Icarus Publishing Enterprise
(Holstebro - Malta - Wroclaw)

IPE Logo

Considering that 50% of all books in translation worldwide are from English while only 6% are translated into English, Odin Teatret (Denmark), The Grotowski Institute (Poland) and Theatre Arts Researching the Foundations (Malta) have created Icarus Publishing Enterprise whose purpose is to present in English texts by artists and scholars about the practice and vision of theatre as a laboratory.

Icarus was the name of a schooner that in 1697 sailed from Civitavecchia with a cargo destined for a Venetian merchant resident in the international trading port of Smyrna. Its mythological name was intended paradoxically as a bringer of good luck to ward off shipwrecks. In its hold, the small vessel also carried a luxurious curtain never used before, a few painted scenes and a number of scripts and musical scores from a theatre erected in Rome by Queen Cristina of Sweden and torn down on the order of Pope Clement X.

Similar to that schooner, Icarus Publishing Enterprise wants to ferry into an international dimension writings of theatre artists and scholars who, despite their value, risk a limited circulation because of the language in which they have been written.

We know by experience that theatre studies are effective only if they succeed in piercing the wrappings of academic common places and inspire those wishing to do theatre. In the books that Icarus Publishing Enterprise will translate and publish, in addition to a knowledge of the past, seeds of future occurrences are hidden. Many think that the theatre has no future. This may be so. But one thing is certain: in the future there will surely be something that we are unable to imagine now, but that will be called theatre.

• • •

A partnership agreement was reached between Icarus Publishing Enterprise and the publishing houses ARTEZBLAI in Bilbao (Spain) ( and È REALIZAÇOIS ( in São Paulo (Brazil) which, since 2011, has published Icarus books in Spanish and Portuguese. Further information can be obtained directly from Artezblai and È Realizações.

• • •

Since September 2012 Icarus Publishing Enterprise (IPE) has a new partner.

Routledge - an imprint of the Taylor and Francis Group - is the fourth collaborator in a joint publication venture for a series of books dedicated to 'Theatre as a Laboratory'. Under this partnership agreement, which was reached after negotiations that began in 2010, Routledge co-publishes and distributes an Icarus Series on Theatre as a Laboratory under the editorial direction of Eugenio Barba, Frank Camilleri and Dariusz Kosinski from IPE.

The Routledge Icarus Series of Theatre as a Laboratory focuses on books involving technical and theoretical questions and contradictions from a laboratory perspective.

Odin Teatret (Denmark)
The Grotowski Institute (Poland)
Theatre Arts Researching the Foundations (Malta)

books already published

Mirella SCHINO
Alchemists of The Stage. Theatre Laboratories in Europe
Routledge Icarus (Holstebro-Malta-Wroclaw), 2009, 2013

Book Cover.

A book on the motivations and experiences of theatre laboratories in Europe with detailed descriptions about the Studios and the laboratory activity of Stanislavski, Meyerhold, Decroux, Grotowski and Flaszen as well as Odin Teatret.

Eurasian Theatre. Theatre and Performance between East and West
Routledge Icarus (Holstebro-Malta-Wroclaw), 2010, 2013

Book Cover.

A long history of travelling actors moving between East and West has slowly taken shape, and lies at the foundation of our contemporary, professional performative arts. This updated and revised edition of Drama and Performance Between East and West (first published in 1992), traces this history from classical antiquity to the present. The book constitutes the first complete in-depth historiographic inquiry into the subject.

Grotowski and Company
Routledge Icarus (Holstebro-Malta-Wroclaw), 2010, 2013

Book Cover.

This collection by Ludwik Flaszen gathers over thirty key texts, nearly all of which have never been published in English. It provides insight into the concepts behind the practice of one of the 20th century theatre's leading lights, and introduces the cultural, literary and historical dimensions of his work.

Ingemar LINDH
Stepping Stones
Routledge Icarus (Holstebro-Malta-Wroclaw), 2010, 2013

Book Cover.

A book by a practitioner. It documents the work of a laboratory-based practice that investigated the principles of collective improvisation as a performance practice. Ingemar Lindh's research, which announces a resistance to choreography, fixed scores, and directorial montage, has significant implications for the practice and theory of performance in a post-dramatic age.

Theatre and Boxing: The Actor Who Flies
Routeledge Icarus (Holstebro-Malta-Wroclaw), 2014

Book Cover.

This book tells the story of a revolution in the work of the actor during the early and mid-20th century, a period in which the focus of theatrical interest shifted from the emotions to the body. This new centrality of the body also drew attention to those places in which the body is central: the gym, the boxing ring, and the circus with its trapezes and tightropes became, together with the stage, 'laboratories for the theatre.

Zbigniew OSINSKI
Jerzy Grotowski's Journeys to the East
Routeledge Icarus (Holstebro-Malta-Wroclaw), 2014

Book Cover.

The book is an unusual collection of facts, quotations, and commentaries documenting the real and metaphorical journeys of the Polish theatre director and teacher of performers into a geographical and cultural dimension which we used to and still call the Orient. Painstakingly researched by Grotowski's main biographer Zbigniew Osinski, this book is necessary reading for those interested in Grotowski's deep relationship with the East and in the inspiration he drew from its various cultures.

Marco de MARINIS
Etuenne Decroux and his Theatre Laboratory
Routeledge Icarus (Holstebro-Malta-Wroclaw), 2015

Book Cover.

Through the examination of the creative, pedagogical, and theoretical work of the 'inventor' of the new mime art, Etienne Decroux, De Marinis focuses on the different assumptions underlying the various modes of the problematic presence of mime in the theatre of the twentieth century: from the utopia of a 'pure' theatre, attributed to the sole essence of the actor, to its decline into a closed poetic genre (often nostalgically stuck in the past), from mime as an pedagogical tool for the actor, to mime as an expressive and virtuosic means in the hands of the director.