ABSTRACT
And of course I think of Eugenio Barba talking, talking, talking about the dynamics he has extracted from the invited performers on his laboratory table. He formulates beautifully these elements which will make up the pre-expressive performer, but I always have an uncomfortable feeling that he finds what he went looking for, not what was really there. And although he has been observing all this for years and years he refuses to, or is incapable of, formulating a training to pass on this knowledge. He leaves it all hanging in the void, not absorbed or integrated even into his own actors.
