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Bibliografia Teatral Catalana, 1982-1983
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 26
Acceso abierto
De l'agregació al conveni: vint-i-cinc anys de relacions entre teatres francòfons i poders públics belgues
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 26
Acceso abierto
<p>The idea of regularly subsidising companies of dramatic art goes back to the years following the Liberation. The arrangement that was applied until recently, however, originated from two decrees of 9th October, 1957. ...
El «happening», un intent de definició
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 26
Acceso abierto
<p>The happening is a type of entertainment which was born in the United States and which is closely related to the avantgarde. In fact it attempts to extend the notion of theatre to every manifestation of life, as defined ...
Entrevista amb Peter Stein
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 26
Acceso abierto
<p>Peter Stein has been at the forefront of a team of actors, playwrights and theatrical designers for more than a decade, and he has converted the Schaubühne into one of the most important theatrical initiatives in Europe. ...
Informe sobre política teatral del Departament de Cultura de la Generalitat
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Acceso abierto
<p>The Departament de Cultura (Culture Department) of the Generalitat de Catalunya issued at the end of 1984 a long document summarizing the present situation of theatre and pointing out the lines of immediate action. In ...
La via del refús
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Acceso abierto
<p>In 1938, in Moscow, the 40th anniversary of Stanislavski's Theatre of Art was celebrated. Today, we can see in Stanislavski's attitude the example of how to behave before a prime secretary or army men regardless of their ...
La vida dels objectes
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Acceso abierto
<p>The human being maintains a specially intense relationship with everything concerning time and space. The natural surrounding as well as the inanimated universe which surround him are perfect mute interlocutors, cause and effect of a great part of his activity. The structural and functional complexity of the environment has in its theatrical reproduction almost the same importance as human behaviour.</p>
<p>Theatrical practice has traditionally created guild divisions between setting, atrezzo and tools, corresponding to more or less systematical groups of objects, according to their size and function, within a technical judgment which, during the performance, separates the objects introduced by the characters themselves from those placed on the stage by other means. It could be said that this mechanical tradition arisen from the practice is better, in some of its systematization aspects, than many present theories about objects.</p>
<p>This work, under six epigraphs —«The Surrounding: from the Social Context to the Scenic Context», «Scenic Function of Objets», «Recognition of the Dramatic Role of Objects», «The Private Object», «The Aleatory Sign» and «Scenic Obligations»—, examines dramatically the representation of the social surrounding, according to the different scenic functions of objects and proposes a scheme of the working of the dramatic role of objects, from the study of the influence of personal accessories on the dramatic action in five recent Catalan adaptations for the stage: Guimerà's Maria Rosa, staged by John Strasberg; Brossa's Cavall al fans, staged by Jordi Mesalles; Genet's El balcó, staged by Lluís Pasqual; Labiche's El més feliç dels tres and Wilde's La importància de ser Franc, both staged by Jaume Melendres.</p>...
Paisatge amb variacions de l'escenografia francesa
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Acceso abierto
<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>...
Producció i recepció en el teatre: La concretització del text dramàtic i espectacular
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 26
Acceso abierto
<p>A dialectic model applied as much to the aesthetic of production as to the aesthetic of reception is indispensable in dramatic theory, something with dramatic analysis clearly reveals. The (director's) dramatic analysis ...
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 ...