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Lucas Fernández: una retòrica afectiva per a la passió
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Open Access
«Performance»: una visió actual nord-americana
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p>RoseLee Goldberg's book Performance; Live Art 1909 to the Present, published in 1979 indicated in its closing chapter that performance art was moving more and more into the realm of entertaintment, using forms such as cabaret, television sitcoms and rock n'roll as the basis for new work, away from the more esoteric and often paradoxical work of the seventies, with its insistence on ideas over product, and concept over commonly accepted professional execution. Indeed, as this extract from the update of Ms. Goldberg's book Performance (plublished in the fall of 1987) shows, her predictions for the eighties were remarkably accurate. The new generations have created a body of work that is obsessed with the popular media. Indeed, the old cry by artists to break clown the barriers between life and art has, in their work, meant the breakdown between art and the media, often referred to as one between High art and Low. Ms. Goldberg describes the theatrical and highly professional mood of eighties performance, concluding at the same time that performance, despite its popularisation by the media, despite art school curricula and dissertations, remains an open ended and unpredictable medium for artistic experimentation.</p>...
Els límits de la «performance» des de perspectives teatrals. Conversa amb Albert Vidal
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p>The performance is a new attitude of interpretation andadventure which asks from the audience a different reading, a very different reading from the one asked by a conventional performance or avant-garde. A reading which comes from the tragic bottom of the inner attitude of human beings where the interest of emotions and feelings are above individual protagonism. A perception which requires, on the art of the performer and the audience, sorne distance. That is Albert Vidal's strictly personal point of view, a Catalan creator who, in a corversation about the limits of the performance from a theatrical viewpoint, explains his conception of the performance as the key to contemporary reading, the commitment of the artist of the future and the role of the audience in it. Albert Vidal's background is full of complete personal creations which come from the mime and progressively break with the conventional theatrical relationship in arder to bring theatrical languages to the limits of their imaginary conventions, those involving them in an integral play with perception. L'aperitiu, Cos, Pare Antropològic, Home Urbà, El venedor de gelats and the recent Exposició viva de 40 personatges, where he does not act, are his most famous productions, sorne of which have been widely diffused in several countries.</p>...
La «performance»: de les accions inicials als multimèdia dels vuitanta
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1988, Núm. 29
Open Access
<p>This text deals with a wide view, from the first gestures made by such artists as Marcel Duchamp, Piero Manzoni or Yves Klein till the performance of the end of the seventies and beginning of the eighties, entirely multimedia. Through that period, the incidence of FLUXUS and the happenings was very important for the consolidation of the performance of the end of that decade.</p>
<p>Conceptual art and one of its branches, body art, allowed the artist to think of himself as his own work of art. His body became another element of his artistic practice. Such names as Vito Acconci, Bruce Nauman, Arnulf Rainer and Klaus Rinke, among others, are exemples of it. Groups similar to the Viennese actionims appeared simultaneously. They, together with such artists as Gina Pane, Chris Burden, etc., devoted themselves to the search for physical limits.</p>
<p>The trip to introspection of Marina Abramovic and Ulay and the transformism of Urs Liithi, Manon, etc., were other possible trends together with the diverse use of such means as video, music, dance, theatre, etc. From that conjoction of interests was born the multimedia performance of the eighties, considered to be a possible «total work of art».</p>...
<p><span style="font-weight: 400;">Este texto recoge una amplia panorámica que se extiende desde los primeros gestos realizados por artistas como Marcel Duchamp, Piero Manzoni o Yves Klein hasta la performance de finales de los setenta y principios de los ochenta, ya totalmente multimedia. A lo largo de este recorrido, la incidencia del grupo FLUXUS y los </span><span style="font-weight: 400;">happenings</span><span style="font-weight: 400;"> de los años sesenta desempeñaron un papel muy importante en la consolidación de la performance de finales de esta misma década.</span></p> <p><span style="font-weight: 400;">El arte conceptual y una de sus ramificaciones, el </span><span style="font-weight: 400;">body art</span><span style="font-weight: 400;"> o arte corporal, permitieron que el artista se considerase a sí mismo como su propia obra de arte. Su cuerpo se convertía en un elemento más de su práctica artística. Así surgieron nombres como Vito Acconci, Bruce Nauman, Arnulf Rainer y Klaus Rinke, entre otros. Paralelamente se definieron ciertos grupos afines, como el del accionismo vienés que, junto con otros artistas como Gina Pane, Chris Burden, etc. se dedicaron a la búsqueda de los límites físicos.</span></p> <p><span style="font-weight: 400;">El viaje a la introspección de Marina Abramovic i Ulay o el transformismo de Urs Lüthi, Manon, etc. fueron otras posibles vías junto con la diversidad en el uso de medios como el vídeo, la música, la danza, el teatro, etc. De esta conjunción de intereses nace la performance multimedia de los ochenta, considerada como una posible «obra de arte total».</span></p>...
<p><span style="font-weight: 400;">Aquest text recull una àmplia panoràmica que s’expandeix des dels primers gestos realitzats per artistes com Marcel Duchamp, Piero Manzoni o Yves Klein fins la performance de finals dels setanta i principis dels vuitanta, ja totalment multimèdia. Al llarg d’aquest recorregut, la incidència del grup FLUXUS i els </span><span style="font-weight: 400;">happenings</span><span style="font-weight: 400;"> dels anys setanta varen jugar un paper molt important en la consolidació de la performance de finals d’aquesta mateixa dècada.</span></p> <p><span style="font-weight: 400;">L’art conceptual y una de les seves ramificacions, el </span><span style="font-weight: 400;">body art</span><span style="font-weight: 400;"> o art corporal, varen permetre que l’artista es considerés a si mateix com la seva pròpia obra d’art. El seu cos es convertia en un element més de la seva pràctica artística. D’aquesta manera, varen sorgir noms com Vito Acconci, Bruce Nauman, Arnulf Rainer i, Klaus Rinke, entre altres. Paral·lelament, es varen definir certs grups anàlegs, com el de l’accionisme vienès que, juntament amb altres artistes com ara Gina Pane, Chris Burden, etc. varen dedicar-se a la recerca dels límits físics.</span></p> <p><span style="font-weight: 400;">El viatge a la introspecció de Marina Abramovic i Ulay o el transformisme d’Urs Lüthi, en Manon, etc. varen ser altres possibles vies, juntament amb la diversitat en l’ús de mitjans com el vídeo, la música, la dansa, el teatre, etc. D’aquesta conjunció d’interessos neix la performance multimèdia dels vuitanta, considerada com una possible «obra d’art total».</span></p>...
<p><span style="font-weight: 400;">Este texto recoge una amplia panorámica que se extiende desde los primeros gestos realizados por artistas como Marcel Duchamp, Piero Manzoni o Yves Klein hasta la performance de finales de los setenta y principios de los ochenta, ya totalmente multimedia. A lo largo de este recorrido, la incidencia del grupo FLUXUS y los </span><span style="font-weight: 400;">happenings</span><span style="font-weight: 400;"> de los años sesenta desempeñaron un papel muy importante en la consolidación de la performance de finales de esta misma década.</span></p> <p><span style="font-weight: 400;">El arte conceptual y una de sus ramificaciones, el </span><span style="font-weight: 400;">body art</span><span style="font-weight: 400;"> o arte corporal, permitieron que el artista se considerase a sí mismo como su propia obra de arte. Su cuerpo se convertía en un elemento más de su práctica artística. Así surgieron nombres como Vito Acconci, Bruce Nauman, Arnulf Rainer y Klaus Rinke, entre otros. Paralelamente se definieron ciertos grupos afines, como el del accionismo vienés que, junto con otros artistas como Gina Pane, Chris Burden, etc. se dedicaron a la búsqueda de los límites físicos.</span></p> <p><span style="font-weight: 400;">El viaje a la introspección de Marina Abramovic i Ulay o el transformismo de Urs Lüthi, Manon, etc. fueron otras posibles vías junto con la diversidad en el uso de medios como el vídeo, la música, la danza, el teatro, etc. De esta conjunción de intereses nace la performance multimedia de los ochenta, considerada como una posible «obra de arte total».</span></p>...
<p><span style="font-weight: 400;">Aquest text recull una àmplia panoràmica que s’expandeix des dels primers gestos realitzats per artistes com Marcel Duchamp, Piero Manzoni o Yves Klein fins la performance de finals dels setanta i principis dels vuitanta, ja totalment multimèdia. Al llarg d’aquest recorregut, la incidència del grup FLUXUS i els </span><span style="font-weight: 400;">happenings</span><span style="font-weight: 400;"> dels anys setanta varen jugar un paper molt important en la consolidació de la performance de finals d’aquesta mateixa dècada.</span></p> <p><span style="font-weight: 400;">L’art conceptual y una de les seves ramificacions, el </span><span style="font-weight: 400;">body art</span><span style="font-weight: 400;"> o art corporal, varen permetre que l’artista es considerés a si mateix com la seva pròpia obra d’art. El seu cos es convertia en un element més de la seva pràctica artística. D’aquesta manera, varen sorgir noms com Vito Acconci, Bruce Nauman, Arnulf Rainer i, Klaus Rinke, entre altres. Paral·lelament, es varen definir certs grups anàlegs, com el de l’accionisme vienès que, juntament amb altres artistes com ara Gina Pane, Chris Burden, etc. varen dedicar-se a la recerca dels límits físics.</span></p> <p><span style="font-weight: 400;">El viatge a la introspecció de Marina Abramovic i Ulay o el transformisme d’Urs Lüthi, en Manon, etc. varen ser altres possibles vies, juntament amb la diversitat en l’ús de mitjans com el vídeo, la música, la dansa, el teatre, etc. D’aquesta conjunció d’interessos neix la performance multimèdia dels vuitanta, considerada com una possible «obra d’art total».</span></p>...
Pompeu Fabra, traductor teatral
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Open Access
Addenda
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Open Access
<p>I cannot talk about history out of modesty. Either an admissible experience or a foolishness La Pipironda has got from 1959 till 1966 a stable staff. I have not been the only producer: Florenci Clavé has also produced ...
El dispositivo y la programación del acontecer: para una arquitectura de la participación
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2021, Núm. 46
Open Access
<p>En el contexto teatral europeo contemporáneo, la implicación del espectador como parte integral y decisiva de la realización escénica es una pràctica muy extendida, capaz de redefinir las teorías y las praxis del lenguaje teatral. La contribución material del espectador forma parte intrínseca a la escritura escénica, algunas veces en calidad de co-creador con los actores, otras veces como único creador y protagonista en el escenario.</p>
<p>El siguiente artículo propone una reflexión sobre el concepto y el rol del dispositivo en los espectáculos destinados a la fruición únicamente de los espectadores. El dispositivo, entendido en la concepción de Michel Foucault como —«cruce de relaciones de poder y de saber»— (Agamben, 2006: 7), cambia la escritura dramatúrgica tradicional: el dispositivo prevé la introducción de la actividad de programación en el ámbito escénico. Por consiguiente, el dispositivo constituye la dramaturgia del acontecimiento escénico, con la previsión y la organización del acontecer en cada fase, conciliándolo con la acción del espectador. Utilizando algunos dispositivos tecnológicos (tableta, auriculares, mandos, etc.), el espectador sigue las instrucciones y las preguntas, contribuyendo de esta forma a la realización escénica. En función de las formas del dispositivo, cambia la modalidad de inclusión del espectador en las dinámicas participativas programadas. En algunos casos la forma asumida por el diseño dramatúrgico es la de un complejo diseño con la construcción de una poética sensorial, espacial y del imaginario o con la reescritura de la realidad; en otros, la de la red que origina una arquitectura de la experiencia vivida por el espectador, único protagonista en el escenario.</p>
<p>A partir de estas reflexiones, se examinarán diferentes paradigmas participativos, para analizar cómo estas prevén modalidades específicas de relación: entre el espectador y la performance participativa; entre los espectadores; y entre el espectador consigo mismo. De cada tipología se mostrarán ejemplos específicos, que permitirán establecer una mirada extensa a los lenguajes propios de la participación y a las mutaciones que esta implica en los códigos lingüísticos teatrales.</p>...
<p>In the contemporary European theatre context, the involvement of the spectator as an integral and decisive part of the scenic realisation is a widespread practice, capable of redefining the theories and praxes of theatre language. The material contribution of the spectator is an intrinsic part of the scenic writing, sometimes as co-creator with the actors or as the sole creator and protagonist on stage.</p> <p>This article reflects on the concept and role of the apparatus in productions exclusively aimed at the pleasure of the spectators. The apparatus, understood following Michel Foucault, as a “set of strategies of the relations of forces supporting, and supported by, certain types of knowledge” (Agamben, 2009: 2), changes traditional playwriting: the apparatus provides for the introduction of the programming activity in theatre. Consequently, the apparatus is the dramaturgy of the scenic event, with the provision and organisation of the event in each phase, reconciling it with the action of the spectator. Using some technological devices (tablet, headphones, remote controls, etc.), the spectator follows the instructions and questions, thereby contributing to the scenic realisation. Depending on the forms of the apparatus, it changes how the spectator is included in the participatory dynamics programmed. In some cases, the form assumed by the dramaturgical concept is that of a complex design with the construction of a sensory, spatial poetics or of the imaginary or by re-writing reality; in others, it is the net, which originates an architecture of the experience lived by the spectator, the sole protagonist on stage.<strong> </strong></p> <p>Based on these reflections, we will explore different participatory paradigms in order to analyse how these provide for specific modes of relationship: between the spectator and the participatory performance; between the spectators; and between the spectator and him or herself. We will provide specific examples of each typology, which will enable us to establish a broad vision of the languages characteristic of participation and of the mutations that it involves in the theatrical linguistic codes.</p>...
<p>In the contemporary European theatre context, the involvement of the spectator as an integral and decisive part of the scenic realisation is a widespread practice, capable of redefining the theories and praxes of theatre language. The material contribution of the spectator is an intrinsic part of the scenic writing, sometimes as co-creator with the actors or as the sole creator and protagonist on stage.</p> <p>This article reflects on the concept and role of the apparatus in productions exclusively aimed at the pleasure of the spectators. The apparatus, understood following Michel Foucault, as a “set of strategies of the relations of forces supporting, and supported by, certain types of knowledge” (Agamben, 2009: 2), changes traditional playwriting: the apparatus provides for the introduction of the programming activity in theatre. Consequently, the apparatus is the dramaturgy of the scenic event, with the provision and organisation of the event in each phase, reconciling it with the action of the spectator. Using some technological devices (tablet, headphones, remote controls, etc.), the spectator follows the instructions and questions, thereby contributing to the scenic realisation. Depending on the forms of the apparatus, it changes how the spectator is included in the participatory dynamics programmed. In some cases, the form assumed by the dramaturgical concept is that of a complex design with the construction of a sensory, spatial poetics or of the imaginary or by re-writing reality; in others, it is the net, which originates an architecture of the experience lived by the spectator, the sole protagonist on stage.<strong> </strong></p> <p>Based on these reflections, we will explore different participatory paradigms in order to analyse how these provide for specific modes of relationship: between the spectator and the participatory performance; between the spectators; and between the spectator and him or herself. We will provide specific examples of each typology, which will enable us to establish a broad vision of the languages characteristic of participation and of the mutations that it involves in the theatrical linguistic codes.</p>...
El joc de taula com a performance. Reflexions sobre el procés de creació d’«El candidato (o candidata)»
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2021, Núm. 46
Open Access
<p>A partir del procés de creació d’El candidato (o candidata), un espectacle basat en un joc de taula, em fixo en la performativitat inherent alsjocs i en com es pot traslladar al disseny d’un dispositiu escènic.</p>
<p>Tot partint d’Eiermann i Fischer-Lichte, exploro les similituds entre joc i realització escènica, i proposo aplicar el concepte de dispositiu a la comprensió de l’esdevenir teatral. Entendre una realització escènica com a dispositiu ens permet analitzar-la com un conjunt de relacions de poder entre participants, sense cap distinció a priori entre actants i espectadors*. Subratllo la dimensió tecnològica del dispositiu tal com el presenta Agamben, on les normes tenen alhora la funció de restringir i potenciar la llibertat dels participants. Aquesta dinàmica s’exemplifica paradigmàticament en la tensió dialèctica entre normes i incertesa que trobem en els jocs.</p>
<p>En resseguir les implicacions polítiques que se’n desprenen, aprofundeixo en una sèrie d’aspectes característics dels formats artístics participatius. Proposo una distinció entre un punt de vista representatiu i un de performatiu, així com entre game i play, i recolzo sobre el binomi formulat per Rancière entre política i policia per analitzar les relacions de poder en joc dins un espectacle, i detectar si els seus components lúdics s’utilitzen per generar espais de llibertat o per desplegar resultats pre-programats. A més de basar-me en la meva pràctica, comento peces de Rirkrit Tiravanija, Rimini Protokoll, LIGNA, Kate McIntosh i Mónica Rikić per exemplificar diferents graus d’agència dels espectadors.</p>...
<p>Drawing on the creative process of the El candidato (o candidata), a piece based on a board game, I focus on the performativity inherent in games and how it can be transferred to the design of a performance device.</p> <p>Through Eiermann and Fischer-Lichte, I explore the similarities between game and scenic realisation, and propose applying the concept of device to the understanding of theatrical development. Understanding a scenic realisation as a device enables us to analyse it as a set of power relations between participants, without any a priori distinction between actants and spectators. I emphasise the technological dimension of the apparatus as presented by Agamben, where the rules have the function of both restricting and enhancing the freedom of participants. This dynamic is paradigmatically exemplified in the dialectical tension between rules and uncertainty that we find in games.</p> <p>In tracing the political implications, I explore a number of aspects that are characteristic of participatory artistic formats. I propose a distinction between a representative and a performative point of view, as well as between game and play, and I rely on the binomial formulated by Rancière between politics and police to analyse the power relations at stake in a performance, and detect whether their ludic components are used to create spaces of freedom or to deploy pre-programmed results. In addition to drawing on my practice, I comment on pieces by Rirkrit Tiravanija, Rimini Protokoll, LIGNA, Kate McIntosh, and Mónica Rikić to exemplify different degrees of audience agency. </p>...
<p>Drawing on the creative process of the El candidato (o candidata), a piece based on a board game, I focus on the performativity inherent in games and how it can be transferred to the design of a performance device.</p> <p>Through Eiermann and Fischer-Lichte, I explore the similarities between game and scenic realisation, and propose applying the concept of device to the understanding of theatrical development. Understanding a scenic realisation as a device enables us to analyse it as a set of power relations between participants, without any a priori distinction between actants and spectators. I emphasise the technological dimension of the apparatus as presented by Agamben, where the rules have the function of both restricting and enhancing the freedom of participants. This dynamic is paradigmatically exemplified in the dialectical tension between rules and uncertainty that we find in games.</p> <p>In tracing the political implications, I explore a number of aspects that are characteristic of participatory artistic formats. I propose a distinction between a representative and a performative point of view, as well as between game and play, and I rely on the binomial formulated by Rancière between politics and police to analyse the power relations at stake in a performance, and detect whether their ludic components are used to create spaces of freedom or to deploy pre-programmed results. In addition to drawing on my practice, I comment on pieces by Rirkrit Tiravanija, Rimini Protokoll, LIGNA, Kate McIntosh, and Mónica Rikić to exemplify different degrees of audience agency. </p>...
El concepto de "lo real" en el teatro documento: «Fiesta, Fiesta, Fiesta», de Lucía Miranda
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2021, Núm. 46
Open Access
<p>Fiesta, fiesta, fiesta de la compañía The Cross Border Project, con dramaturgia y dirección de Lucía Miranda, es una creación generada con la técnica teatral verbatim. El texto dramático y la escenificación se basan en entrevistas a profesores, personal no docente, padres y alumnos de un Instituto de Secundaria. Esta obra se enmarca en un fenómeno, propio del teatro documento, que ha tenido una presencia significativa en la cartelera española 2019/2020: el uso de lo real en la escena. En este artículo pretendemos analizar este concepto y su uso como estrategia escénica, ya que condiciona la emotividad en la recepción para un fin superior: desvelar la problemática que se vive en la educación secundaria en España y promover la concienciación ciudadana ante ella.</p>...
<p>From The Cross Border Project company, Fiesta, Fiesta, Fiesta, written and directed by Lucía Miranda, is an artwork created using verbatim theatre techniques. The dramatic text and staging are based on interviews with teachers, non-teaching staff, mothers and stu-dents of a secondary school. This work is part of a phenomenon that had a significant presence in Spanish plays during 2019-2020 season: the use of “the real” on stage. This article focuses on analysing Miranda’s work through this concept and its use as a theatri-cal strategy, given its influence on emotive reception, with a higher purpose: to reveal the structural discriminations and difficulties experienced in secondary education in Spain and promote citizen awareness. In our methodology we mix theories on contemporary political sociology around the real and documentary theatre, as well as theory about the analysis of the creative process and of productions.</p>...
<p>From The Cross Border Project company, Fiesta, Fiesta, Fiesta, written and directed by Lucía Miranda, is an artwork created using verbatim theatre techniques. The dramatic text and staging are based on interviews with teachers, non-teaching staff, mothers and stu-dents of a secondary school. This work is part of a phenomenon that had a significant presence in Spanish plays during 2019-2020 season: the use of “the real” on stage. This article focuses on analysing Miranda’s work through this concept and its use as a theatri-cal strategy, given its influence on emotive reception, with a higher purpose: to reveal the structural discriminations and difficulties experienced in secondary education in Spain and promote citizen awareness. In our methodology we mix theories on contemporary political sociology around the real and documentary theatre, as well as theory about the analysis of the creative process and of productions.</p>...
jugar amb els dispositius de parlar - la utopia d’una entesa
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2021, Núm. 46
Open Access
<p>Tal com afirma Michel Foucault, els elements del teatre han sigut analitzats els darrers anys, cada vegada més, com a dispositius. El concepte de dispositiu apunta a l'anàlisi de les relacions de poder en forma de ...
Estratègies artístiques d’una multitud comuna: la dansa des de la perspectiva d’Antonio Negri
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2021, Núm. 46
Open Access
<p>Aquest article explora la relació entre la dansa contemporània i la teoria artística d’Antonio Negri, una relació des de la qual es reconeix la convergència entre dansa i política. L’anàlisi política en la dansa és un ...
El museo vivo: del mausoleo al parque temático
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2021, Núm. 46
Open Access
<p>Este artículo aborda la creciente aceptación del marco cultural de las artes vivas en los museos de arte contemporáneo a través del paradigma del museo vivo. Una tendencia que se ha generalizado durante la última década a través de exposiciones que incorporan la performance y la coreografía a la cartera de exposiciones temporales y actividades paralelas de muchas instituciones artísticas. La inmaterialidad, la temporalidad y la interacción directa con la audiencia de estas propuestas dibujan nuevas estrategias comisariales que cuestionan el medio espacial de la exposición, la lógica objetual de la obra artística y el estatuto del archivo como documento de la historia, situando el cuerpo y la acción en vivo en el centro del metabolismo expositivo.</p>
<p>Tomando como punto de partida estas exposiciones, el artículo reflexiona sobre la trama de mediaciones e inter(medi)aciones que han hecho saltar la economía mortuoria del museo vinculada a la función rememorativa del mausoleo, hacia una vindicación celebratoria de la vivencia asociada a la figura recreativa del parque temático. Para recorrer este accidente del paisaje tardomoderno se plantea una aproximación a la performatividad de las exposiciones de live art que combina una lectura topológica sobre las domiciliaciones del museo, con una lectura biopolítica y performativa que aborda las relaciones que tensan el medio de la exposición con el régimen experiencial y cognitivo del neoliberalismo global.</p>...
Els pipirondos. Tot allò que recordo del grup teatral La Pipironda.
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1986, Núm. 28
Open Access
<p>The “pipirondos” group has been quite great in number. We used to perform at the bars of some districts. Nobody has ever got away from playing a part; I have played the part of El Candel in La batalla del Verdún by Jose M. Rodríguez Méndez. La Pipironda, under the direction of Àngel Carmona, never dies. Its beginning goes back to 1957 with the creation of the Teatro Popular de Sala y Alcoba, by Àngel Carmona and Florenci Clave, and the meetings which some friends used to held at various bars in Barcelona once a week. A printed sheet called «La Pipironda» began also to be published. In its first phase the group’s repertory consisted of La estratosfera by Pedro Salinas, Navidad by Gregorio Martínez Sierra, El mestre de minyons by Feliu i Codina and the Auto de la donosa tabernera by Jose M. Rodríguez Méndez; this last play has been performed more thana thousand times. From 1959 till 1967 the group is in its fullest swing. In 1961 they go on tour to Vitoria, Baracaldo, Mieres, Oviedo, etc. Àngel Carmona is still alone and in1980 he takes up again the theatre with a King Lear at the Cafe Central in Girona street. Afterwards there have followed Lysistrata and Amor de Don Perlimplin con Belisaen su jardín. If I had money I would become a Maecenas and would say to Àngel Carmona: take up the theatre, only the theatre, as you like, don’t do anything else.</p>...
Xavier Fàbregas, dades bibliogràfiques
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Xavier Fàbregas, investigació i acció
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
La sensibilitat de la passió
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Record d'en Xavier
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Xavier Fàbregas i la universitat de Toulouse-Le Mirail
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Un català amb perspectives universalistes
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
Xavier, l'excepció
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Estudis escènics: quaderns de l'Institut del Teatre. 1989, Núm. 30
Open Access
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
El Principal de València i les representacions teatrals en valencià durant el segle XIX
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 24
Open Access
<p>The Principal Theatre was inaugurated in 1832 and soon became a meeting-place of the new Valencian bourgeoisie. Around it, other establishments appeared which opened their doors to a less select public: among others ...
El «Musiktheater»: la ópera como espectáculo
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
«En attendant Godot»: communication ou incommunication? Une étude du langage de Beckett...
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
«Laura i la Ciutat dels Sants»: realitat i ficció
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
«Laura a la Ciutat dels Sants»: el pas d'una novel·la a una obra de teatre .
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
Miquel Llor. Cronologia
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
Bibliografia
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
Laura a la Ciutat dels Sants [dramatúrgia]
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
Dues trobades amb «L'avi».
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 18
Open Access
La Fédération Internationale pour la Recherche Théátrale; Olegario Junyent, o la sensibilidad constructiva, por Guillermo Díaz-Plaja; La mujer vestida de hombre en el teatro español, por Bartolomé Olsina
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1957, Núm. 1
Open Access
Paisatge amb variacions de l'escenografia francesa
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<p>The distrust of the theatre in the Italian manner has been followed by its revaluation; this coincides with a revival of the interest in image and distance to the detriment of the search for contact and intimacy with the audience. However, the return to the theatre in the Italian manner does not correspond with the disappearance of works about non-theatrical spaces. Image and theatre only prevail over contact and place. Priorities have changed. The experiences of Arianne Mnouchkine at the Cartoucherie, and those of André Engel and Nicky Rieti, who look for new spaces for each performance, reveal this trend. Other directors, such as Roger Planchan and Jean-Pierre Vincent, have addressed painters of the «new figuration» for their scenographies. Patrice Chéreau and Richard Peduzzi have prefered the «utopian architectures » recreating places that upset for their ambiguity although they seem familiar. For Peter Brook, on the contrary, architecture becomes scenography. Antaine Vitez and Yannis Kokkos reconstruct the «state of theatre» as it were a «state of mind». In the French scenography there is a confrontation between these two ways: the true and the false. The return to the use of the curtain is symptomatic of the return to the image of theatre created by the passing of time: a theatre of imagination and secrecy, a theatre of distance and nota theatre of proximity.</p>...
La Sátira del «bel canto» en el sainete inédito de don Ramón de la Cruz; «El italiano fingido».
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1964, Núm. 10
Open Access
Notas para el centenario de Lope de Vega
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Estudis escènics: quaderns de l'Institut del Teatre. 1963, Núm. 9
Open Access
Teatro hispánico del período románico
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Estudis escènics: quaderns de l'Institut del Teatre. 1963, Núm. 9
Open Access
Los antiguos corrales de España
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Estudis escènics: quaderns de l'Institut del Teatre. 1965, Núm. 11
Open Access
Strindberg en España
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Estudis escènics: quaderns de l'Institut del Teatre. 1963, Núm. 9
Open Access
Perfil del teatro romántico español
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Estudis escènics: quaderns de l'Institut del Teatre. 1963, Núm. 8
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>...