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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>...
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 ...
És possible reproduir el nas de Cleópatra?
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Acceso abierto
<p>Theatre has often wondered if it is possible to reproduce history. Shakespeare, Schiller and Victor Hugo tried to achieve this purpose and, from another point of view, · on November the 7th 1920, six thousand actors commemorated the October Revolution. In Catalonia, the following plays represented recent landmarks of the review of history through theatre: Capmany and Romeu's Layret, Jordi Teixidor's Rebombori-2, Alfred Badia's Una croada, etc. Historical theatre is still able to exert the triple function that Shakespeare expected from it: its being productive, at the same time, from the economic, artistic and politic point of view. Lunatcharski, when explaining the reasons why he wrote his 86 Olivier Cromwell, asserted: «What interested me was —the question of the leader's psychology and, mainly, that of a revolutionary leader.» The third basic level of analysis of historical theatre is the one which causes most problems of, Iet us say, epistemological kind. Performing history on the stage means the possibility of making real the tunnel of time. The improvement of scenic technology also gives us the possibility of the deceit based on the illusion of the past: Belasco in The Girl of the Golden West spent three months in reproducing a «Californian» sunset. Historical cinema from Hollywood employed similar proceedings to the Romantics. Nontheless, theatre is not the reproduction of reality, but the creation of an unreal world useful to men's life. Brecht in Mother Courage does not deal with the Thirty Years War; he refers to one of the most serious problems which concerned his contemporaries. This does not mean at all that the playwright and bis collaborators neglect the historical strictness or the scientific knowledge of the past.</p>...
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>...
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 ...
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 ...
Xavier Portabella , amic, advocat i astróleg
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Acceso abierto
<p>During the 40's the Catalan theatrical life was restrained, for —till 1946— the censorship did not allow any performance in catalan. In spite of this, secret activities, such as H those taking place in the studio of the painter Xavier Portabella, activities which have not been reported till today, were carried out. Xavier Portabella was acquainted with the theatrical circle of the pre-war period; his studio was roomy and many people used to gather there far conversation. The painter's friends could go to these meetings freely and many of them even had the key of his apartment. Since he belonged to that social circle, Portabella was persuaded to write a play, El caragol i la corbata, from which we publish a passage, preceded by an evocation from his friend Terri.</p>...