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L'observador implacable: vint anys de teatre català
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Aquest treball parla del seu testimoni quotidià, de la seva capacitat d’observació, del valor quasi notarial de les notes que traduïen aquelles observacions i que certifiquen vint anys de teatre català.
Abans de l’aparició ...
«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>...
Reflexions sobre el fenomen de la «performance»
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p>lt has always been difficult to define the performance, just because of its character, its originality and its interest: multiplicity, mobility and polymorphy. So, we could say that it is rather a kind of spirit related to a precise period than a kind of artistic work. One of the most suitable ways of analyzing that phenomenon from a personal point of view is approaching it personally, contacting directly the main protagonists of the accionist movements during the seventies.</p>
<p>After an analysis of the different key moments of the development of the performance, concerning the dates and the geographical locations, it is necessary to look over its close ties with theatre, which will give rise to such artists as Hermano Nitsch, whose activity is characterized by the absence of aspecific support. Nevertheless, there is one point where performance detaches itself from theatre: in the perfomance is the artist himself who puts in show. It is necessary to eliminate, both in theatre and painting or sculpture, all that means a return to the matter, to the technical skill. The means is the artist who devotes himself in public to a real act, neither simulated nor dramatized, notas an actor but as person who acts.</p>...
Fluxus & Zaj
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p><span style="font-weight: 400;">Aquest text presenta els moments més actius del grup FLUXUS durant la primera meitat dels anys seixanta. Després de fer un repàs dels noms més significatius, les actituds, els manifests ...
El quadern de direcció d’«Otel·lo», de William Shakespeare, espeblert per Konstantin Stanislavski
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 22
Open Access
<p>This article is a compilation of the conclusions of a seminar where the contents of the direction notebook which Stanislavsky wrote up in Nice in 1929 were analysed in order to direct the group Art's Theatre of Moscow in its play Othello by Shakespeare. After the issue of the notebook' s French edition (Mise en Scene d'Othello. Éditions du Seuil. Paris, 1973), the seminar tried to take out from it the most interesting aspects related to the theatre. Thanks to the accurate instructions given by the master to his group Art's Treatre, the seminar was able to dissect the essential and constant elements of Stanislavsky's work from the text by Shakespeare. The first part of that article, entitled “Directing actors is a dramatic art”, explains the formal keys of the notebook and analyses its dramatic deal, the criterion followed to omit certain parts of the original text, the scenographic conception and the way to deal with the characters. That analysis reveals Stanislavsky's way of adapting Shakespeare to his method of directing actors, which, in short, is equivalent to bringing tragedy to the drama's field. The second part, entitled “Advices given by the master”, emphasizes sorne fragments of the direction notebook of Othello, which can be considered excellent and practical lessons in the field of the self-control of the actor's energy in the performance.</p>...
«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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Xavier Fàbregas i el teatre valencià entre els dos pròlegs de l'«Homenatge a Florentí Montfort»
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
En la segona edició —primera íntegra—de l’obra Homenatge a Florentí Montfort, d’en Josep Lluís i Rodolf Sirera, considerada el punt de partida del nou teatre valencià, s’inclouen dos pròlegs d’en Xavier Fàbregas, que va ...
Bibliografia Teatral Catalana, 1982-1983
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 26
Open Access
Fàbregas: la necessitat de lluitar, la vocació de saber (aproximació a un compromís intel·lectual)
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
L’esperit reservat d’en Fàbregas constituí en bona part l’actitud que el personatge adoptà per defensar una independència radical respecte a moviments i grups que conformaven el seu entorn. En Fàbregas s’«alinea amb les ...
Qüestions preliminars a la semiòtica teatral
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 25
Open Access
<p>This article tries to shed light, by going over a series of texts, on whether it is possible or legitimate to make a semiotic analysis of the theatre and, at the same time, to delimit the relevance —the nature, so to speak— of the theatrical phenomenon. In the first part of the work —Theatre and Communication— there is an analysis of objections to theatre semiotic based on what may be defined as Panlinguistic Reductionism. This identifies language and communication, tongue and code, in a tautological way and considers double articulation to be essential in order to speak of language (Mounin, La Communication Théatrale, 1969). Metz, Eco and above all Ruffini (who defines the concept of Code by taking up Prieto's notions of sematic and noetic fields) expose the contradictions and errors implicit in mechanical, a priori transpositions of linguistic methods and notions to other semiotic fields. Mounin considers the relationship between stage and public to be one of stimulation but not of communication. But this objection stands on an erroneous base, since what is defined as «transposition among codes» really means «transposition between noetic fields with different codes».</p>
<p>The second part —The Object of Theatrical Semiotics: from the Text to the Performance— certifies the theatre’s complexity and code-variety or, as De Marinis says, the multidimensionality and heterogeneity of the theatrical phenomenon or again, as Marthes says, the theatre’s “informational polyphony”. Various works are analysed which, starting from the above-mentioned panlinguistic reductionism, reduce the semiotic analysis of the theatre to an analysis of the written text: Ingarden (who reduces the essence of the theater to the whitten text), Jansen (who considers the text as an invariant and the performance as a variant), Pagnini (who gives to the text the stature of profound structure and to the performance that of superficial structure), Gullí-Pugliatti (who considers the written text to be a metatext that describes the performance). After defending the relevance of the performance, a semiotics of transdisciplinary theater capable of avoiding panlinguistic reductionism is proposed.</p>...