being thrown out. That would be the next step. Things had already disappeared, been thrown out, without me being informed, says Eugenio Barba.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-227 wp-block-paragraph\"><em>Therefore, he decided to accept an offer from Lecce in Italy, a town in the region where Barba grew up. Lecce wanted to build a museum called &#8220;The Living Archive&#8221; as a tribute to him. Barba removed his books, his personal archive, a copy of the archive of Odin Teatret and of the Third Theatre, some set designs, his collection of historical theatre posters and his collection of masks &#8211; and sent them by lorry to Lecce.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-228 wp-block-paragraph\"><em>&#8211; I had a long discussion with the Board about this. They recognised that they were my property and that I could do with it what I wanted. But they also said that I would thereby \u201cempty\u201d the building of its historical value, says Barba, who could not tell people at Odin Teatret why he pulled things down, removing them without any help.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-229 wp-block-paragraph\"><em>He had promised the Board not to say anything until his contract expired.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-230 wp-block-paragraph\"><em>&#8211; Although I begged and asked the Board to tell people at the theatre what was happening, they didn&#8217;t say anything. It wasn&#8217;t until two months later that a letter was sent out informing the staff, but by then the damage had been done and it had destroyed my relationship with several people at the theatre. People didn&#8217;t understand, says Eugenio Barba.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-231 wp-block-paragraph\"><strong><em>I am ashamed<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-232 wp-block-paragraph\"><em>Are you bitter?<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-233 wp-block-paragraph\"><em>&#8211; Bitter? No, I&#8217;m ashamed. That is for me the hardest, the heaviest. I am ashamed that I could not protect my actors and others who had left their homeland to come and work at Odin Teatret in Holstebro. Else Marie Laukvik, who started Odin Teatret together with me in Oslo\u2026 the way she was treated. She wasn&#8217;t even allowed to keep her email address because it cost the theatre money and she wasn&#8217;t employed anymore. And Ulrik Skeel, who has worked hard to link together all the different cultural institutions in Holstebro &#8211; he was fired. That was the way people were treated &#8211; brutally and hurtfully, says Eugenio Barba.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-234 wp-block-paragraph\"><em>According to him and Ulrik Skeel, Per Kap Bech Jensen said at his inauguration speech in January 2021 that no major changes were going to happen in the first two years. But they did. The sackings took place in May-June 2022.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-235 wp-block-paragraph\"><em>&#8211; He said l that it was a natural departure because people were old and tired. Yes, we are old, but we are not tired and we want to work, says Eugenio Barba.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-236 wp-block-paragraph\"><em>Ulrik Skeel, who sat and listened to the conversation between the journalist and Barba, has his own interpretation.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-237 wp-block-paragraph\"><em>&#8211; It felt as if some strangers had moved into my house and had started removing my things and putting their own stuff in their place. It was ithe intention that there should be a change, but we imagined that it would happen continuously, quietly, calmly and develop organically, he says.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-238 wp-block-paragraph\"><strong><em>No thanks to 250,000<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-239 wp-block-paragraph\"><em>In June 2022, Eugenio Barba tried one last time to communicate with the Board. He wished to continue working with Odin Teatret, i.e. with his actors, in S\u00e6rk\u00e6rparken. He suggested in an email continuing with performances, intercultural productions, the Living Archive, festivals, research and so on \u2013 all of which, according to him, had made a profit over the years.&nbsp; He asked that he and his actors receive ten percent of the annual subsidy from the state and municipality, i.e. approximately 750,000 kroner (100,000 euros).<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-240 wp-block-paragraph\"><em>The Board replied that it was great that he wanted to continue being active, and that they would like to give 250,000 kroner (33.500 euros) in 2023. However, they did not want him to credit Nordisk Teaterlaboratorium for anything. They stated that the name Odin Teatret would be transferred to him at the end of his contract on 31.12 2022.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-241 wp-block-paragraph\"><em>&#8211; It was quite clear that they wanted to get rid of me, says Barba.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-242 wp-block-paragraph\"><em>Barba was so disappointed by the Board&#8217;s reaction that he informed them that he did not want to receive the amount of 250,000 kroner that he had been offered.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-243 wp-block-paragraph\"><em>&#8211; I asked the Board to report what happened. But they didn&#8217;t want to. There are still people at the theatre who think I accepted 250,000 kroner, says Eugenio Barba disappointedly.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-244 wp-block-paragraph\"><em>Perhaps you should have spoken up to the public yourself?<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-245 wp-block-paragraph\"><em>&#8211; Louise Ejgod wrote that the Board had deliberately chosen a restrained strategy in relation to the public and deliberately refrained from entering into situations that could create more confusion on the web. I didn&#8217;t want to make a fuss. What if it resulted in the closure of the theatre? That the actors in the two groups V\u00e1li and Ikarus lost their jobs? I agreed to keep my mouth shut until my contract expired. All I wanted was to get away from there.&nbsp; I stayed so long because I wanted to see if I could save jobs, says Barba.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-246 wp-block-paragraph\"><strong><em>Pensioners with experience<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-247 wp-block-paragraph\"><em>Four of Odin Teatret\u2019s old actors &#8211; Donald Kitt, Roberta Carreri, Kai Bredholt and Iben Nagel Rasmussen &#8211; were offered an extension of their contract by Per Kap Bech Jensen, and they accepted the offer.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-248 wp-block-paragraph\"><em>&#8211; If I still talk to them? Yes, I do! They have been given the opportunity to continue in the place they have helped to build, and that is fine. The rest of us didn&#8217;t get that opportunity, says Eugenio Barba, who left S\u00e6rk\u00e6rparken together with Else Marie Laukvik, Tage Larsen, Julia Varley, Ulrik Skeel, Rina Skeel, Jan Ferslev and Anne Savage.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-249 wp-block-paragraph\"><em>Barba published a manifesto in December 2022, in which he writes that &#8220;Odin Teatret will continue its dance with unbending faith in the values that inspired us, and with the same gratitude to Holstebro&#8217;s citizens and politicians who welcomed us when we were anonymous actors and strangers&#8221;.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-250 wp-block-paragraph\"><em>&#8211; We are a kind of pensioners with lots of experience. We are not going to apply for grants &#8211; we earn money abroad. Next year is the 60<sup>th<\/sup> anniversary of Odin Teatret, which started in 1964 in Oslo, and many invitations have already arrived. For instance, from festivals in Serbia, the Netherlands, Italy and France, says Eugenio Barba. He explains that in the wake of the news that Odin Teatret had separated from NTL and was without premises, there were several offers og hospitality.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-251 wp-block-paragraph\"><em>&#8211; Several theatre groups from abroad and in Denmark offered us space to rehearse. We were very moved by this, says Barba and reveals that he has dreams of working in a completely new way with the theatre.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-252 wp-block-paragraph\"><em>He looks very excited at the thought.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-253 wp-block-paragraph\"><em>&#8211; I am inspired by jazz. By jam sessions. You know, you can work with one, two, three actors, improvisation and more. No, I have not lost my life&#8217;s opus, and I have many projects and collaborations ahead, says the 86-year-old Italian from Holstebro.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-254 wp-block-paragraph\"><strong><em>Out of the mosaic<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-255 wp-block-paragraph\"><em>What did you really expect when Per Kap Bech Jensen replaced you as director?<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-256 wp-block-paragraph\"><em>&#8211; I expected respect for the permanent ensemble that has been together for decades. Nordisk Teater Laboratorium (NTL) is an umbrella organization that includes more than thirty activities. I had imagined I could continue with my actors as part of this mosaic. But very quickly it dawned on me that it wasn&#8217;t meant to be, says Eugenio Barba.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-257 wp-block-paragraph\"><strong><em>THE RESPONSE OF THE BOARD OF THE NTL<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-258 wp-block-paragraph\"><em>The director of Nordisk Teaterlaboratorium Per Kap Bech Jensen did not want to comment on the article but refers to the head of the Board Louise Ejgod. She responds thus:<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-259 wp-block-paragraph\"><em>How do you feel about the fact that Odin Teatret\u2019s founder, Eugenio Barba, feels sidetracked by the Board and the new director Per Kap Bech Jensen and sent away from the theatre he himself created?<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-260 wp-block-paragraph\"><em>&#8211; I&#8217;m really sad we ended up this way. It was by no means what we wanted when we set in motion a smooth generational change after 2014. It ended in some extremely complicated conflicts that resulted in us taking the decision not to renew Eugenio Barba&#8217;s contract as director at the end of 2022. Per was hired, among other things, with a vision of making a smooth transition from the old to the new. That process has been infinitely more difficult than any of us had thought.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-261 wp-block-paragraph\"><em>&#8211; Corona also plays a decisive role in this, because Per has had to make the decision to keep at home large parts of the staff and cancel or adjust a number of international activities. In a theatre, where it has always been central to meet and work, it has been extremely difficult for the employees. It was, however, necessary to secure the theatre&#8217;s finances, which had been enormously exposed throughout the period.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-262 wp-block-paragraph\"><em>Why didn&#8217;t the board inform the employees that Eugenio wanted and had the right to take down and remove his things from the theatre?<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-263 wp-block-paragraph\"><em>&#8211; Firstly, it is always a director\u2019s responsibility to inform the employees. It is not the task of the Board. And secondly, Eugenio does not know what dialogue there had been between Per and the employees. I am sure that Per has taken care of it properly. I can see that the Board&#8217;s silence takes up a lot of space in Eugenio&#8217;s account. It&#8217;s one of the points we don\u2019t agree on. He does not understand the background for our &#8220;silence&#8221;. We chose not to say anything publicly to protect the staff who had had a really hard time with the conflicts and the division that there had been.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-264 wp-block-paragraph\"><em>Is what Eugenio Barba tells in the article wrong?<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-265 wp-block-paragraph\"><em>&#8211; I don\u2019t notice immediately anything that is factually incorrect, but I know that much of it is interpreted in a slightly different way from what I would do. These different experiences of what is correct are a basic element in the way things have turned out. Now my highest wish is that we can move on &#8211; for everyone&#8217;s sake. That we can concentrate on the meaningful activities we all do, both in the Nordisk Teaterlaboratorium and in the newly founded association Odin Teatret.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-266 wp-block-paragraph\"><strong><em>PHOTO CAPTIONS:<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-267 wp-block-paragraph\"><em>&#8211; I probably bear a responsibility, since I am part of it. I have thought a lot about whether I have done something wrong by indicating Per Kap Bech Jensen as the new director, says the former director of the Nordisk Teaterlaboratorium-Odin Teatret. Photo: Johan Gadegaard.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-268 wp-block-paragraph\"><em>&#8211; People ask: &#8220;What do the politicians say about that?&#8221;. They don&#8217;t say anything. They are silent. Holstebro showed great courage when they welcomed us in 1966, and we have had such good support over the years, especially from the town\u2019s chief cultural civil servants. Photo: Johan Gadegaard.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-269 wp-block-paragraph\"><em>&#8211; No, the archives have NOT been removed from Holstebro. There is a copy of them at the theatre in S\u00e6rk\u00e6rparken, I have not taken anything away to Italy. Anyone who works at Odin Teatret has the right to a copy of the archives &#8211; they are there to be divulgated. And the original documents are at the Royal Library in Copenhagen, explains Eugenio Barba. Photo: Johan Gadegaard.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-270 wp-block-paragraph\"><em>&#8211; The old members of Odin Teatret have written a &#8220;testament&#8221;, understood in the sense that Odin Teatret will live as long as just one of us wants to do theatre. That is why we are so careful with Odin Teatret\u2019s name, explains Eugenio Barba. Photo: Johan Gadegaard.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-271 wp-block-paragraph\"><em>&#8211; Ulrik has invited NTL to collaborate with him on \u201cPoetry on a Thursday\u201d &#8211; to be a partner in the group organising the event. But they refused, says Eugenio Barba. Photo: Johan Gadegaard.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-272 wp-block-paragraph\"><strong><em>FACTS<\/em><\/strong><em><\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-273 wp-block-paragraph\"><strong><em>1966<\/em><\/strong><em> &#8211; Odin Teatret, active in Norway since 1964, is invited to settle in Holstebro. It receives a grant of 60,000 kroner and, as a work venue, a pigsty and a cow shed on a disused farm one km from the town. The area is 590 square meters and will be expanded in stages to 1850 square meters, self-financed. Barba and the seven actors create a &#8220;theatre laboratory&#8221; with workshops, guest performances, publications, sociological enquiries and collaboration with several universities.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-274 wp-block-paragraph\"><strong><em>1967<\/em><\/strong><em> &#8211; Organisation of a Culture Week in collaboration with Jens Okking&#8217;s small theatre Vestergade 58 from Aarhus.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-275 wp-block-paragraph\"><strong><em>1980<\/em><\/strong><em> &#8211; Eugenio Barba and Odin Teatret receive the Danish Academy&#8217;s Kjeld Abell Prize on the grounds that they &#8220;search and find new paths in Holstebro with a vital and passionate commitment to the world that lies outside.&#8221;<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-276 wp-block-paragraph\"><strong><em>1988<\/em><\/strong><em> &#8211; Barba is bestowed an honorary doctorate by the University of Aarhus, the first of similar honorary degrees from twelve other universities, including Hong Kong, Edinburgh and Buenos Aires.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-277 wp-block-paragraph\"><strong><em>1989<\/em><\/strong><em> &#8211; Odin Teatret celebrates its 25<sup>th<\/sup> anniversary by inviting Dario Fo to Holstebro for the third time and organising, without grants, the first Holstebro Festuge, which involves most of the town\u2019s cultural institutions.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-278 wp-block-paragraph\"><strong><em>1991<\/em><\/strong><em> &#8211; The Danish Kulturfonden gives 850,000 kroner to the second Holstebro Festuge. The support continues through the 90s.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-279 wp-block-paragraph\"><strong><em>1992<\/em><\/strong><em> &#8211; Start of the annual Odin Week Festival and the triennial Transit Women&#8217;s Theatre Festival.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-280 wp-block-paragraph\"><strong><em>2000<\/em><\/strong><em> &#8211; The University of Copenhagen gives the Sonning Prize of 500,000 kroner to Barba &#8220;for his efforts in spreading European culture.&#8221;<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-281 wp-block-paragraph\"><strong><em>2004<\/em><\/strong><em> \u2013 The University of Aarhus designates Odin Teatret in Holstebro as a decentralised research centre on theatre as a social laboratory with a summer school.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-282 wp-block-paragraph\"><strong><em>2008<\/em><\/strong><em> &#8211; Barba starts building Odin Teatret Archives. In 2014, the original documents from the first 50 years of the laboratory&#8217;s activities are handed over to the Royal Library in Copenhagen. A similar archive with digital copies and several collaborators is in Holstebro.<\/em><\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-283 wp-block-paragraph\"><strong><em>2022<\/em><\/strong><em> &#8211; Barba receives the Wilhelm Hansen Foundation&#8217;s Honorary Award of 200,000 kroner as &#8220;one of the most important people in recent theatre history &#8211; if not the most important&#8221;.<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Some chronological documents and statements from Odin Teatret&#8217;s Archive about the separation process and re-founding of Odin Teatret. 1) 28 March 2019 Eugenio Barbas official statement stepping down from as leader of Nordisk Teaterlaboratorium (NTL). 28 March 2019 On December 31, 2020, I will leave my position as director of the Nordisk Teaterlaboratorium-Odin Teatret in<\/p>\n<p><a href=\"https:\/\/odinteatret.org\/index.php\/archival-information\/odin-teatret-separation-from-ntl\/\" class=\"more-link themebutton\">Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":72,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"inline_featured_image":false,"footnotes":""},"class_list":["post-3294","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/odinteatret.org\/index.php\/wp-json\/wp\/v2\/pages\/3294","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/odinteatret.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/odinteatret.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/odinteatret.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/odinteatret.org\/index.php\/wp-json\/wp\/v2\/comments?post=3294"}],"version-history":[{"count":7,"href":"https:\/\/odinteatret.org\/index.php\/wp-json\/wp\/v2\/pages\/3294\/revisions"}],"predecessor-version":[{"id":3357,"href":"https:\/\/odinteatret.org\/index.php\/wp-json\/wp\/v2\/pages\/3294\/revisions\/3357"}],"up":[{"embeddable":true,"href":"https:\/\/odinteatret.org\/index.php\/wp-json\/wp\/v2\/pages\/72"}],"wp:attachment":[{"href":"https:\/\/odinteatret.org\/index.php\/wp-json\/wp\/v2\/media?parent=3294"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}