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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>...
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. ...
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 ...
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 ...
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>...
Notes i dades per a un estudi inicial de l'activitat «performance» a Catalunya
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p>Among so many expressive possibilities of the alternative form, the art based on action, and, more exactly, the performance, have no roots in Catalonia, where the most established artistic tradition was painting.</p>
<p>That ...
La «performance» i els mèdia: la utilització de la imatge
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p>The performance has evolved appreciably from the first action of John Cage and Allan Kaprow to the present-day performances of Laurie Anderson, Michel Lemieux or Monty Cantsin. That genre has developed from the staging ...
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 ...
Un investigador en temps de crisi. Xavier Fàbregas vist per Joaquim Molas. Monòleg transcrit per Santiago Fontdevila i Joan-Anton Benach
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
A manera de pòrtic, el catedràtic Joaquim Molas descriu la trajectòria d’en Xavier Fàbregas i analitza les arrels familiars i culturals del personatge així com la seva evolució, tant en el terreny de la crítica com en el ...
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>...
La vídeo-«performance»
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p>The cinema of the Russian director Dziga Vertov seen as a cinema-eye, as an attempt to bring cinema and the new technological view near reality, and considered to be a counter-cinema, an anti-cinema, a cinema of information ...
Record de Xavier Fàbregas
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Un rar exemple de crític objectiu
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Producció i recepció en el teatre: La concretització del text dramàtic i espectacular
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 26
Open Access
<p>A dialectic model applied as much to the aesthetic of production as to the aesthetic of reception is indispensable in dramatic theory, something with dramatic analysis clearly reveals. The (director's) dramatic analysis ...
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. ...
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 ...
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>...
Xavier Fàbregas, crític teatral, o l'estratègia del jugador d'escacs
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
La posició estratègica que en Xavier Fàbregas tenia des de les editorials, en els jurats de premis, l’Institut del Teatre, etc., li va permetre descobrir i fer descobrir autors joves i obres de teatre de dramaturgs clàssics ...
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 ...
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. ...
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 ...
«Mary d’Ous», un punt d’inflexió
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 22
Open Access
<p>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.</p>
<p>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.</p>
<p>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.</p>
<p>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.).”</p>...
Reflexions sobre el fenomen de la «performance»
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p>lt has always been difficult to define the performance, just because of its character, its originality and its interest: multiplicity, mobility and polymorphy. So, we could say that it is rather a kind of spirit related to a precise period than a kind of artistic work. One of the most suitable ways of analyzing that phenomenon from a personal point of view is approaching it personally, contacting directly the main protagonists of the accionist movements during the seventies.</p>
<p>After an analysis of the different key moments of the development of the performance, concerning the dates and the geographical locations, it is necessary to look over its close ties with theatre, which will give rise to such artists as Hermano Nitsch, whose activity is characterized by the absence of aspecific support. Nevertheless, there is one point where performance detaches itself from theatre: in the perfomance is the artist himself who puts in show. It is necessary to eliminate, both in theatre and painting or sculpture, all that means a return to the matter, to the technical skill. The means is the artist who devotes himself in public to a real act, neither simulated nor dramatized, notas an actor but as person who acts.</p>...
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 ...
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>...
«Accions» i La Fura dels Baus
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Open Access
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<p>La Fura dels Baus has gone across the Iberian Peninsula performing Accions and it has reached Argentine. People has thought that the group was bom with this show but that is not true. We should know its history. La Fura dels Baus appears in 1979 and in 1982 is reorganized. Its first actions have taken place in the streets of Sitges in 1983. Nowadays La Fura is composed of ten members and they define themselves as a theatre-music cooperative. One of the writings signed by the group is entitled “Manifest canalla” and reads as follows: «every action is a practical exercice, an agressive performance against the audience's passivity». Accions is a show which has been constructed in an empiric way: its plasticity is a combination of both painting and sculpture. They have never started from an academic idea to resolve plastic questions. Pyrotechnics are an important element in the show. In Accions there is neither actors nor characters but people perfoming actions. You can only talk about it in full details after having seen the show several times.</p>
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Xavier Fàbregas i el teatre valencià entre els dos pròlegs de l'«Homenatge a Florentí Montfort»
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
En la segona edició —primera íntegra—de l’obra Homenatge a Florentí Montfort, d’en Josep Lluís i Rodolf Sirera, considerada el punt de partida del nou teatre valencià, s’inclouen dos pròlegs d’en Xavier Fàbregas, que va ...
Bibliografia Teatral Catalana, 1982-1983
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 26
Open Access
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 ...
Qüestions preliminars a la semiòtica teatral
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 25
Open Access
<p>This article tries to shed light, by going over a series of texts, on whether it is possible or legitimate to make a semiotic analysis of the theatre and, at the same time, to delimit the relevance —the nature, so to speak— of the theatrical phenomenon. In the first part of the work —Theatre and Communication— there is an analysis of objections to theatre semiotic based on what may be defined as Panlinguistic Reductionism. This identifies language and communication, tongue and code, in a tautological way and considers double articulation to be essential in order to speak of language (Mounin, La Communication Théatrale, 1969). Metz, Eco and above all Ruffini (who defines the concept of Code by taking up Prieto's notions of sematic and noetic fields) expose the contradictions and errors implicit in mechanical, a priori transpositions of linguistic methods and notions to other semiotic fields. Mounin considers the relationship between stage and public to be one of stimulation but not of communication. But this objection stands on an erroneous base, since what is defined as «transposition among codes» really means «transposition between noetic fields with different codes».</p>
<p>The second part —The Object of Theatrical Semiotics: from the Text to the Performance— certifies the theatre’s complexity and code-variety or, as De Marinis says, the multidimensionality and heterogeneity of the theatrical phenomenon or again, as Marthes says, the theatre’s “informational polyphony”. Various works are analysed which, starting from the above-mentioned panlinguistic reductionism, reduce the semiotic analysis of the theatre to an analysis of the written text: Ingarden (who reduces the essence of the theater to the whitten text), Jansen (who considers the text as an invariant and the performance as a variant), Pagnini (who gives to the text the stature of profound structure and to the performance that of superficial structure), Gullí-Pugliatti (who considers the written text to be a metatext that describes the performance). After defending the relevance of the performance, a semiotics of transdisciplinary theater capable of avoiding panlinguistic reductionism is proposed.</p>...
Mestres Quadreny, un compositor per als confins teatrals de la música
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 22
Open Access
<p>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.</p>...
Xavier Fàbregas, historiador del teatre català modern
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
A partir del 1966, Xavier Fàbregas, va iniciar un pla de recerca de base històrica sobre el teatre català modern orientant-la a sistematitzar, classificar y redefinir en termes ideològics i literaris la immediata tradició ...
Lucas Fernández: una retòrica afectiva per a la passió
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Open Access
«Performance»: una visió actual nord-americana
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p>RoseLee Goldberg's book Performance; Live Art 1909 to the Present, published in 1979 indicated in its closing chapter that performance art was moving more and more into the realm of entertaintment, using forms such as cabaret, television sitcoms and rock n'roll as the basis for new work, away from the more esoteric and often paradoxical work of the seventies, with its insistence on ideas over product, and concept over commonly accepted professional execution. Indeed, as this extract from the update of Ms. Goldberg's book Performance (plublished in the fall of 1987) shows, her predictions for the eighties were remarkably accurate. The new generations have created a body of work that is obsessed with the popular media. Indeed, the old cry by artists to break clown the barriers between life and art has, in their work, meant the breakdown between art and the media, often referred to as one between High art and Low. Ms. Goldberg describes the theatrical and highly professional mood of eighties performance, concluding at the same time that performance, despite its popularisation by the media, despite art school curricula and dissertations, remains an open ended and unpredictable medium for artistic experimentation.</p>...
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>...
La «performance»: de les accions inicials als multimèdia dels vuitanta
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p>This text deals with a wide view, from the first gestures made by such artists as Marcel Duchamp, Piero Manzoni or Yves Klein till the performance of the end of the seventies and beginning of the eighties, entirely multimedia. Through that period, the incidence of FLUXUS and the happenings was very important for the consolidation of the performance of the end of that decade.</p>
<p>Conceptual art and one of its branches, body art, allowed the artist to think of himself as his own work of art. His body became another element of his artistic practice. Such names as Vito Acconci, Bruce Nauman, Arnulf Rainer and Klaus Rinke, among others, are exemples of it. Groups similar to the Viennese actionims appeared simultaneously. They, together with such artists as Gina Pane, Chris Burden, etc., devoted themselves to the search for physical limits.</p>
<p>The trip to introspection of Marina Abramovic and Ulay and the transformism of Urs Liithi, Manon, etc., were other possible trends together with the diverse use of such means as video, music, dance, theatre, etc. From that conjoction of interests was born the multimedia performance of the eighties, considered to be a possible «total work of art».</p>...
<p><span style="font-weight: 400;">Este texto recoge una amplia panorámica que se extiende desde los primeros gestos realizados por artistas como Marcel Duchamp, Piero Manzoni o Yves Klein hasta la performance de finales de los setenta y principios de los ochenta, ya totalmente multimedia. A lo largo de este recorrido, la incidencia del grupo FLUXUS y los </span><span style="font-weight: 400;">happenings</span><span style="font-weight: 400;"> de los años sesenta desempeñaron un papel muy importante en la consolidación de la performance de finales de esta misma década.</span></p> <p><span style="font-weight: 400;">El arte conceptual y una de sus ramificaciones, el </span><span style="font-weight: 400;">body art</span><span style="font-weight: 400;"> o arte corporal, permitieron que el artista se considerase a sí mismo como su propia obra de arte. Su cuerpo se convertía en un elemento más de su práctica artística. Así surgieron nombres como Vito Acconci, Bruce Nauman, Arnulf Rainer y Klaus Rinke, entre otros. Paralelamente se definieron ciertos grupos afines, como el del accionismo vienés que, junto con otros artistas como Gina Pane, Chris Burden, etc. se dedicaron a la búsqueda de los límites físicos.</span></p> <p><span style="font-weight: 400;">El viaje a la introspección de Marina Abramovic i Ulay o el transformismo de Urs Lüthi, Manon, etc. fueron otras posibles vías junto con la diversidad en el uso de medios como el vídeo, la música, la danza, el teatro, etc. De esta conjunción de intereses nace la performance multimedia de los ochenta, considerada como una posible «obra de arte total».</span></p>...
<p><span style="font-weight: 400;">Aquest text recull una àmplia panoràmica que s’expandeix des dels primers gestos realitzats per artistes com Marcel Duchamp, Piero Manzoni o Yves Klein fins la performance de finals dels setanta i principis dels vuitanta, ja totalment multimèdia. Al llarg d’aquest recorregut, la incidència del grup FLUXUS i els </span><span style="font-weight: 400;">happenings</span><span style="font-weight: 400;"> dels anys setanta varen jugar un paper molt important en la consolidació de la performance de finals d’aquesta mateixa dècada.</span></p> <p><span style="font-weight: 400;">L’art conceptual y una de les seves ramificacions, el </span><span style="font-weight: 400;">body art</span><span style="font-weight: 400;"> o art corporal, varen permetre que l’artista es considerés a si mateix com la seva pròpia obra d’art. El seu cos es convertia en un element més de la seva pràctica artística. D’aquesta manera, varen sorgir noms com Vito Acconci, Bruce Nauman, Arnulf Rainer i, Klaus Rinke, entre altres. Paral·lelament, es varen definir certs grups anàlegs, com el de l’accionisme vienès que, juntament amb altres artistes com ara Gina Pane, Chris Burden, etc. varen dedicar-se a la recerca dels límits físics.</span></p> <p><span style="font-weight: 400;">El viatge a la introspecció de Marina Abramovic i Ulay o el transformisme d’Urs Lüthi, en Manon, etc. varen ser altres possibles vies, juntament amb la diversitat en l’ús de mitjans com el vídeo, la música, la dansa, el teatre, etc. D’aquesta conjunció d’interessos neix la performance multimèdia dels vuitanta, considerada com una possible «obra d’art total».</span></p>...
<p><span style="font-weight: 400;">Este texto recoge una amplia panorámica que se extiende desde los primeros gestos realizados por artistas como Marcel Duchamp, Piero Manzoni o Yves Klein hasta la performance de finales de los setenta y principios de los ochenta, ya totalmente multimedia. A lo largo de este recorrido, la incidencia del grupo FLUXUS y los </span><span style="font-weight: 400;">happenings</span><span style="font-weight: 400;"> de los años sesenta desempeñaron un papel muy importante en la consolidación de la performance de finales de esta misma década.</span></p> <p><span style="font-weight: 400;">El arte conceptual y una de sus ramificaciones, el </span><span style="font-weight: 400;">body art</span><span style="font-weight: 400;"> o arte corporal, permitieron que el artista se considerase a sí mismo como su propia obra de arte. Su cuerpo se convertía en un elemento más de su práctica artística. Así surgieron nombres como Vito Acconci, Bruce Nauman, Arnulf Rainer y Klaus Rinke, entre otros. Paralelamente se definieron ciertos grupos afines, como el del accionismo vienés que, junto con otros artistas como Gina Pane, Chris Burden, etc. se dedicaron a la búsqueda de los límites físicos.</span></p> <p><span style="font-weight: 400;">El viaje a la introspección de Marina Abramovic i Ulay o el transformismo de Urs Lüthi, Manon, etc. fueron otras posibles vías junto con la diversidad en el uso de medios como el vídeo, la música, la danza, el teatro, etc. De esta conjunción de intereses nace la performance multimedia de los ochenta, considerada como una posible «obra de arte total».</span></p>...
<p><span style="font-weight: 400;">Aquest text recull una àmplia panoràmica que s’expandeix des dels primers gestos realitzats per artistes com Marcel Duchamp, Piero Manzoni o Yves Klein fins la performance de finals dels setanta i principis dels vuitanta, ja totalment multimèdia. Al llarg d’aquest recorregut, la incidència del grup FLUXUS i els </span><span style="font-weight: 400;">happenings</span><span style="font-weight: 400;"> dels anys setanta varen jugar un paper molt important en la consolidació de la performance de finals d’aquesta mateixa dècada.</span></p> <p><span style="font-weight: 400;">L’art conceptual y una de les seves ramificacions, el </span><span style="font-weight: 400;">body art</span><span style="font-weight: 400;"> o art corporal, varen permetre que l’artista es considerés a si mateix com la seva pròpia obra d’art. El seu cos es convertia en un element més de la seva pràctica artística. D’aquesta manera, varen sorgir noms com Vito Acconci, Bruce Nauman, Arnulf Rainer i, Klaus Rinke, entre altres. Paral·lelament, es varen definir certs grups anàlegs, com el de l’accionisme vienès que, juntament amb altres artistes com ara Gina Pane, Chris Burden, etc. varen dedicar-se a la recerca dels límits físics.</span></p> <p><span style="font-weight: 400;">El viatge a la introspecció de Marina Abramovic i Ulay o el transformisme d’Urs Lüthi, en Manon, etc. varen ser altres possibles vies, juntament amb la diversitat en l’ús de mitjans com el vídeo, la música, la dansa, el teatre, etc. D’aquesta conjunció d’interessos neix la performance multimèdia dels vuitanta, considerada com una possible «obra d’art total».</span></p>...
Pompeu Fabra, traductor teatral
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Open Access
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 ...
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>...
Xavier Fàbregas, dades bibliogràfiques
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Xavier Fàbregas, investigació i acció
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
La sensibilitat de la passió
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Record d'en Xavier
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Xavier Fàbregas i la universitat de Toulouse-Le Mirail
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Un català amb perspectives universalistes
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Xavier, l'excepció
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
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 ...
Paisatge amb variacions de l'escenografia francesa
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<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. Image and theatre only prevail over contact and place. 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 true and the false. 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>...
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>...
Sis respostes de Peter Brook
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<p>During Peter Brook's stay in Barcelona, owing to the performance of his version of the opera Carmen, the English director had a conversation with the students and teachers of the Institut del Teatre. For more than an ...
És possible reproduir el nas de Cleópatra?
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<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 Layret, Jordi Teixidor's Rebombori-2, Alfred Badia's Una croada, 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 Olivier Cromwell, 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 The Girl of the Golden West 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 Mother Courage 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>...
La vida dels objectes
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<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, atrezzo 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 Maria Rosa, staged by John Strasberg; Brossa's Cavall al fans, staged by Jordi Mesalles; Genet's El balcó, staged by Lluís Pasqual; Labiche's El més feliç dels tres and Wilde's La importància de ser Franc, both staged by Jaume Melendres.</p>...
La via del refús
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<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 ...
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 ...
Xavier Portabella , amic, advocat i astróleg
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<p>During the 40's the Catalan theatrical life was restrained, for —till 1946— the censorship did not allow any performance in catalan. In spite of this, secret activities, such as H those taking place in the studio of the painter Xavier Portabella, activities which have not been reported till today, were carried out. Xavier Portabella was acquainted with the theatrical circle of the pre-war period; his studio was roomy and many people used to gather there far conversation. The painter's friends could go to these meetings freely and many of them even had the key of his apartment. Since he belonged to that social circle, Portabella was persuaded to write a play, El caragol i la corbata, from which we publish a passage, preceded by an evocation from his friend Terri.</p>...
L’escenografia de Fabià Puigserver
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 24
Open Access
<p>The Catalan scenographer and theatrical director Fabià Puigserver has created more than a hundred scenographic and wardrobe projects, mainly for shows produced in Catalonia but also for ones in Madrid and beyond the Spanish border. Internationally he is probably best-known for his contribution to Víctor García's staging of Yerma by García Lorca. Fabià Puigserver stands in the first rank among those who have dedicated themselves over the past twenty years to the revival of the Catalan theatre. From the last years of the Agrupació Dramàtica de Barcelona (ADB) to the peak years of the Escola d'Art Dramàtic Adrià Gual (EADAG) at the present Teatre Lliure in Barcelona which he co-founded, he has collaborated in bringing up to date many dramatic concepts that go beyond the limits of mere stage decoration. This article penetrates into his prolific work through analysis of his popularity and achievements and measures the conclusions of critics against the author's own opinions of the material studied. This double review of all of Fabià Puigserver's scenographic work also constitutes an absorbing general reflection on the technique and theory of space, wardrobe and stage materials and contributes to the study of a fundamental piece within the evolution of the contemporary Catalan stage.</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 ...
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>...
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>...
Tots els cinc sentits. El teatre mistèrico-orgíac. El teatre dels sentits
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<ol>
<li class="show"><span style="font-weight: 400;">Un fet real pot ésser registrat mitjançant els cinc sentits. Jo projecto esdeveniments a través dels quals convido als espectadors a olorar, tastar, mirar, escoltar i ...