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No ser Leonardo. Conversa amb Pep Duran
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1990, Núm. 31
Acceso abierto
Pep Duran sintetitza de forma molt representativa la confluència dels interessos purament plàstics amb els teatrals en un mateix impuls creatiu. Duran explica la seva experiència d'artista plàstic que assumeix, si convé, ...
El quadern de direcció d’«Otel·lo», de William Shakespeare, espeblert per Konstantin Stanislavski
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 22
Acceso abierto
<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
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1983, Núm. 22
Acceso abierto
<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>...
El trasllat de miralls (Consideracions sobre l'escenografia catalana dels vuitanta)
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1990, Núm. 31
Acceso abierto
Durant els anys seixanta i setanta sorgeix amb força a Catalunya una iniciativa encaminada a innovar la concepció general de l'espai i de l'estètica visual del teatre que segueix de prop l'evolució internacional. L'obra ...
Sis respostes de Peter Brook
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Acceso abierto
<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 ...