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Els límits de la «performance» des de perspectives teatrals. Conversa amb Albert Vidal
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Acceso abierto
<p>The performance is a new attitude of interpretation andadventure which asks from the audience a different reading, a very different reading from the one asked by a conventional performance or avant-garde. A reading which comes from the tragic bottom of the inner attitude of human beings where the interest of emotions and feelings are above individual protagonism. A perception which requires, on the art of the performer and the audience, sorne distance. That is Albert Vidal's strictly personal point of view, a Catalan creator who, in a corversation about the limits of the performance from a theatrical viewpoint, explains his conception of the performance as the key to contemporary reading, the commitment of the artist of the future and the role of the audience in it. Albert Vidal's background is full of complete personal creations which come from the mime and progressively break with the conventional theatrical relationship in arder to bring theatrical languages to the limits of their imaginary conventions, those involving them in an integral play with perception. L'aperitiu, Cos, Pare Antropològic, Home Urbà, El venedor de gelats and the recent Exposició viva de 40 personatges, where he does not act, are his most famous productions, sorne of which have been widely diffused in several countries.</p>...
Els pipirondos. Tot allò que recordo del grup teatral La Pipironda.
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Acceso abierto
<p>The “pipirondos” group has been quite great in number. We used to perform at the bars of some districts. Nobody has ever got away from playing a part; I have played the part of El Candel in La batalla del Verdún by Jose M. Rodríguez Méndez. La Pipironda, under the direction of Àngel Carmona, never dies. Its beginning goes back to 1957 with the creation of the Teatro Popular de Sala y Alcoba, by Àngel Carmona and Florenci Clave, and the meetings which some friends used to held at various bars in Barcelona once a week. A printed sheet called «La Pipironda» began also to be published. In its first phase the group’s repertory consisted of La estratosfera by Pedro Salinas, Navidad by Gregorio Martínez Sierra, El mestre de minyons by Feliu i Codina and the Auto de la donosa tabernera by Jose M. Rodríguez Méndez; this last play has been performed more thana thousand times. From 1959 till 1967 the group is in its fullest swing. In 1961 they go on tour to Vitoria, Baracaldo, Mieres, Oviedo, etc. Àngel Carmona is still alone and in1980 he takes up again the theatre with a King Lear at the Cafe Central in Girona street. Afterwards there have followed Lysistrata and Amor de Don Perlimplin con Belisaen su jardín. If I had money I would become a Maecenas and would say to Àngel Carmona: take up the theatre, only the theatre, as you like, don’t do anything else.</p>...
Entrevista amb Peter Stein
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 26
Acceso abierto
<p>Peter Stein has been at the forefront of a team of actors, playwrights and theatrical designers for more than a decade, and he has converted the Schaubühne into one of the most important theatrical initiatives in Europe. ...
Escenificar Labiche. Elogi de l’apart
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 23
Acceso abierto
<p>The relations between form and philosophy, between dramatic structure and world's conception are the purpose of this article based on two experiences of staging Labiche. J. M. emphasizes the central part played, in the ...
Federico García Lorca: dramaturg o director?
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 24
Acceso abierto
<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>...
Fenomenologia i semiòtica del teatre
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 23
Acceso abierto
<p>This article attempts to show that Ch. S. Peirce's phenomenology and semiotics can help in approaching in scientific terms the theory of drama (and more generally speaking of entertainment), thus providing an answer to ...
Fluxus & Zaj
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Acceso abierto
<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 ...
Futur de l’espectador davant l’espectacle
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 23
Acceso abierto
<p>Cinema, drama and television are languages composed of some groups of signs, and we will only be able to know the specific character of each entertainment if before we can define them separately. Between drama and cinema, ...
Fàbregas, autor teatral
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Acceso abierto
L’etapa d’en Xavier Fàbregas com a dramaturg ha quedat semioblidada, sepultada sota la seva trajectòria posterior de crític i historiador del teatre català. En canvi, fins a la meitat dels anys seixanta, l’objectiu més ...
Fàbregas: la necessitat de lluitar, la vocació de saber (aproximació a un compromís intel·lectual)
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Acceso abierto
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 ...