ABSTRACT
Barba’s approach to training at the Odin Teatret is much closer in spirit to the biomechanics of Meyerhold than it is to the psychological realism of Stanislavsky. His work is in the vein of Europe’s physical theatre tradition, created by people like Vsevolod Meyerhold, Julius Osterwa, and Jacques Copeau, in which physicalization and paralinguistic interpretation of the text take precedence over naturalism.
