Search
Now showing items 1-20 of 79
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. ...