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És possible reproduir el nas de Cleópatra?
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Acceso abierto
<p>Theatre has often wondered if it is possible to reproduce history. Shakespeare, Schiller and Victor Hugo tried to achieve this purpose and, from another point of view, · on November the 7th 1920, six thousand actors commemorated the October Revolution. In Catalonia, the following plays represented recent landmarks of the review of history through theatre: Capmany and Romeu's Layret, Jordi Teixidor's Rebombori-2, Alfred Badia's Una croada, etc. Historical theatre is still able to exert the triple function that Shakespeare expected from it: its being productive, at the same time, from the economic, artistic and politic point of view. Lunatcharski, when explaining the reasons why he wrote his 86 Olivier Cromwell, asserted: «What interested me was —the question of the leader's psychology and, mainly, that of a revolutionary leader.» The third basic level of analysis of historical theatre is the one which causes most problems of, Iet us say, epistemological kind. Performing history on the stage means the possibility of making real the tunnel of time. The improvement of scenic technology also gives us the possibility of the deceit based on the illusion of the past: Belasco in The Girl of the Golden West spent three months in reproducing a «Californian» sunset. Historical cinema from Hollywood employed similar proceedings to the Romantics. Nontheless, theatre is not the reproduction of reality, but the creation of an unreal world useful to men's life. Brecht in Mother Courage does not deal with the Thirty Years War; he refers to one of the most serious problems which concerned his contemporaries. This does not mean at all that the playwright and bis collaborators neglect the historical strictness or the scientific knowledge of the past.</p>...
La vida dels objectes
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Acceso abierto
<p>The human being maintains a specially intense relationship with everything concerning time and space. The natural surrounding as well as the inanimated universe which surround him are perfect mute interlocutors, cause and effect of a great part of his activity. The structural and functional complexity of the environment has in its theatrical reproduction almost the same importance as human behaviour.</p>
<p>Theatrical practice has traditionally created guild divisions between setting, atrezzo and tools, corresponding to more or less systematical groups of objects, according to their size and function, within a technical judgment which, during the performance, separates the objects introduced by the characters themselves from those placed on the stage by other means. It could be said that this mechanical tradition arisen from the practice is better, in some of its systematization aspects, than many present theories about objects.</p>
<p>This work, under six epigraphs —«The Surrounding: from the Social Context to the Scenic Context», «Scenic Function of Objets», «Recognition of the Dramatic Role of Objects», «The Private Object», «The Aleatory Sign» and «Scenic Obligations»—, examines dramatically the representation of the social surrounding, according to the different scenic functions of objects and proposes a scheme of the working of the dramatic role of objects, from the study of the influence of personal accessories on the dramatic action in five recent Catalan adaptations for the stage: Guimerà's Maria Rosa, staged by John Strasberg; Brossa's Cavall al fans, staged by Jordi Mesalles; Genet's El balcó, staged by Lluís Pasqual; Labiche's El més feliç dels tres and Wilde's La importància de ser Franc, both staged by Jaume Melendres.</p>...
La via del refús
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Acceso abierto
<p>In 1938, in Moscow, the 40th anniversary of Stanislavski's Theatre of Art was celebrated. Today, we can see in Stanislavski's attitude the example of how to behave before a prime secretary or army men regardless of their ...
Informe sobre política teatral del Departament de Cultura de la Generalitat
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Acceso abierto
<p>The Departament de Cultura (Culture Department) of the Generalitat de Catalunya issued at the end of 1984 a long document summarizing the present situation of theatre and pointing out the lines of immediate action. In ...
Xavier Portabella , amic, advocat i astróleg
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Acceso abierto
<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>...
L’escenografia de Fabià Puigserver
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 24
Acceso abierto
<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
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 24
Acceso abierto
<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?
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>...
Dues visions del fet cinematogràfic: Juan Gil-Albert i Francisco Ayala
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 25
Acceso abierto
<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>...
Tots els cinc sentits. El teatre mistèrico-orgíac. El teatre dels sentits
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Acceso abierto
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<li class="show"><span style="font-weight: 400;">Un fet real pot ésser registrat mitjançant els cinc sentits. Jo projecto esdeveniments a través dels quals convido als espectadors a olorar, tastar, mirar, escoltar i ...