1984: Núm.: 25http://hdl.handle.net/20.500.11904/12882024-03-28T14:41:20Z2024-03-28T14:41:20ZA manera de manifestAnguera, JoanMesalles, JordiOllé, JoanPlanella, Perehttp://hdl.handle.net/20.500.11904/13622022-12-31T07:02:48Z1984-01-01T00:00:00ZA manera de manifest
Anguera, Joan; Mesalles, Jordi; Ollé, Joan; Planella, Pere
<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: <em>a) </em>that work and show space be provided; <em>b) </em>that such space not be altered because of deliberately commercial interests; <em>c) </em>that the theatre of investigation we demand dues not mean a theatre for the “élite”; <em>d) </em>we don't interpret investigation as a lot of isolated experiences; <em>e) </em>the interest, quality and rigor of our previous work guarantee the seriousness of our proposal; <em>f) </em>reference must be made to the player who is not able to accept coherent work cycles, by <em>g)</em> our proposal is open to everyone who believes that theatre is alive and evolving.</p>
1984-01-01T00:00:00ZDues visions del fet cinematogràfic: Juan Gil-Albert i Francisco AyalaPallach Aloguín, Mariantòniahttp://hdl.handle.net/20.500.11904/13612022-12-31T07:02:47Z1984-01-01T00:00:00ZDues visions del fet cinematogràfic: Juan Gil-Albert i Francisco Ayala
Pallach Aloguín, Mariantònia
<p>In the year 1955 the writer Juan Gil-Albert published a brief text entitled <em>Contra el cine </em>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>
1984-01-01T00:00:00ZEl teatre de Carme Montoriol i PuigFransitorra, Albinahttp://hdl.handle.net/20.500.11904/13602022-12-31T07:02:47Z1984-01-01T00:00:00ZEl teatre de Carme Montoriol i Puig
Fransitorra, Albina
<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: <em>Cymbeline </em>and <em>Twelfth Night of What You Will, </em>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 <em>No pasarán </em>(story of the siege of Madrid) by Upton Sinclair. She wrote and published her own novels, <em>Terese, o la vida amorosa d'una dona </em>(Terese, or Laves of a Worman) and <em>Diumenge de julio[ </em>(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: <em>L'abisme </em>(The Abyss) (1936), <em>L'huracà </em>(The Hurricane) (1935), <em>Avarícia </em>(Greed) (1936) and <em>Tempesta esvaïda </em>(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 <em>L'huracà </em>(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>
1984-01-01T00:00:00ZUna lloa profana, en català, de finals del segle XVIIVila, Pephttp://hdl.handle.net/20.500.11904/13592022-12-31T07:02:46Z1984-01-01T00:00:00ZUna lloa profana, en català, de finals del segle XVII
Vila, Pep
<p>The playlet <em>(lloa) </em>is a minor genre, a sort of prologue to the main play. Its purpose is to prepare the audience and its aim is didactic. The lloa we publish here reached us in a mutilated state; it must have been about 800 lines long, which makes it quite a play considering the characteristics of the genre. Dialogue is a basic element and the actors address the audience after a musical overture. We know nothing about the work which followed. The lloa is a dispute around the central figure: Desire. The work was written in 1697 and is now in the Departamental Archive of Perpinyà.</p>
1984-01-01T00:00:00Z