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El nucli d'Amsterdam durant els anys 1960-1986
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Accés obert
<p>That text is about the situation in Amsterdam from the sixties till nowadays, .emphasizing an essential point: the critic and constructive attitude of the artist towards society and the artistic world. The sixties stand ...
El personatge i el director d'escena en el trebgall amb els clàssics
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Accés obert
<p>The theatre cannot get free of its relationships with anthropology, semiology, psychoanalysis, audio-visuals, etc. The solution is not, despite the opinion of some producers, stagings which cost several millions of ...
Buscant les arrels
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Accés obert
<p>He would live in Barcelona and visit the districts occupied by marginal immigrants; then he would go over the districts of the autochthonous population. Madrid has not got such sharp contrats despite the great number of foreigners who live there (Negros, Chineses, etc.). Angel Carmona set up a small group of theatre called La Pipironda which at first was composed of non-Catalan people. Its first name was Teatro de Sala y Alcoba. Carmona would try to look for our roots and harmonize the fact of being native of Barcelona and Catalan with the Spanish traditionalism. We would refuse cosmopolitism as a compulsory model. I began to collaborate early with the Auto de la donosa tabernera. Politics would mixed up with the theatre and the police began to rush into the performances. I still wrote another play, La batalla del Verdún, on the occasion of the 5th anniversary of La Pipironda. On remembering those times, you are amazed to see that Carmona has vanished and the homage he deserves has never been rendered to him. The independent theatre has followed another way, that of the “internationalism”, which differs from the one we would support. Now we can see the results: the theatre is going through a bad period.</p>...
La bogeria de Jan Fabre. Un intent d'autòpsia
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Accés obert
<p>Jan Fabre's theatre is constructive, an unfinished and openended event or, rather, an accumulation of concurrences. Fabre believes in a theatre that by and through its own possibilities structures the imagination of the ...
Introducció a: «Jesús batejat per Sant Joan Baptista»
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Accés obert
«Performance»: una aproximació personal
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Accés obert
<p>Elisabeth Jappe was born in France, brought up in Holland and since her wedding she has lived in Germany. She objects both the frontiers between countries and the divisions in cultural fields. That explains her especial ...
El llenguatge d'Àngel Guimerà
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Accés obert
Una lloa profana, en català, de finals del segle XVII
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 25
Accés obert
<p>The playlet (lloa) is a minor genre, a sort of prologue to the main play. Its purpose is to prepare the audience and its aim is didactic. The lloa we publish here reached us in a mutilated state; it must have been about 800 lines long, which makes it quite a play considering the characteristics of the genre. Dialogue is a basic element and the actors address the audience after a musical overture. We know nothing about the work which followed. The lloa is a dispute around the central figure: Desire. The work was written in 1697 and is now in the Departamental Archive of Perpinyà.</p>...
Introducció
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Accés obert
La «Pasión» de Santa Juana de Castilla
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 18
Accés obert