Search
Now showing items 1-40 of 79
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>...
Addenda
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Open Access
<p>I cannot talk about history out of modesty. Either an admissible experience or a foolishness La Pipironda has got from 1959 till 1966 a stable staff. I have not been the only producer: Florenci Clavé has also produced ...
Bibliografia
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
Bibliografia teatral catalana, 1980-1981
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 23
Open Access
Bibliografia Teatral Catalana, 1982-1983
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 26
Open Access
Buscant les arrels
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Open Access
<p>He would live in Barcelona and visit the districts occupied by marginal immigrants; then he would go over the districts of the autochthonous population. Madrid has not got such sharp contrats despite the great number of foreigners who live there (Negros, Chineses, etc.). Angel Carmona set up a small group of theatre called La Pipironda which at first was composed of non-Catalan people. Its first name was Teatro de Sala y Alcoba. Carmona would try to look for our roots and harmonize the fact of being native of Barcelona and Catalan with the Spanish traditionalism. We would refuse cosmopolitism as a compulsory model. I began to collaborate early with the Auto de la donosa tabernera. Politics would mixed up with the theatre and the police began to rush into the performances. I still wrote another play, La batalla del Verdún, on the occasion of the 5th anniversary of La Pipironda. On remembering those times, you are amazed to see that Carmona has vanished and the homage he deserves has never been rendered to him. The independent theatre has followed another way, that of the “internationalism”, which differs from the one we would support. Now we can see the results: the theatre is going through a bad period.</p>...
Conferència del 26 de juny de 1982
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p>After an artistic practice devoted to minimal sculpture, art criticism, movies, artist's books, etc... I began working with sounds and I realized that most of the things I have done are based on words and language.</p>
<p>As regards the series I am just finishing now, United States, it is basically structured in four parts: transportation, politics, money and love. Each section has a kind of direction associated to a hand gesture. One of its main themes is the use of technology as a means.</p>
<p>One of the reasons that I use a lot of filters in sounds is to try to understand voices without bodies. Most of the voices in my work come through very different systems such as the one used in airports, where the speaker's voices is heard over the radio or the TV.</p>
<p>The difference between my work and theatre is that I am neither really creating characters withs pasts and futures, nor relating them to things like motivations. My characters are tones of voices.</p>
<p>I like to make a situation in a performance in which you are not actually really sure whether you have it or seen, it... In relation to that, one question that I used to gest asked a lot was: «What are you? Are you a sculpture ora musician ora filmmaker or what?» I never thought that it was a very important question, but it has something to do with virtuosity. Rather than being technically proficient within the rules of that particular medium, virtuosity is a resonating mechanims of the words where my works come out from.</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 ...
De l'agregació al conveni: vint-i-cinc anys de relacions entre teatres francòfons i poders públics belgues
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 26
Open Access
<p>The idea of regularly subsidising companies of dramatic art goes back to the years following the Liberation. The arrangement that was applied until recently, however, originated from two decrees of 9th October, 1957. ...
Discurs sinergètic i accionisme. (Tres peces de Beuys)
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p><span style="font-weight: 400;">Articulades entre elles per múltiples elements recurrents, les accions de Joseph Beuys suposen la materialització d’un discurs que parteix de les línies mestres del pensament, que convoca ...
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>...
El llenguatge d'Àngel Guimerà
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Open Access
El nucli d'Amsterdam durant els anys 1960-1986
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p>That text is about the situation in Amsterdam from the sixties till nowadays, .emphasizing an essential point: the critic and constructive attitude of the artist towards society and the artistic world. The sixties stand ...
El personatge i el director d'escena en el trebgall amb els clàssics
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Open Access
<p>The theatre cannot get free of its relationships with anthropology, semiology, psychoanalysis, audio-visuals, etc. The solution is not, despite the opinion of some producers, stagings which cost several millions of ...
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 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>...
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>...
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>...
El teatre, la festa, el mite, el ritual quotidià
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
La important obra que com a crític i historiador teatral realitzà en Xavier Fàbregas ha enfosquit, en bona part, un altre vessant del seu treball investigador: tot allò que es refereix al seu treball com a divulgador i ...
El «happening», un intent de definició
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 26
Open Access
<p>The happening is a type of entertainment which was born in the United States and which is closely related to the avantgarde. In fact it attempts to extend the notion of theatre to every manifestation of life, as defined ...
Els límits de la «performance» des de perspectives teatrals. Conversa amb Albert Vidal
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<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.
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Open Access
<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
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 26
Open Access
<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
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 23
Open Access
<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?
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>...
Fenomenologia i semiòtica del teatre
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 23
Open Access
<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
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 ...
Futur de l’espectador davant l’espectacle
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 23
Open Access
<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
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
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)
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 ...
Informe sobre política teatral del Departament de Cultura de la Generalitat
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<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 ...
Introducció
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Introducció a: «Jesús batejat per Sant Joan Baptista»
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Open Access
Joan Oliver o el «realisme»
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 22
Open Access
<p>Interview between Feliu Formosa and the playwright Joan Oliver (Sabadell, 1899). Joan Oliver was born in the bosom of a traditional family of the bourgeoisie of Sabadell. Since youth he concentrated on Arts and he wrote poems, plays and prose. He wrote for severa! periodical publications. In 1928 he published his first book, Una tragedia a Lil·liput (A tragedy in Lil·liput). The following year he made his debut in the theatre with the presentation in «Mirador» of Gairebé un acte o Joan, Joana i Joanet (Almost an act or Joan, Joana and Joanet). But, till 1934, he doesn't begin his important poetic career —during it he uses the pseudonym of Pere Quart— with Les decapitacions (The Decapitations). His first important play was Cataclisme (Cataclysm) (1935). He wrote other plays such as: Allò que tal vegada s'esdevingué (That which perhaps occurred) and Cambrera Nova (New Waitress) (1937); La fam (The Hunger) (1938, Prize of the Teatre Català de la Comèdia); Ball robat (Dance Stolen) and Primera representació (First Performance) (performed for the first time in 1958 and 1959); La drecera (The Short Cut) (Àngel Guimerà Prize, 1957). He made very good translations, both from narrators (Colette, Elsa Morante, Simone de Beauvoir) and playwrights (Molière, Shaw, Claudel, Beckett, Cekhov, Goldoni, Labiche…). Joan Oliver tried to be iconoclast and several subjects that distinguished definitely his work are placed between humour and satire.</p>...
Josep M. de Sagarra, traductor
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 23
Open Access
<p>The translation of a language into another one has always pursued the aim to incorporate, for whatever reason it may be, a work belonging to a certain language and culture into the translator's language and culture; the accuracy with which this task is done has changed a great deal in the course of the centuries: it has become more rigorous eventually, so that this excess of rigour has ended up by ruining the translator's normal purposes, that's to say, to get either .the readers or the audience to understand the work's deep, last content. Josep M. de Sagarra's sensibility has understood from the beginning the risk of reaching this extremity; his translations of Shakespeare are a real Catalanisation of this English playwright, without betraying at all his thought, but making it suitable for our country's scenery. That is what the analysed fragments show, specially the difficult version of Mistress Mine from the Magi's Night. A perfect fluency in Catalan, both in prose and verse, has been the tool which has enabled Sagarra to carry out his task with absolute guarantee of success, and so has been proved by the performance of any of his versions of Shakespeare.</p>...
L'obra de Xavier Fàbregas a l'Institut del Teatre
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
En Xavier Fàbregas fou una figura clau en la renovada etapa que l’Institut del Teatre de la Diputació de Barcelona emprengué a partir del 1970 sota la direcció d’Hermann Bonnin. L’autor relata les aportacions d’en Fàbregas ...
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 ...
La bogeria de Jan Fabre. Un intent d'autòpsia
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p>Jan Fabre's theatre is constructive, an unfinished and openended event or, rather, an accumulation of concurrences. Fabre believes in a theatre that by and through its own possibilities structures the imagination of the ...
La llum del teatre
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 22
Open Access
<p>lt is a fact that a large number of directors still feel enthusiastic about lights and use them with great pleasure. Lights and their function in theatre are at crossing where opposite ways both converge and come apart. ...
La sensibilitat de la passió
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access