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Xavier Portabella , amic, advocat i astróleg
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<p>During the 40's the Catalan theatrical life was restrained, for —till 1946— the censorship did not allow any performance in catalan. In spite of this, secret activities, such as H those taking place in the studio of the painter Xavier Portabella, activities which have not been reported till today, were carried out. Xavier Portabella was acquainted with the theatrical circle of the pre-war period; his studio was roomy and many people used to gather there far conversation. The painter's friends could go to these meetings freely and many of them even had the key of his apartment. Since he belonged to that social circle, Portabella was persuaded to write a play, El caragol i la corbata, from which we publish a passage, preceded by an evocation from his friend Terri.</p>...
Xavier, l'excepció
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Xerrada entre Davide Carnevali i Carles Batlle
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2018, Núm. 43
Open Access
17 de gener de 2018 al’Auditori de l’Institut del Teatre de Barcelona. Arran de la presentació del llibre de Carnevali, Forma dramática y representación del mundo en el teatro europeo contemporáneo, Institut del Teatre / Paso de Gato, Ciudad de México / Barcelona, 2017....
(17 January 2018 at the Auditorium of the Institut del Teatre in Barcelona. On the occasion of the presentation of Carnevali’s book Forma dramática y representación del mundo en el teatro europeo contemporáneo. Institut del Teatre / Paso de Gato: Mexico City / Barcelona, 2017....
(17 January 2018 at the Auditorium of the Institut del Teatre in Barcelona. On the occasion of the presentation of Carnevali’s book Forma dramática y representación del mundo en el teatro europeo contemporáneo. Institut del Teatre / Paso de Gato: Mexico City / Barcelona, 2017....
«Accions» i La Fura dels Baus
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Open Access
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<p>La Fura dels Baus has gone across the Iberian Peninsula performing Accions and it has reached Argentine. People has thought that the group was bom with this show but that is not true. We should know its history. La Fura dels Baus appears in 1979 and in 1982 is reorganized. Its first actions have taken place in the streets of Sitges in 1983. Nowadays La Fura is composed of ten members and they define themselves as a theatre-music cooperative. One of the writings signed by the group is entitled “Manifest canalla” and reads as follows: «every action is a practical exercice, an agressive performance against the audience's passivity». Accions is a show which has been constructed in an empiric way: its plasticity is a combination of both painting and sculpture. They have never started from an academic idea to resolve plastic questions. Pyrotechnics are an important element in the show. In Accions there is neither actors nor characters but people perfoming actions. You can only talk about it in full details after having seen the show several times.</p>
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«Alceste»: Tornar a la vida
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 18
Open Access
«Alma y Vida», obra fonamental del teatre de Galdós
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 18
Open Access
«Consueta de la historia de Tobías» [«Consueta de la història de Tobies»]
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1962, Núm. 7
Open Access
«Crimen en la Catedral» y el drama poético moderno en Inglaterra
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1960, Núm. 6
Open Access
«El rei Joan». Traducció de Josep Maria de Sagarra
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1973, Núm. 17
Open Access
«En attendant Godot»: communication ou incommunication? Une étude du langage de Beckett...
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
«Juli Cèsar»
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1973, Núm. 17
Open Access
«La Comedia del Arte»
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1962, Núm. 7
Open Access
«La gaviota» de Àlex Rigola. Memorias de un proceso de escenificación
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2022, Núm. 47
Open Access
<p>This paper describes and analyses part of the process of staging Àlex Rigola’s The Seagull (Barcelona, 1969). Written as a record, it explores the dramaturgical adaptation, the shaping of the proposed theatrical language, the issues raised, the methods used to stage what was devised (notably those implemented in the field of acting direction through a decàleg de joc) and the stages into which the rehearsal period was divided. Its main objective is to consider the development stage of a theatrical experience by recording specific data and through interpretive description — exegesis — of what has been done in a month and a week of rehearsals. Moreover, the paper seeks to decipher the poetic hybridisation procedures that a creator in the current European scene develops as a strategy to forge their work. In an effort to specifically and representatively distinguish the staging observed here, this has been called narrative naturalism.</p>...
<p>En este trabajo se describe y analiza parte del proceso de escenificación de La gaviota de Àlex Rigola (Barcelona, 1969). El texto, escrito a modo de memoria, se detiene en la adaptación dramatúrgica efectuada, la configuración del lenguaje escénico propuesto, los temas planteados, los métodos utilizados para escenificar lo ideado (de los que sobresalen los implementados en el ámbito de la dirección actoral por medio del decálogo de juego) y las etapas en que se dividió el período de ensayos. Su objetivo principal es dar cuenta de la etapa de elaboración de una experiencia teatral por medio del registro de datos concretos y el acuse interpretativo —exégesis— de lo efectuado en un mes y una semana de ensayos. A su vez, se ha buscado descifrar los procedimientos de hibridación poética que elabora un creador de la escena actual europea como estrategia para fraguar su trabajo. En el esfuerzo por distinguir de forma específica y representativa la propuesta escénica observada aquí se la ha denominado naturalismo narrativo.</p>...
<p>En este trabajo se describe y analiza parte del proceso de escenificación de La gaviota de Àlex Rigola (Barcelona, 1969). El texto, escrito a modo de memoria, se detiene en la adaptación dramatúrgica efectuada, la configuración del lenguaje escénico propuesto, los temas planteados, los métodos utilizados para escenificar lo ideado (de los que sobresalen los implementados en el ámbito de la dirección actoral por medio del decálogo de juego) y las etapas en que se dividió el período de ensayos. Su objetivo principal es dar cuenta de la etapa de elaboración de una experiencia teatral por medio del registro de datos concretos y el acuse interpretativo —exégesis— de lo efectuado en un mes y una semana de ensayos. A su vez, se ha buscado descifrar los procedimientos de hibridación poética que elabora un creador de la escena actual europea como estrategia para fraguar su trabajo. En el esfuerzo por distinguir de forma específica y representativa la propuesta escénica observada aquí se la ha denominado naturalismo narrativo.</p>...
«La sonata dels espectres»: el verí i la visió
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2020, Núm. 45
Open Access
<p>L’obra d’August Strindberg dinamita el drama per representar el procés de destrucció de sentit i el seu contingut residual. Si en el drama tradicional el sentit transcendent era una part essencial de l’obra, en Strindberg, aquest sentit —un aspecte que garanteix la unitat i la coherència— queda en suspens. Així, les seves obres de cambra s’aniran desposseint gradualment del seu instrumental i de les seves convencions dramàtiques: pràcticament no hi ha situació, acció, conflicte, o gruix psicològic dels personatges. Precisament, La sonata dels espectres mostra una clara pèrdua de referencialitat, de l’exterior a l’interior, a mesura que avancem en els seus tres moviments, inaugurant una tendència al subjectivisme. La informació proporcionada resulta esbiaixada i la percepció de la realitat, des d’una altra mirada, provoca una estranyesa de la quotidianitat, així com una suspicàcia sobre la configuració de la identitat moderna. </p>
<p>L’objectiu d’aquest article és, doncs, fer una lectura hermenèutica de La sonata dels espectres per intentar comprendre quins elements produeixen aquest desencaix respecte al drama del seu moment, i com aquests processos segueixen presents en la dramatúrgia d’avui.</p>...
<p>The plays of August Strindberg shook up drama to represent the process of destruction of meaning and its residual content. While in traditional drama transcendent meaning was an essential part of the play, in Strindberg, this meaning — an aspect that guarantees unity and coherence — is suspended. Thus, his chamber plays were gradually be stripped of their instrumental and dramatic conventions: there is virtually no situation, action, conflict or psychological depth to the characters. Specifically, The Ghost Sonata shows a clear loss of referentiality, from outside to inside, as we advance through its three movements, opening a trend towards subjectivism. The information provided is skewed and the perception of reality, from another point of view, causes a strangeness of the everyday, as well as suspicion about the makeup of modern identity. </p> <p>The objective of this article is, therefore, to provide a hermeneutic reading of The Ghost Sonata to endeavour to understand which elements produce this disarticulation with respect to the drama of his time, and how these processes are still present in today’s dramaturgy. </p>...
<p>The plays of August Strindberg shook up drama to represent the process of destruction of meaning and its residual content. While in traditional drama transcendent meaning was an essential part of the play, in Strindberg, this meaning — an aspect that guarantees unity and coherence — is suspended. Thus, his chamber plays were gradually be stripped of their instrumental and dramatic conventions: there is virtually no situation, action, conflict or psychological depth to the characters. Specifically, The Ghost Sonata shows a clear loss of referentiality, from outside to inside, as we advance through its three movements, opening a trend towards subjectivism. The information provided is skewed and the perception of reality, from another point of view, causes a strangeness of the everyday, as well as suspicion about the makeup of modern identity. </p> <p>The objective of this article is, therefore, to provide a hermeneutic reading of The Ghost Sonata to endeavour to understand which elements produce this disarticulation with respect to the drama of his time, and how these processes are still present in today’s dramaturgy. </p>...
«La vida es somni»: del text a l'escena
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1976, Núm. 21
Open Access
«Laura a la Ciutat dels Sants»: el pas d'una novel·la a una obra de teatre .
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
«Laura i la Ciutat dels Sants»: realitat i ficció
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
«Le Bethleem», un mystère paysan contemporaine du nord de la Roumanie
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1976, Núm. 21
Open Access
«Mary d’Ous», un punt d’inflexió
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 22
Open Access
<p>This work is a compilation of the results of a seminar made by the Department of Theatrical Sciences of the lnstitut del Teatre of Barcelona about the “Analysis of shows recorded in video”; it takes part in the effort, more and more widespread all over the world, to bestow on the theatrical criticism, as it is called nowadays, its own and true statute of independent and theoretical reflection.</p>
<p>We have chosen Mary d'Ous, a show by Els Joglars, because it is the topmost point of a theatrical conception based on the absence of a plot and also the last one of this kind of shows. In fact, after Mary d'Ous, Els Joglars changed completely. Alias Serrallonga, their following show, belongs no more to the same universe.</p>
<p>We believe that Mary d'Ous is the most current show of Els Joglars because it is the one which makes most clear the present needs of the dramatic criticism and which gives us more reasons and more images to try to overcome them.</p>
<p>We reproduce here a fragment of the text written by Els Joglars to hand it out: “Mary d'Ous: Variations on two themes. Show begum in Pruït (Barcelona) in June 1972 and finished in Barcelona at the beginning of December of the same year. The formal purpose of this show can be summarized as follows: it constitutes an attempt to obtain a maximum of scenic efficiency, using a minimum of elements related both to the plot and to the scenography. The show is based on a series of improvisations and studies made by the actors on the generic theme of the musical arrangement transposed to the dramatic process (canon, fugue, counterpoint, variations on themes, etc.).”</p>...
«Nit de reis, o el que vulgueu». Notícia d’un muntatge
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1973, Núm. 17
Open Access