1983: Núm.: 22

La llum del teatre

2022-12-31T07:02:51Z

La llum del teatre Banu, Georges

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. Here we would like to refer to that confrontation.

We have not wanted to address to directors, unquestionable authorities on every kind of discourse upon theatre, but the experts in illumination, from whom we do not hear very often. It was a question of finding with them their own place in the world of theatre, of finding where the demand of either the director or the theatrical designer finishes and where their own originality as artists and of setting their ties with the technique and its continuous changes begins. We have wanted to give rise, for the first time, to a controversy on lights with those people who take care of it.

This dossier implies rather raising again the question of lights than studying them. In order to approach better this problem, we have interviewed Pierre Savron, André Diot and Patrice Trottier, all of them experts in illumination, who belong to different historical generations, They, in collaboration with Vilar, Chéreau and Mesguisch, have managed to find a new way of using lights and their functioning inside the theatrical image. It is not a question of making a stock of styles, but of giving rise to an argument where the radicalism of each process generates an implicit controversy.

El quadern de direcció d’«Otel·lo», de William Shakespeare, espeblert per Konstantin Stanislavski

2022-12-31T07:02:43Z

El quadern de direcció d’«Otel·lo», de William Shakespeare, espeblert per Konstantin Stanislavski Abellan, Joan; Melendres, Jaume

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.

«Mary d’Ous», un punt d’inflexió

2022-12-31T07:02:51Z

«Mary d’Ous», un punt d’inflexió Melendres, Jaume

This work is a compilation of the results of a seminar made by the Department of Theatrical Sciences of the lnstitut del Teatre of Barcelona about the “Analysis of shows recorded in video”; it takes part in the effort, more and more widespread all over the world, to bestow on the theatrical criticism, as it is called nowadays, its own and true statute of independent and theoretical reflection.

We have chosen Mary d'Ous, a show by Els Joglars, because it is the topmost point of a theatrical conception based on the absence of a plot and also the last one of this kind of shows. In fact, after Mary d'Ous, Els Joglars changed completely. Alias Serrallonga, their following show, belongs no more to the same universe.

We believe that Mary d'Ous is the most current show of Els Joglars because it is the one which makes most clear the present needs of the dramatic criticism and which gives us more reasons and more images to try to overcome them.

We reproduce here a fragment of the text written by Els Joglars to hand it out: “Mary d'Ous: Variations on two themes. Show begum in Pruït (Barcelona) in June 1972 and finished in Barcelona at the beginning of December of the same year. The formal purpose of this show can be summarized as follows: it constitutes an attempt to obtain a maximum of scenic efficiency, using a minimum of elements related both to the plot and to the scenography. The show is based on a series of improvisations and studies made by the actors on the generic theme of the musical arrangement transposed to the dramatic process (canon, fugue, counterpoint, variations on themes, etc.).”

Mestres Quadreny, un compositor per als confins teatrals de la música

2023-01-01T07:02:35Z

Mestres Quadreny, un compositor per als confins teatrals de la música Abellan, Joan

Interview with Josep Mestres Quadreny, a Catalan and postrnodern cornposer, where there are included all the different aspects of his musical training between 1945 and 1955; he refers both to his country's situation and to other Catalan contemporary rnusicians. Mestres Quadreny also rnakes a historical and sociological analysis of the traditional genders of musical theatre, such as opera, ballet and «zarzuela» (a particular Spanish version of the German sing-spiel) and a personal reflection both on the present experirnentation in the field of postmodern music (electronic music and “aléatoire” music) and on the limits of the musical script. He devotes a great part of that interview to explain in detail some of his experiences together with Joan Brossa, a Catalan and postmodern poet and playwright, on the use of the elements of the traditional concert in the theatre, a field of the postmodern show where we can consider themselves the pioneers.