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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 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. ...
«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>...
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>...
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>...
Josep M. de Sagarra, traductor
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 23
Open Access
<p>The translation of a language into another one has always pursued the aim to incorporate, for whatever reason it may be, a work belonging to a certain language and culture into the translator's language and culture; the accuracy with which this task is done has changed a great deal in the course of the centuries: it has become more rigorous eventually, so that this excess of rigour has ended up by ruining the translator's normal purposes, that's to say, to get either .the readers or the audience to understand the work's deep, last content. Josep M. de Sagarra's sensibility has understood from the beginning the risk of reaching this extremity; his translations of Shakespeare are a real Catalanisation of this English playwright, without betraying at all his thought, but making it suitable for our country's scenery. That is what the analysed fragments show, specially the difficult version of Mistress Mine from the Magi's Night. A perfect fluency in Catalan, both in prose and verse, has been the tool which has enabled Sagarra to carry out his task with absolute guarantee of success, and so has been proved by the performance of any of his versions of Shakespeare.</p>...
Una frustració: la proposició de Llei de Teatre
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 23
Open Access
<p>Since 1975 there have been several bills that tried to get a legal framework where the dramatic activity could be inserted. Finally, 26th. March 1982, the Partit Socialista Unificat de Catalunya (communist) presented to the Parliament a Bill which, 13th. May, was rejected by 62 votes against (Convergencia i Unió, Esquerra Republicana de Catalunya and Centristes de Catalunya-UCD) and 54 votes for (PSUC and socialists). Estudis Escenics publishes a dossier about this question made by Jordi Teixidor, well-known playwright who took part directly in the writing of the Bjll. Then we publish wholly the Bill's articulate and a summary of the parliamentary debate, where the spokesman of every political party tells the reasons for his voting for or against. Jordi Teixidor comments on every contribution on the debate and infers that the government of the Generalitat does not want any Law of Drama, but it prefers to rule by decree, and that is a characteristic of the right. A Law of Drama means to have fixed some middle or longterm aims, whereas till now the dramatic policy of the Conselleria has not even been defined and, in oder to control drama, it prefers to play the part of Maecenas.</p>...
Fenomenologia i semiòtica del teatre
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 23
Open Access
<p>This article attempts to show that Ch. S. Peirce's phenomenology and semiotics can help in approaching in scientific terms the theory of drama (and more generally speaking of entertainment), thus providing an answer to ...
Escenificar Labiche. Elogi de l’apart
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 23
Open Access
<p>The relations between form and philosophy, between dramatic structure and world's conception are the purpose of this article based on two experiences of staging Labiche. J. M. emphasizes the central part played, in the ...
Futur de l’espectador davant l’espectacle
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 23
Open Access
<p>Cinema, drama and television are languages composed of some groups of signs, and we will only be able to know the specific character of each entertainment if before we can define them separately. Between drama and cinema, ...