1985: Núm.: 27
http://hdl.handle.net/20.500.11904/1286
2024-03-29T09:50:48ZPaisatge amb variacions de l'escenografia francesa
http://hdl.handle.net/20.500.11904/1351
Paisatge amb variacions de l'escenografia francesa
Banus, George
<p>The distrust of the theatre in the Italian manner has been followed by its revaluation; this coincides with a revival of the interest in image and distance to the detriment of the search for contact and intimacy with the audience. However, the return to the theatre in the Italian manner does not correspond with the disappearance of works about non-theatrical spaces. <em>Image </em>and <em>theatre </em>only prevail over <em>contact </em>and <em>place. </em>Priorities have changed. The experiences of Arianne Mnouchkine at the Cartoucherie, and those of André Engel and Nicky Rieti, who look for new spaces for each performance, reveal this trend. Other directors, such as Roger Planchan and Jean-Pierre Vincent, have addressed painters of the «new figuration» for their scenographies. Patrice Chéreau and Richard Peduzzi have prefered the «utopian architectures » recreating places that upset for their ambiguity although they seem familiar. For Peter Brook, on the contrary, architecture becomes scenography. Antaine Vitez and Yannis Kokkos reconstruct the «state of theatre» as it were a «state of mind». In the French scenography there is a confrontation between these two ways: the <em>true </em>and the <em>false. </em>The return to the use of the curtain is symptomatic of the return to the image of theatre created by the passing of time: a theatre of imagination and secrecy, a theatre of distance and nota theatre of proximity.</p>
1985-01-01T00:00:00ZLa vida dels objectes
http://hdl.handle.net/20.500.11904/1350
La vida dels objectes
Abellan, Joan
<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, <em>atrezzo </em>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 <em>Maria </em><em>Rosa, </em>staged by John Strasberg; Brossa's <em>Cavall al </em><em>fans, </em>staged by Jordi Mesalles; Genet's <em>El balcó, </em>staged by Lluís Pasqual; Labiche's <em>El més feliç dels tres </em>and Wilde's <em>La </em><em>importància de ser Franc, </em>both staged by Jaume Melendres.</p>
1985-01-01T00:00:00ZLa via del refús
http://hdl.handle.net/20.500.11904/1349
La via del refús
Barba, Eugenio
<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 ideology. But, what's a theatre? Finally, only the actor remains, he is the only one capable of taking us to a different experience. In order to arrive to this situation it is necessary to pass through an unavoidable bridge, through a technique, that is, through a particular use of the body. We can then talk of bio-scene. At the beginning of the century, Stanislavski is famous but he is not satisfied because he does not have the secret of the creative act yet. He then moves to a tiny village in Finland. Back to Moscow, he already has the embryo of his «system». If I am a heir of Stanislavski's it is not so much for his answers as for his obsessions. I do not feel linked to a physical place, to a geographic entity with its own traditions, but to the country of speed. The first thing that must be imposed to the actor is self-discipline. Katsuki Azuma is one of the collaborators in the ISTA (International School of Theatre Antropology), and she is a teacher of Japanese classical dance; I look at Katsuko and think: the actor must assert with his right cerebral hemisphere that he is everything, and 106 with the left one feel that he is nothing at all. The most important thing is the motor; the actor may have a good disposition but he will not make any progress without a good motor. He must learn something different from what the teacher wants him to learn.</p>
1985-01-01T00:00:00ZÉs possible reproduir el nas de Cleópatra?
http://hdl.handle.net/20.500.11904/1348
És possible reproduir el nas de Cleópatra?
Melendres, Jaume
<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 <em>Layret, </em>Jordi Teixidor's <em>Rebombori-2, </em>Alfred Badia's <em>Una croada, </em>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 <em>Olivier Cromwell, </em>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 <em>The Girl of the Golden West </em>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 <em>Mother Courage </em>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>
1985-01-01T00:00:00Z