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Teatro en tiempos de pandemia: apuntes para una teoría de la distancia social como categoría estética
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2021, Núm. 46
Open Access
<p>La pandemia surgida a raíz de la covid-19 ha provocado una amplia demanda y oferta de respuestas e interpretaciones sobre la situación actual. En el campo artístico, el confinamiento ha fomentado la extimidad y ha gratificado una serie de iniciativas comunitarias y relacionales más o menos performativas. Los balcones, conectados, registrados y compartidos a través de dispositivos móviles en tiempo real, se han resignificado como espacios para la participación en rituales y prácticas culturales de carácter colectivo. En concreto, me propongo reflexionar en este artículo sobre la performance y la estética relacional en una situación de posconfinamiento y reconfinamiento; es decir, sometidas a lógicas como la distancia social u otros protocolos de comportamiento higiénico y responsable. En este sentido, destacaré la metamorfosis de la performance, nacida bajo el signo de la crítica de marcos institucionales, en una de las principales vías para la producción/expresión comunitaria.</p>...
<p>The Covid-19 pandemic has generated a broad supply and demand of “responses” to and interpretations of the current situation. In the artistic field, lockdown has fostered extimacy and rewarded a series of more or less performative “community” and relational initiatives. Balconies, linked or recorded and shared through mobile phones in real time, have been redefined as spaces for participation in rituals and cultural practices of a collective nature. Specifically, in this article my aim is to reflect on performance and relational aesthetics in a lockdown and post-lockdown situation; that is, subject to logics such as social distancing or other protocols of sanitary and responsible behaviour. In this respect, I will emphasise the metamorphosis of performance, born under the sign of criticism of institutional frameworks, into one of the main channels of community production/expression.</p>...
<p>The Covid-19 pandemic has generated a broad supply and demand of “responses” to and interpretations of the current situation. In the artistic field, lockdown has fostered extimacy and rewarded a series of more or less performative “community” and relational initiatives. Balconies, linked or recorded and shared through mobile phones in real time, have been redefined as spaces for participation in rituals and cultural practices of a collective nature. Specifically, in this article my aim is to reflect on performance and relational aesthetics in a lockdown and post-lockdown situation; that is, subject to logics such as social distancing or other protocols of sanitary and responsible behaviour. In this respect, I will emphasise the metamorphosis of performance, born under the sign of criticism of institutional frameworks, into one of the main channels of community production/expression.</p>...
Editorial
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2021, Núm. 46
Open Access
Teatre jove i dramatúrgies no textuals. Noves formes d'escriptura dramàtica
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2022, Núm. 47
Open Access
<p>Si, a l’inici del nou segle, una generació de dramaturgs va renovar el repertori textual català, vint anys després, moltes companyies emergents tendeixen a escriure col·lectivament els seus espectacles en comptes de posar en escena textos ja existents. La seva és, sovint, una escriptura híbrida, multidisciplinà· ria, generada durant el procés d’investigació i de creació. La tendència s’ha estès també entre els centres educatius que fan entrar a les aules les arts es· cèniques i la creació contemporània a les aules.</p><p>L’objectiu d’aquest estudi és observar els contextos de ‘coescriptura’, col· lectiva o comunitària, predominants en la creació emergent. Comprovar si el text hi té pes o si el desinterès pels textos sorgits després del 2000 és o no real. La metodologia ha consistit a realitzar enquestes a companyies joves (emergents i no), a professionals que treballen les arts escèniques als instituts i a altres que potencien la creació jove/ emergent a través de residències. Se’ls ha consultat sobre creació col·lectiva, l’obra dramàtica textual catalana o la multidisciplinarietat.</p><p>Els resultats acrediten que la necessitat de treballar empeny els nous graduats a formar companyia i assumir tots els rols de la creació; que l’horitzontalitat que defineix aquestes companyies deriva d’una crisi de jerarquia, però també d’una demanda concreta: l’anhel de l’intèrpret de ser subjecte creatiu, i no objecte; que la incorporació d’eines tecnològiques respon al fet que els nous creadors són natius digitals, i que la ‘coescriptura’ és la manera més eficaç d’introduir l’alumnat de secundària i batxillerat en un procés de creació. <strong> </strong></p>...
<p>Although at the start of the new century a generation of playwrights renewed the Catalan text-based repertoire, twenty years later many emerging companies tend to collectively write their shows instead of staging already existing plays. Theirs is often a hybrid, multidisciplinary writing, established during the research and creation process. This trend has also spread among schools, which welcome the performing arts and contemporary creation in their classrooms.</p><p>The objective of this study is to look at the contexts of collective or community ‘co-writing’ that prevail in emerging creation and to check if the text plays a major role or whether the lack of interest in texts that has emerged since 2000 is real.</p><p>The methodology has involved conducting questionnaires among youth companies (emerging or not), professionals working in the performing arts in secondary schools, and others who promote youth/emerging creation through residencies. They have been asked about collective creation, Catalan text-based playwriting or multidisciplinarity.</p><p>The results show that the need to work makes new graduates form a company and take on all the roles of creation; that the horizontality that defines these companies comes from a crisis of hierarchy but also a specific demand: the desire of the performer to be a creative subject rather than an object; that the incorporation of technology tools is due to the fact that the new creators are digital natives, and that ‘co-writing’ is the most efficient way to introduce secondary students to a process of creation.</p>...
<p>Although at the start of the new century a generation of playwrights renewed the Catalan text-based repertoire, twenty years later many emerging companies tend to collectively write their shows instead of staging already existing plays. Theirs is often a hybrid, multidisciplinary writing, established during the research and creation process. This trend has also spread among schools, which welcome the performing arts and contemporary creation in their classrooms.</p><p>The objective of this study is to look at the contexts of collective or community ‘co-writing’ that prevail in emerging creation and to check if the text plays a major role or whether the lack of interest in texts that has emerged since 2000 is real.</p><p>The methodology has involved conducting questionnaires among youth companies (emerging or not), professionals working in the performing arts in secondary schools, and others who promote youth/emerging creation through residencies. They have been asked about collective creation, Catalan text-based playwriting or multidisciplinarity.</p><p>The results show that the need to work makes new graduates form a company and take on all the roles of creation; that the horizontality that defines these companies comes from a crisis of hierarchy but also a specific demand: the desire of the performer to be a creative subject rather than an object; that the incorporation of technology tools is due to the fact that the new creators are digital natives, and that ‘co-writing’ is the most efficient way to introduce secondary students to a process of creation.</p>...
Fragmentació d’una cultura: la política lingüística dels teatres valencians a partir d’un repàs de les produccions teatrals des del 2008 fins al 2021
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2022, Núm. 47
Open Access
<p>Quina és la situació del teatre en català al País Valencià? Es considera que el teatre valencià forma part del conjunt del teatre català? Per respondre aquestes preguntes caldrà fer abans un breu recorregut per les ...
Els paisatges lingüístics del teatre català contemporani (2008-2021)
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2022, Núm. 47
Open Access
<p>El concepte de paisatge lingüístic prové de l’etnolingüística i la sociolingüística per referir-se a la visibilitat de les diverses llengües que conviuen en un territori determinat i la necessitat de cartografiar-ne la ...