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Reflexions sobre el fenomen de la «performance»
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Accés obert
<p>lt has always been difficult to define the performance, just because of its character, its originality and its interest: multiplicity, mobility and polymorphy. So, we could say that it is rather a kind of spirit related to a precise period than a kind of artistic work. One of the most suitable ways of analyzing that phenomenon from a personal point of view is approaching it personally, contacting directly the main protagonists of the accionist movements during the seventies.</p>
<p>After an analysis of the different key moments of the development of the performance, concerning the dates and the geographical locations, it is necessary to look over its close ties with theatre, which will give rise to such artists as Hermano Nitsch, whose activity is characterized by the absence of aspecific support. Nevertheless, there is one point where performance detaches itself from theatre: in the perfomance is the artist himself who puts in show. It is necessary to eliminate, both in theatre and painting or sculpture, all that means a return to the matter, to the technical skill. The means is the artist who devotes himself in public to a real act, neither simulated nor dramatized, notas an actor but as person who acts.</p>...
Fluxus & Zaj
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Accés obert
<p><span style="font-weight: 400;">Aquest text presenta els moments més actius del grup FLUXUS durant la primera meitat dels anys seixanta. Després de fer un repàs dels noms més significatius, les actituds, els manifests ...
L’escena litigiosa de l’emancipació: una anàlisi política de la dissensió a «Mouthpiece» (2018), de Kieran Hurley
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2021, Núm. 46
Accés obert
<p>Quins són els mecanismes de poder subjacents en la transmissió d’un relat concret? ¿Sota quins paràmetres pot l’espai teatral esdevenir un locus de contestació d’aquest règim d’intel·ligibilitat, o bé un dispositiu de cooptació institucional? Partint del concepte de dispositiu de Giorgio Agamben i de la seva vinculació amb la noció d’allò polític de Jacques Rancière, aquest assaig es proposa d’indagar en el potencial emancipador de les estratègies dramatúrgiques que, en lloc d’estructurar la representació en una diegesi tancada, l’obren a la possibilitat del seu desajustament.</p>...
<p>Which power mechanisms underlie the process of a story’s transmission? Under which parameters can the theatrical space become a locus of contestation of a concrete regime of intelligibility, or rather a device of institutional cooptation? Departing from Giorgio Agamben’s concept of the apparatus, I will use Jacques Rancière’s concept of the political to explore the emancipatory potential of dramaturgical strategies which, rather than structuring the performance in a closed diegesis, crack it open to the possibility of its disruption.</p>...
<p>Which power mechanisms underlie the process of a story’s transmission? Under which parameters can the theatrical space become a locus of contestation of a concrete regime of intelligibility, or rather a device of institutional cooptation? Departing from Giorgio Agamben’s concept of the apparatus, I will use Jacques Rancière’s concept of the political to explore the emancipatory potential of dramaturgical strategies which, rather than structuring the performance in a closed diegesis, crack it open to the possibility of its disruption.</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
Accés obert
<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>...
La ciutat com a escenari a Rimini Protokoll: una conversa amb Helgard Haug
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2019, Núm. 44
Accés obert
<p>El matí de la seva intervenció en el simposi «Teatre i Ciutat» celebrat a Barcelona, la directora i autora Helgard Haug, fundadora de Rimini Protokoll, va rebre l’Observatori d’espais escènics UPC-ETSAB a l’Institut del ...