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El risc d'investigar
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 25
Open Access
<p>This is an interview with the self-taught dancer and choreographer Cesc Gelabert. While we accompany him through his choreographies he shows us the loneliness of a long distance runner, the discoveries during the long process of creation, the collaborations and encounters with other people.</p>
<p>It is a continuous voyage in the present and the past, from his first casual contact with the world of dance (1969) to the premiere of Alhambra (1983); from the moment when, for the first time, he found himself dancing alone in front of an empty auditorium until the moment when, also for the first time, he danced with another star, Lydia Azzopardi; from his search for reference points, looking around in a thousand and one courses in Catalonia and abroad which he paid for with money saved up during a whole year's word, until the time when he taught his discoveries at La Fábrica-Espai de Dansa. We go through the period of his «youth», of learning to walk, of collaborations with other performers, such as Frederic Amat, Lewis Richter, Rafael Subirachs: Acció-0, Acció-1 (Action-0, Action-1); of solitude, of running away to New York Mi viejo traje de pana (My Old Corduroy Suit), where he met Carles Santos (Cesc Gelabert & Dancers) and Perico Pastor; the return, two years later, to «motionless» Barcelona; loneliness again plata i Or (Silver and Gold); the chance meeting with Lydia Azzopardi, Danzas para interiores (Dances for Interiors); the reencounter with Carles Santos, Concert per a veu, piano i dansa (Concert for Voice, Piano and Dance); the beginning of an understanding (Alhambra, Five to Two).</p>
<p>The Risk of Investigating is basically a way of understanding life: investigating outside and inside oneself; it is a way of understanding dance: an archive of experiences, a reflection of life; it is an encounter with solitude.</p>...
A manera de manifest
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 25
Open Access
<p>Theatrical activity is waning in Catalonia because of the exigencies of commercial profit. There is an urgent need to set up a theatre of investigation and this requires a theatre law, decentralized theatre policies and publicly financed theatre space (municipal theatres, multi-use houses). This is why we have decided to combine our efforts and propose: a) that work and show space be provided; b) that such space not be altered because of deliberately commercial interests; c) that the theatre of investigation we demand dues not mean a theatre for the “élite”; d) we don't interpret investigation as a lot of isolated experiences; e) the interest, quality and rigor of our previous work guarantee the seriousness of our proposal; f) reference must be made to the player who is not able to accept coherent work cycles, by g) our proposal is open to everyone who believes that theatre is alive and evolving.</p>...
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>...
El Principal de València i les representacions teatrals en valencià durant el segle XIX
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 24
Open Access
<p>The Principal Theatre was inaugurated in 1832 and soon became a meeting-place of the new Valencian bourgeoisie. Around it, other establishments appeared which opened their doors to a less select public: among others ...
El teatre de Carme Montoriol i Puig
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 25
Open Access
<p>Carme Montoriol Puig was born in Barcelona in 1893 and died there in 1966. A self-taught woman, she studied music and foreign languages. She acquired a thorough knowledge of French, Italian, German and English. From the latter language, she translated the complete sonnets of Shakespeare into Catalan, which she also handled perfectly, in their correlatively equivalent meter. She also translated plays by Shakespeare: Cymbeline and Twelfth Night of What You Will, both edited by Publicacions La Revista, and works by Pirandello, Barrie and Leona Stravis. In the field of narrative prose, she translated novels by Rudyard Kipling, Osear Wilde and Maurice Baring into Catalan, as well as No pasarán (story of the siege of Madrid) by Upton Sinclair. She wrote and published her own novels, Terese, o la vida amorosa d'una dona (Terese, or Laves of a Worman) and Diumenge de julio[ (Sunday in July). She was also prominent as a lecturer and devoted president of the Lyceum Club.</p>
<p>As a playwright she produced the following works: L'abisme (The Abyss) (1936), L'huracà (The Hurricane) (1935), Avarícia (Greed) (1936) and Tempesta esvaïda (Quelled Storm) (1956). The last of these was an operette with music by J Joaquim Serra. The first three belong to the realm of bourgeois drama. They are realistic works with one foot on the threshold of naturalism. One decognizes the influence of Ibsen, whose works she knew well. The theories of Freud also run through the works, especially L'huracà (The Hurricane). This work was received as scandalous by the society of her day, because it dealt with the theme of son in love with mother/woman. The critics vehemently disagreed, some in favor of her, some against her, but they all had to admit that this work, like the other two, possessed unquestionable literary merit.</p>
<p>In 1939 she went into exile, but soon returned homesick to Catalonia; notwithstanding, her pen, like that of many other writers of her time, remained inactive for the rest of her life.</p>...
L’escenografia de Fabià Puigserver
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 24
Open Access
<p>The Catalan scenographer and theatrical director Fabià Puigserver has created more than a hundred scenographic and wardrobe projects, mainly for shows produced in Catalonia but also for ones in Madrid and beyond the Spanish border. Internationally he is probably best-known for his contribution to Víctor García's staging of Yerma by García Lorca. Fabià Puigserver stands in the first rank among those who have dedicated themselves over the past twenty years to the revival of the Catalan theatre. From the last years of the Agrupació Dramàtica de Barcelona (ADB) to the peak years of the Escola d'Art Dramàtic Adrià Gual (EADAG) at the present Teatre Lliure in Barcelona which he co-founded, he has collaborated in bringing up to date many dramatic concepts that go beyond the limits of mere stage decoration. This article penetrates into his prolific work through analysis of his popularity and achievements and measures the conclusions of critics against the author's own opinions of the material studied. This double review of all of Fabià Puigserver's scenographic work also constitutes an absorbing general reflection on the technique and theory of space, wardrobe and stage materials and contributes to the study of a fundamental piece within the evolution of the contemporary Catalan stage.</p>...
Dansa i emancipació: el teatre de dansa de Wuppertal
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 24
Open Access
<p>When Pina Bausch took over the direction of the Wuppertal Dance Theatre in the 1973-1974 season, German ballet broke off in a new direction. Her work grew steadily more distanced from the dance concepts of classical ...
Federico García Lorca: dramaturg o director?
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 24
Open Access
<p>In his book Federico y su mundo, Francisco García Lorca contends that the stage in his brother's plays “ ... opens up not only towards the spectator but towards an afterlife surrounding the stage”. Relying on her clase study of La casa de Bernarda Alba, Isabel Cámara seeks to show that this hypothesis is accurate and easily proven. In this particular tragedy, Lorca exchanges the stage direction Enter/ Exit in such a way that “Exit” acquires a double meaning: the one that conventionally corresponds to it and also its opposite. Concerning Poncia, Bernarda and Adela “Exit” not only signifies to disappear from the public's sight, but it also announces the “Exit” from backstage to the public stage. The confusion of the stage directions is in direct relation to the tragic tension of the drama, so that the confusion raises two phenomena; the union of the two dramatic spaces, stage and backstage, and the intense presence of the playwright/”director” in the climactic moment of the tragedy. The true protagonist turns out to be the stage and the dramatic space off-stage ar “outside”. At the end of the tragedy, the true protagonist turns out to be the stage and the decor of the initial scene through two of the main characters. It should be recalled that when the curtain rises, the stage is empty and silent. After Adela commits suicide, an event which takes place backstage, Poncia commands to Bernarda, “Don't Enter!”, and the final word of the drama, uttered by Bernarda, is “Silence!”. This inevitably recalls the space and silence which initiate the play. </p>
<p>Cámara maintains that La casa de Bernarda Alba is unique among the plays of Lorca because the author has deliberately exchanged the signs of the stage directions, with the intention of offering the public a “mise en crise” of the conventional psychic and physical spaces on stage.</p>...
Dues visions del fet cinematogràfic: Juan Gil-Albert i Francisco Ayala
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 25
Open Access
<p>In the year 1955 the writer Juan Gil-Albert published a brief text entitled Contra el cine in which, as a mature man and author, he approaches the subject of cinematography. Francisco Ayala had already written on the theme in a series of articles published in 1929. In Ayala's texts the confrontation of the young and the adult reveals divergent perspectives in relation to a common centre of interest.</p>
<p>Ayala and Gil-Albert share only the subject to be realt with and both of them, despite the fact that they were born in the same year (1906), differ as to the mood of the work published as well as in their points of view, approaches and conclusions. It is precisely in the approach to the same subject that the difference between the two writers is evident. While Ayala appears as a lover of cinema, an enthusiastic fan of the movie theatre show since his childhood, Gil-Albert rebels against the passive condition of the spectator.</p>...
Teatre de masses i futbol a Xile: 1939-1979
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 24
Open Access
<p>The so-called “university classic” first appeared in Chile in 1939 as an introductory spectacle at a soccer match. As a show, it gradually developed into an authentic paratheatrical spectacle drawing audiences ranging ...