1985: Núm.: 26

Bibliografia Teatral Catalana, 1982-1983

2022-12-31T07:02:37Z

Bibliografia Teatral Catalana, 1982-1983 Delgado, Josep-Francesc

Entrevista amb Peter Stein

2022-12-31T07:02:38Z

Entrevista amb Peter Stein Oller, Victor L.

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. He has rejected the Italian-style stage and has converted the auditorium into one more element of the scenery. The Schaμbuhne was born after a crisis in the German theatre; if at the beginning Stein gave his work a political meaning, now his premises, like those of any artist, have changed: today it would be unthinkable for him to lend whole-hearted support to the Vietnam cause, such as he used to, for the simple reason that the policies pursued by the Vietnamese meet with his energetic rejection. The Schaubühne has gone back to the repertory of old works which make up theatre history, because they reflect other eras, when things were different, calmer, and a more concentrated, truthful theatrical treatment is possible. In German cultural history the theatre has travelled its own particular path and has developed to an exceptional extent, above all as far as concerns the diversity of new plays and its overwhelming presence in cultural life. In the Schaubühne the actors work in a small auditorium, and only rarely in a big one, when there is a big demand and the run of shows cannot be extended.

De l'agregació al conveni: vint-i-cinc anys de relacions entre teatres francòfons i poders públics belgues

2022-12-31T07:02:36Z

De l'agregació al conveni: vint-i-cinc anys de relacions entre teatres francòfons i poders públics belgues Quaghebeur, Marc

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. As far as French speaking Belgium is concerned this fact is important in that it allowed the national theatre to face up to competition from the French companies who carne on tour. Official protection reverted in the most part to the National Theatre, while the remaining companies had to approximately share out half of the subsidy budget, using a complicated system of arbitration. A minimum of 200 performances a year was expected as a condition of receiving the subsidy; this measure applied both to the companies that performed in the in the Walloon provinces, as well as the more innovative theatre of the Esprit Frappeur, founded in 1963, and the Vicinal or the Parvis, founded in 1970. As from the 1970s the measures of protection begin to become more moderate, benefitting a greater agility. The theatrical life of Brussels is one of the richest and most varied in Europe, and one can find entertainment specially for children as well as avant-garde genres. Present day authors and theatrical designers continue a Brussels tradition that includes Maeterlinck and Crommelynck among its most illustrious names.

El «happening», un intent de definició

2022-12-31T07:02:39Z

El «happening», un intent de definició Arnabat, Anna

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 by one of its driving forces, John Cage. During the 1960s the happening became one of the most lively manifestations of the so-called underground culture in the U.S.A. The happening acquires its characteristics from the space within which it is enacted, from the juxtaposition of scenic moments, which according to Kirby substitute theatrical situations, and from the singular correlation which the intervention of the spectator establishes relative to the initial purpose and to whom it is explained. The happening claims not to go beyond the moment at which it takes place, although some experiments rising out of the happening are now considered to be classics. Today what is of most interest is to establish how far, and how, the happening of the decades immediately before the present one have influenced the new forms of theatre that are flourishing all around us.