CAT   ES   ENG

Shows

Oklahoma

Oklahoma

Deixa una opinió
Oklahoma

Gemma Beltran / Dei Furbi- Oklahoma was released on the 19th of July at the Teatre Lliure - Espai Lliure being part of the schedule of the Grec Festival de Barcelona 2017 and SEASON IN BARCELONA, Teatre Akadèmia From the 20th of september to the 15th of october.

 

Critics said (fragments):

‘Talent, enginy, virtuosisme dramatúrgic i actoral i autenticitat.' 'La companyia Dei Furbi ens regala, tot celebrant el seu quinzè aniversari, un espectacle insòlit i que toca la genialitat.                                                                                                  ’Ferran Baile, RECOMANA 23/07/2017  

 

‘Un espectáculo tan inusual como inspirado que divierte a través de la reflexión escénica'. 'Un trabajo delicado y hábil y totalmente rotundo el éxito de inclusión multidisciplinar.’Fernando Solla, EN PLATEA 21/07/2017

"Anna Alborch, Robert González i Toni Vinyals, fan un treball acuradíssim de cada moviment i so que fan tan corporalment com auditivament, sense deixar perdre cap detall."Espectáculosbcn.com

 

 


Oklahoma

 

In 1927, three years after the writer's death, Amerika, an unfinished book by Kafka also known as The Man who Disappeared was published posthumously. In the last chapter, the protagonist sees an advertisement published by the Nature Theatre of Oklahoma, which proposes to hire anyone who wants to play him or herself on stage. It is the story of a theatre that is intended to be an allegory of the whole world, a world in which art might be the last hope. Now, Gemma Beltran and Dei Furbi reinterpret that story in a free version, fused with other fictional works by the author, such as The Trial, The Castle and The Metamorphosis, and with references to Lewis Carrol's Alice's Adventures in Wonderland and Six Characters in Search of an Author by Luigi Pirandello.

 

The play features three out-of-work actors, used to being excluded from the labour market, who hope to find work at the Nature Theatre of Oklahoma, and feel happy. However, will they really be able to act if everyone plays himself, and therefore, will it all be theatre? Pieces of music arranged to be performed a capella, a simple set made up of shadows, a large white background and ribbons that delimit the space envelop the actors, the stars of a theatre in which we are all observed and we are all exposed.

 

This is the new show by Gemma Beltran and Dei Furbi, a company with a long history that became famopus with its highly acclaimed and multi award-winning production of The Magic Flute but which has also produced pieces such as Trilogia MozArt, Asufre, Homes de Shakespeare, L'illa dels esclaus, Tocata i Fuga, Divertimento or Scherzo

 

ARTISTIC CREDITS 

 

Director: Gemma Beltran
Written by: Gemma Beltran, based on texts by F. Kafka, Lewis Carroll, Pirandello and Calderón de la Barca
Performed by: Toni Viñals, Robert González and Anna Alborch
Musical arrangements: Paco Viciana
Stage set: Ramon Ivars i Gemma Beltran
Movement during the laborastory: Moreno Bernandi
Wardrobe: Ramon Ivars i Gemma Beltran
Lighting design: David Bofarull
Photography: Sergi Garriga Riu
Assistant director: Boris Daussà
Stagehand: Estanis Aboal
Executive production: Cristina Ferrer/ Marta Riera

Fotografies
Download
Dossier CAT
Download
Dossier ES
Download
Llegir més
Trilogia de Mozart

Trilogia de Mozart

Deixa una opinió
Trilogia de Mozart

Dei Furbi Company, under the direction of Gemma Beltran, keeps on researching into the poetical, lyrical and visual performing language (always spiced up with a good dosis of humor). A combination of theatre and music based on the synthesis of the three operas that Mozart and Da Ponte created together.

A very free interpretation of the best-known trilogy in operatic history: The Marriage of FigaroDon Giovanni and Cosi fan tutte.

Dei Furbi Company, under the direction of Gemma Beltran, keeps on researching into the poetical, lyrical and visual performing language (always spiced up with a good dosis of humor). A combination of theatre and music based on the synthesis of the three operas that Mozart and Da Ponte created together.

This well-known trilogy was produced before the French Revolution with the same purpose: to make a criticism of the particular dehumanization caused by the use and abuse of the privileges of the aristocracy. In all these works, the female characters are regarded as an object in the broad sense : sexual, economic and legal.

"The constant practice of objectification of human beings transform those who inflict it in objects themselves….”

Around the story of this daring proposal rotate characters that move between the extremes of tragedy and comedy. From a playful look and under a comic appearance, they cross the trilogy representing the random fragility of human condition.

Trilogia MozArt -Così fan Dei Furbi, is the eighth show of the company that remains faithful to the simplicity of carnival, the charm and beauty of their simple human and technical resources and, above all, the perspective offered by a theatrical practice related to the tradition of the actor as central subject and object of the dramatic action.
 

Synopsis

An art gallery is the space in which the young characters of the opera Cosi fan tutte happily walk while admiring a piece of interactive art that resembles a giant skirt. These young lovers will split off when they fall into the trap that Don Alfonso, the gallery owner, prepares for them, demonstrating the fragility of their relationships.

The story continues through the interactive artwork that becomes inhabited by the opera Don Giovanni. As we all know, Don Giovanni runs away with his servant after raping Doña Anna and killing his father. Shortly after Doña Elvira, Zerlina and Masetto appear in a scenic game of “a play inside a play”: when we should have the celebration of the engagement of the peasants in the opera ‘Don Giovanni’, these peasants are presented as the show The Marriage of Figaro. The characters in the opera Don Giovanni represent their symmetrical characters in The Marriage of Figaro. Once the show is finished the peasants will go back to the world or Don Giovanni.

As the song sings ‘what comes around goes around’ and Don Giovanni will end up gobbled down by hell, in a hymn to life and freedom. 

Cosi fan tutte, prémiered on January 26th 1790
Mozart turned around the prejudices of the script to develop, under the trivial appearance of a comical look, a bitter allegory about the universal relativity of feelings.

The marriage of  Fígaro, opera premièred in 1786.
The marriage of Fígaro was the result of turning into an opera the comedy by Beaumarchais, a play with the reputation of being revolutionary and subversive. 

Don Giovanni, premièred in 1787 under request of the higher classes in Prague, with the clear purpose of dong a harsh criticism to the privileges of aristocracy.
 

Artistic Credits

Direction Gemma Beltran
Musical arrangements Paco Viciana
Singing Coaching David Costa and Armando Grebol
Lighting design David Bofarull
Scenic space and costum design Ramon Ivars and Gemma Beltran
Performers (5): Robert González, Marc Pujol, Queralt Albinyana, Anna Herebia and David Marcé
Covers: Toni Vinyals and Albert Mora.
Director’s Assistant Boris Daussà
Image Wave Cap
Photography Caroline Morel Fontaine
Costumes Elisa Echegaray and Anna Chwaliszewska
Coordination of the project and executive production Marta Riera and Maria Rovelló
Technician David Bofarull and Javier Muñoz
Production Baubo SCCL

With the collaboration of TEMPORADA ALTA, ATRIUM Viladecans, ICEC, NEUKÖLLNER OPER BERLIN.

Thank’s to  Associació d’Actors i Directors Professionals de Catalunya, Institut del Teatre de Barcelona,Teatral.net, Josep Maria Martí, Claudio Zulian, Alberto Fregenal, Mabel, Montse Guallar, Marta Figueras, Roger Julià, Dietrich Grosse, Oscar Merino, and Michel Fessler.

Llegir més
La Flauta Màgica

La Flauta Màgica

Deixa una opinió
La Flauta Màgica

Dei Furbi Company, under the direction of Gemma Beltran, keeps on researching into the poetical, lyrical and visual performing language (always spiced up with a good dosis of humor). A combination of theatre and music based on the synthesis of the three operas that Mozart and Da Ponte created together.

 

A very free interpretation of the best-known trilogy in operatic history: The Marriage of FigaroDon Giovanni and Cosi fan tutte.

 

Dei Furbi Company, under the direction of Gemma Beltran, keeps on researching into the poetical, lyrical and visual performing language (always spiced up with a good dosis of humor). A combination of theatre and music based on the synthesis of the three operas that Mozart and Da Ponte created together.

 

This well-known trilogy was produced before the French Revolution with the same purpose: to make a criticism of the particular dehumanization caused by the use and abuse of the privileges of the aristocracy. In all these works, the female characters are regarded as an object in the broad sense : sexual, economic and legal.

 

"The constant practice of objectification of human beings transform those who inflict it in objects themselves….”

Around the story of this daring proposal rotate characters that move between the extremes of tragedy and comedy. From a playful look and under a comic appearance, they cross the trilogy representing the random fragility of human condition.

 

Trilogia MozArt -Così fan Dei Furbi, is the eighth show of the company that remains faithful to the simplicity of carnival, the charm and beauty of their simple human and technical resources and, above all, the perspective offered by a theatrical practice related to the tradition of the actor as central subject and object of the dramatic action.
 

Synopsis

 

An art gallery is the space in which the young characters of the opera Cosi fan tutte happily walk while admiring a piece of interactive art that resembles a giant skirt. These young lovers will split off when they fall into the trap that Don Alfonso, the gallery owner, prepares for them, demonstrating the fragility of their relationships.

The story continues through the interactive artwork that becomes inhabited by the opera Don Giovanni. As we all know, Don Giovanni runs away with his servant after raping Doña Anna and killing his father. Shortly after Doña Elvira, Zerlina and Masetto appear in a scenic game of “a play inside a play”: when we should have the celebration of the engagement of the peasants in the opera ‘Don Giovanni’, these peasants are presented as the show The Marriage of Figaro. The characters in the opera Don Giovanni represent their symmetrical characters in The Marriage of Figaro. Once the show is finished the peasants will go back to the world or Don Giovanni.

As the song sings ‘what comes around goes around’ and Don Giovanni will end up gobbled down by hell, in a hymn to life and freedom. 

Cosi fan tutte, prémiered on January 26th 1790
Mozart turned around the prejudices of the script to develop, under the trivial appearance of a comical look, a bitter allegory about the universal relativity of feelings.

The marriage of  Fígaro, opera premièred in 1786.
The marriage of Fígaro was the result of turning into an opera the comedy by Beaumarchais, a play with the reputation of being revolutionary and subversive. 

Don Giovanni, premièred in 1787 under request of the higher classes in Prague, with the clear purpose of dong a harsh criticism to the privileges of aristocracy.
 

Artistic Credits

 

Direction Gemma Beltran
Musical arrangements Paco Viciana
Singing Coaching David Costa and Armando Grebol
Lighting design David Bofarull
Scenic space and costum design Ramon Ivars and Gemma Beltran
Performers (5): Robert González, Marc Pujol, Queralt Albinyana, Anna Herebia and David Marcé
Covers: Toni Vinyals and Albert Mora.
Director’s Assistant Boris Daussà
Image Wave Cap
Photography Caroline Morel Fontaine
Costumes Elisa Echegaray and Anna Chwaliszewska
Coordination of the project and executive production Marta Riera and Maria Rovelló
Technician David Bofarull and Javier Muñoz
Production Baubo SCCL

With the collaboration of TEMPORADA ALTA, ATRIUM Viladecans, ICEC, NEUKÖLLNER OPER BERLIN.

Thank’s to  Associació d’Actors i Directors Professionals de Catalunya, Institut del Teatre de Barcelona,Teatral.net, Josep Maria Martí, Claudio Zulian, Alberto Fregenal, Mabel, Montse Guallar, Marta Figueras, Roger Julià, Dietrich Grosse, Oscar Merino, and Michel Fessler.

Dossier ENG
Download
Fotografies
Download
Dossier CAT
Download
Dossier ES
Download
Llegir més
Asufre

Asufre

Deixa una opinió
Asufre

Asufre, a special interpretation of the structure of a literary cabaret made of revisited fragments and materials of selected authors currently put into action with great comicality.

 

First Prize for the Best Director at the 14th Edition of the National Contest of Theatre Directors of Torrejon de Ardoz, 2011.

 

Four characters behind closed doors live an absurd and real tension, comical and deeply human through the "circles of the underworld".
Asufre, a special interpretation of the structure of a literary cabaret made of revisited fragments and materials of selected authors currently put into action with great comicality.

 

Theatre inside the theater where dance, music, poetry and parody take shape guided by a sense of humor and rhythm using a range of acting resources from dance and singing to physical theatre. A satire full of the effects of humor with a structure that reinterprets cabaret and becomes a devilishly comical staging.

 

A vision of hell as an organized society, a place usually hidden underground where you keep things that should not be available to everyone, the madness of a never ending carnival.

 

Some of the fragments of the show include:
DIVINE COMEDY - HELL- Dante Alighieri (1265-1321)
BEHIND CLOSED DOORS Jean-Paul Sartre (1944) -.
INFERNO- Coram Populo- MISTERIO/August Strindberg (1883)
THE PROCESS Kafka 1925
DOCTOR FAUST Marlowe 1592 -
FAUST Goethe 1808
POPULAR SAYINGS AND STORIES
Anónimus / creation
SUMMERY OF PERSONAL INTERVIEWS
What is hell for you? 

 

Artistic Credits

Actors Marc Pujol, Robert González, Marc Vilavella, David Marcé
Cover Toni Vinyals
Direction Gemma Beltran
Lighting David Bofarull
Staging space and costumes Ramon Ivars
Direction assistant Roger Julià
Musical arrangements Marc Sambola
Coordination and executive production Marta Riera
Image Wave Cap
Photography Juan Carlos Garcia
Production Baubo SCCL.

With the collaboration of Departamento de Cultura de la Generalitat de Catalunya; ICIC Institut Català de les Indústries Culturals

Special thank’s to Institut del Teatre de Barcelona, Toni Vinyals, Teatral.net, S. Generals i manteniment IT, Jacobo Sucari, Josep Maria Martí, Claudio Zulian, Jorge Bernárdez, Montse Guallar, Joan Sans, Elia Corral, Anna Sahun, Ester Cort, Eva Cutura, Sandra Monclús, Santi Monreal, Dafnis Balduf, Laura Lopez, Anna Coll i Monica Perez.

Llegir més
Els Homes de Shakespeare

Els Homes de Shakespeare

Deixa una opinió
Els Homes de Shakespeare

A combination of Shakespeare and theater of the absurd, three characters represent the relation between their own comical situations and the one of a man dropped to his fate.

 

Third Prize for the Best Director at the 13th Edition of the National Contest of Theatre Directors of Torrejon de Ardoz, 2010.

 

Heir to the tradition of irreverent comedy Dei Furbi approaches with humor and rhythm the fragile relationship between reality and fiction.

 

A combination of Shakespeare and theater of the absurd, three characters represent the relation between their own comical situations and the one of a man dropped to his fate.


A creation that takes shape through selected fragments of Shakespeare's plays, set in motion, creating a tension that’s absurd and realistic, comical and deeply human.
A peculiar vision, in which the performers are men who exchange gender, according to the character represented, as was the case in Shakespeare's time, when women were forbidden by law to go up on stage.
A funny look into Shakespeare’s universe.

 

The space is drawn with the first words of the characters that point at the end of a road, in front of a railroad and far from a lost daily life.
They maintain and provoke a fun and spontaneous dialogue; inventing the most absurd actions from fragments of Shakespeare's work.
The mood and the rhythm keep them away from their immediate destination.

 

Games and actions performed in front of the famous theme of "Theatrum Mundi" are those of comedy, of clowns, a range of acting resources ranging from fencing to singing, accompanied by the music of two cellists that join the action.
Opens the single act a game of crowns (hats) that becomes pure as the three actors exchange them mechanically, playing at being kings that are dethroned or killed.

 

We find the appearance of the lovers of "A Midsummer Night's Dream", the confronted families  "Montagut and Capulet." the merchant of Venice calling for justice. Macbeth looking at how the forest of Birmang moves. We also find the handkerchief that Othello gave to Desdemona. The singing of Titus’ Menu. Caliban making his voice being heard and Hamlet announcing the end of Elsinore as a fencing duel evidences that "the rest is silence."

 

Artistic credits

Dramaturgy, Scenic space  and Direction Gemma Beltran
Actors Òscar Bosch, Robert González, Marc Vilavella / Toni Vinyals (en alternança)
Cellistes Nerea de Miguel, Sara Guri, Romain Boyer, Maria Bou (en alternança)
Lighting design David Bofarull
Costum design  Ramon Ivars
Costumes Elisa Echegaray
Costumes assistants Priscila Roca i Anna Ribera
Director’s Assistant  Roger Julià
Fencing assistant Pere Sais
Photos: Juan Carlos García
Technician J.L. Gascón
Translations Salvador Oliva
Music ans songs
Shakespeare Songs
How should I your true love know
Si Dolce è'l Tormento de Monteverdi
Contrapunto Bestiale de A. Banchieri
Menuetto i Mosquito Dance de Béla Bartok
Duo G-Dur de F. Couperin
Sonata in G-Dur, 2 de Domenico Gabrielli
Henri de Luciano Berio
Production Baubo SCCL

 

With the collaboration of  Departament de Cultura de la Generalitat de Catalunya and ICIC Institut Català de les Indústries Cultural

Thank’s to Claudio Zulian, Ignasi Potrony / Lanonima Imperial, Jorge Bernardez, Josep Mª Marti, Montse Guallar, Alberto Fregenal, Chistian Atanasiu, Joan Sans, Teatral.net, l’Institut del Teatre de Barcelona, Elia Corral, Anna Sahun, Ester Cort, Eva Cutura, Sandra Monclus,Marc Vilavella, Santi Monreal, Dafnis Baduf, Laura Lopez, Anna Coll

Dossier ENG
Download
Fotografies
Download
Dossier CAT
Download
Dossier ES
Download
Llegir més
La isla de los esclavos

La isla de los esclavos

Deixa una opinió
La isla de los esclavos


Adaptación de la obra de P.Marivaux (Francia 1725)
Marivaux con su peculiar estilo narrativo ofreció un minucioso retrato de la clase media francesa del siglo XVIII, que hoy, muy bien podría ser el nuestro.

 

La isla de los esclavos  “Marivodiada” (Marivaudage, palabra francesa: coqueteo ligero e ingenioso) Adaptación de la obra de P.Marivaux (Francia 1725)

 

Ificrates y Arlequín, su criado, junto a Eufrosina y su criada Cleantis, han naufragado y se encuentran en una isla dominada por esclavos liberados. Obligados a aceptar sus leyes, Los patrones serán esclavos y los criados serán los nuevos amos.

 

Una metáfora sobre la corrupción inherente a los mecanismos del poder a través de los esclavos de la isla de Marivaux (esclavos liberados), que suplantan en esta obra el papel de sus Señores.

 

Una comedia francesa impregnada de la tradición de la Commedia dell'Arte italiana.

 

Un juego escénico que enlaza las cualidades del teatro francés de Marivaux con la tradición del teatro italiano del renacimiento.

 

Una pieza inminentemente social y sorprendentemente actual, donde los aristócratas insisten en sus juegos de salón y los criados siguen seduciendo con astucia verbal.

 

La isla de los esclavosse estrenó el 9 de septiembre del 2006 en la FERIA DE TARREGA.

 

Ficha artística

 

Arlequino Toni Vinyals i Robert Gonzalez (en alternancia)
Ificrates Òscar Bosch
Cleantis Anna Coll
Eufrosina Laura López
Trivelí Dafnis Balduz
Violoncelista Nerea de Miguel
Iluminació Albert Faura (a.a.i.)
Asessor de vestuario Ramon Ivars
Asessor de movimento Pawel Rouba

 

Adaptación, dramatúrgia, espai escenico y dirección Gemma Beltran (gb)   

 

Fotografía Ros Ribas
Ayudante de producción Maria del Pozo

 

Producción Baubo SCCL
Con la colaboración del Departament de Cultura de la Generalitat de Catalunya

 

Músicas en directo: Fragmentos al violoncelo de obras de Frescobaldi, Vivaldi y Boccherini
Canciones a cuatro voces
Tout l'univer obeit a l'amour, de Michel Lambert (1650) transcripción de Jordi Arquimbau, con la colaboración de Joan Sans

 

Canciones a cuatro voces

 

Tout l'univer obéit a l'amour, de Michel Lambert (1650), transcripción de Jordi Arquimbau, con la colaboración de Joan Sans.

 

Ificrates y Arlequín, su criado, junto a Eufrosina y su criada Cleantis, han naufragado y se encuentran en una isla dominada por esclavos liberados. Obligados a aceptar sus leyes, los patrones serán esclavos y los criados serán los nuevos amos.

 

Una metáfora sobre la corrupción inherente a los mecanismos del poder a través de los esclavos de la isla de Marivaux (con esclavos liberados), que suplantan en esta obra el papel de sus señores.

 

Una comedia francesa impregnada de la tradición de la comedia del arte italiana.

 

Un juego escénico que enlaza las cualidades del teatro francés de Marivaux con la tradición del teatro italiano del Renacimiento.

 

Una pieza inminentemente social y sorprendentemente actual, donde los aristócratas insisten en sus juegos de salón y los criados, a su vez, siguen seduciendo con su astucia verbal.

 

Llegir més
Tocata i Fuga (3)

Tocata i Fuga (3)

Deixa una opinió
Tocata i Fuga

Una comèdia deliciosa, basada en el conflicte amorós que com bé sabem, no s’acaba mai. A Tocata i Fuga, els enganys i les falses identitats són els embolics que donen forma a la trama.

Tocata i fuga

Seguin amb l’estil renaixentista de “La Commedia dell’Arte“ aquesta és una comèdia deliciosa, basada en el conflicte amorós que com bé sabem, no s’acaba mai. A “Tocata i Fuga”, els enganys i les falses identitats són els embolics que donen forma a la trama.

Un Joc a través del desig, l’amor-passió, la seducció, la gelosia, la frustració sexual, l’enveja, les formes pertinents, .... no faltarà l’elixir d’amor que junt amb una llei d’abstinència sexual farà que tothom acabi a les masmorres .... L’engany descarat i l’acudit agosarat seran per una estona la norma davant la gran força que mou el món, el desig i la passió amorosa.

Tocata i fuga es va estrenar el dia 10 de febrer de 2004 al Jove Teatre Regina de Barcelona

 

Fitxa artística

 

Cortesà Teador Òscar Bosch
Zania Elia Corral
Princesa Isotta Ester Cort
Zerlina Casta Divina Eva Cutura
Cavaller Tristan Joan Carles Martel i Robert Gonzalez (en alternança)
Cortesà Fidelio Santi Monreal
Noble Orlando Anna Sahun
Capitano “Altius-Fortius-Citius” Toni Vinyals i Robert Gonzalez (en alternança)

Mascares Stefano Perocco
Pantomima i combats Pawel Rouba
Il·luminació J.L. Gascón
Vestuari amb la col·laboració de Ramon Ivars
Fotografies Ros Ribas

Dramatúrgia i direcció Gemma Beltran (gb)

Producció Baubo SCCL

Amb la col·laboració del Departament de Cultura de la Generalitat de Catalunya

Cançons a tres i cinc veus a capel·la:
Un giovane e il suo dolce amor. Thomas Morley 1603
Il zambaione musica. Introduzione. A. Banchieri, 1592
O mio bene. Claudio Monteverdi 1643

Llegir més
Divertimento

Divertimento

Deixa una opinió
Divertimento

Divertimento


Un juego atrevido que va del absurdo a la mofa, donde la fortuna y el amor se enfrentan, con exaltación e ingenio, al odio y a la desventura.

 

Divertimento, un juego atrevido que va del absurdo a la mofa, donde la fortuna y el amor se enfrentan, con exaltación e ingenio, al odio y a la desventura.

La acción transcurre en un lugar habitado por un pueblo pintoresco, simpático y resignadamente sometido al arbitrio de las jerarquías.

Sobre la ciudad llega "La Peste", poder de la vieja estirpe apocalíptica que simboliza en este espectáculo a la sumisión de los hombres a la tiranía del temor.

Un divertimento vigoroso y humano al estilo renacentista de la "Commedia dell'Arte".

*Divertimento en Italiano significa “diversión” y es también una forma musical (el título de este espectáculo tiene al igual que el anterior un doble sentido)

Divertimento se estrenó el 6 de julio del 2003 en el Convento de San Agustín dentro de la programación del Festival Grec de Barcelona

 

Ficha artística

 

El loco y La Peste Òscar Bosch          
Bruja Elia Corra                
Dama Jove Isabella Ester Cort                
Esmeraldina Eva Cutura
Pulcinela (en alternancia) Roger Julià i Santi Monreal        
Noble Ariadna y Dottore de la Peste Anna Sahun            
Arlequino Marc Vilavella
Pantomima y combates Pawel Rouba
Máscaras y “Palco scenico” Stefano Pertoco
Vestuario/col·laboració de Ramon Ivars
Fotografías Ros Ribas
Dramaturgia y dirección Gemma Beltran (gb)
Producción Baubo SCCL
Con la colaboración del Departamento de Cultura de la Generalitat de Catalunya

 

Canciones a capela:

- L’Umorista. G.Giacomo Gastoldi (1622)

- Tre ciechi siamo. G.Domenico da Nola (1602)

- Chi la gagliarda. Baldaassare Donato (1603)

Llegir més
Scherzo

Scherzo

Deixa una opinió
Scherzo

Scherzo: Juego, broma gozosa y a veces impúdica.

 

Nos hemos dejado atrapar por el fenómeno irresistible de la Comedia del Arte y hemos querido hacer un espectáculo de creación siguiendo fielmente su técnica “all'improvvisso” y el estilo de los "canovaccios" del s.XVI.

 

Scherzo: Juego, broma gozosa y a veces impúdica. Nos hemos dejado atrapar por el fenómeno irresistible de la Comedia del Arte y hemos querido hacer un espectáculo de creación siguiendo fielmente su técnica “all'improvvisso” y el estilo de los "canovaccios" del s.XVI. Con una única finalidad, no aburrir nunca haciendo "espectáculo" con una importante carga de análisis de los contrastes sociales. Enlazando las calidades de la interpretación, del mimo, de la acrobacia, del canto, del esgrima, de la danza a través de sus personajes, llenos de vigor y humanidad. La Comedia del Arte, que nace bajo el signo del encuentro entre la gran tradición religiosa de la edad mediana, el nuevo espíritu del Renacimiento y la cultura carnavalesca, entre las formas del teatro popular, la tradición de la feria, los saltimbanquis, de los parlanchinas y de la comedia erudita latina y griega; entre las calles, las plazas y los corrales de reyes y nobles. Nos llega hoy a través de los siglos, con su humor elocuente y con una carga de optimismo, que sin duda necesitamos.

 

*Scherzo del italiano: "juego" también es una forma musical. Un título escogido por su doble sentido que representa las intenciones lúdicas del espectáculo

Scherzo se estrenó el 14 de julio del 2002 en el Convento de Sant Agustín dentro de la programación del Festival Grec de Barcelona

 

Ficha artística

 

Capitano y Pantalone Òscar Bosch
Colombina Elia Corral
Beatrice Ester Cort
Bruja y Scarlatina Eva Cutura
Joven galánLelio Albert Feixas
Enamoratto Juan de la Cruz Roger Julià
Arlequino (en alternancia) Santi Monreal y Marc Vilavella
Trufaldino y Francesca Anna Sahun

Asistente a la dirección Sandra Monclús
Pantomima y combates Pawel Rouba
Máscaras y “Palco scenico” Stefano Perocco
Fotografías Ros Ribas

Vestuario colaboración de Ramon Ivars

Dramaturgia i dirección Gemma Beltran (gb)

Producción Baubo SCCL

Con la colaboración del Departamento de Cultura de la Generalitat de Catalunya.

Canciones:
- ROSTIVA I CORNI E LE CATAGNE IN FORNO   (A. Banchieri 1567-1634 VIVA
-TUTTE LE VEZZOCE (Felice Giardini, 1716-1796)
- GLI AMANTI MORESCANDO (A. Banchieri, 1567-1634)

Llegir més