Theatres at risk
Theatre is necessary. However, as it moves through an ample, borderless field, it can become nomadic and poor or commercial, institutional, and expensive. This double play, as French director Antoine Vitez says, is portrayed by theatres’ architecture, which can either be a “coat” that welcomes the d...
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Facultad de Arquitectura, Universidad Nacional Autónoma de México
2011
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oai:ojs.pkp.sfu.ca:article-251702018-10-17T18:32:56Z Theatres at risk Teatros en riesgo De la ciudad al espacio escénico Ramon Graells, Antoni Arquitectura y ciudad Teatro Teatro-Circo Apolo Medio Urbano Theatre is necessary. However, as it moves through an ample, borderless field, it can become nomadic and poor or commercial, institutional, and expensive. This double play, as French director Antoine Vitez says, is portrayed by theatres’ architecture, which can either be a “coat” that welcomes the dramatic activity or a “building” which tries to stand out from among others. Examples of “coat” theatres are the Bouffes du Nord or the Cartoucherie at the Bois de Vincennes in Paris which, hidden in old residential and industrial parts of the city, can only be distinguished by a Théâtre sign on their facades. On the other hand, Charles Garnier’s Paris Opera is an example of a building that has become more of a monument, for it did not only fulfill its urban, economic, and military role, but also an artistic, architectonic, and theatrical one that attracted the bourgeoisie, who were in need of a place to hang around and to have a look at each other. With the same idea in mind, the Teatro Nacional de Catalunya was built at the end of the 20th Century to be a “temple”, because, as its first director said, the theatre was to become a radiant sphere of the city’s life. Being a place of social gathering, it has certainly become the temple it was meant to be. However, the resulting urban impact is rather disappointing. Theatres walk hand in hand with a city’s life; their mutual histories are made up of times of encounter and severance and can be traced by scouting over a city’s theatrical map. This layout can be interpreted as the result of a sometimes harmonious and sometimes harsh relationship between the city and its theatres. These places must not die in oblivion, for they are arteries of social life. El teatro es necesario. Con palabras distintas pero con similar intención lo proclamaron las nuevas vanguardias a mediados del siglo XX. En algún momento de su existencia el Living Theatre, Jerzy Grotowski, Peter Brook o el Théâtre du Soleil, entre otros, creyeron, o creen todavía, que este arte abatiría las barreras levantadas por la civilización urbana, mercantilizada, restableciendo la comunidad perdida. Pero, paradójicamente, tal misión, a la vez que elevaba al teatro lo convertía en precario. Ahora, este encuentro de unos pocos seres humanos fuera del tiempo se halla esencialmente en riesgo,en parte porque las alianzas que la escena establece con el espectador son huidizas, pasajeras, susceptibles al olvido y, en consecuencia, inseguras. Facultad de Arquitectura, Universidad Nacional Autónoma de México 2011-05-16 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://www.revistas.unam.mx/index.php/bitacora/article/view/25170 10.22201/fa.14058901p.2010.20.25170 Bitacora Arquitectura; No. 20 (2010): Bitácora 20; 34-39 Bitácora Arquitectura; Núm. 20 (2010): Bitácora 20; 34-39 2594-0856 1405-8901 10.22201/fa.14058901p.2010.20 spa https://www.revistas.unam.mx/index.php/bitacora/article/view/25170/23665 Derechos de autor 2011 Universidad Nacional Autónoma de México |
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Online |
| author |
Ramon Graells, Antoni |
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Ramon Graells, Antoni Theatres at risk |
| author_facet |
Ramon Graells, Antoni |
| author_sort |
Ramon Graells, Antoni |
| title |
Theatres at risk |
| title_short |
Theatres at risk |
| title_full |
Theatres at risk |
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Theatres at risk |
| title_full_unstemmed |
Theatres at risk |
| title_sort |
theatres at risk |
| description |
Theatre is necessary. However, as it moves through an ample, borderless field, it can become nomadic and poor or commercial, institutional, and expensive. This double play, as French director Antoine Vitez says, is portrayed by theatres’ architecture, which can either be a “coat” that welcomes the dramatic activity or a “building” which tries to stand out from among others. Examples of “coat” theatres are the Bouffes du Nord or the Cartoucherie at the Bois de Vincennes in Paris which, hidden in old residential and industrial parts of the city, can only be distinguished by a Théâtre sign on their facades. On the other hand, Charles Garnier’s Paris Opera is an example of a building that has become more of a monument, for it did not only fulfill its urban, economic, and military role, but also an artistic, architectonic, and theatrical one that attracted the bourgeoisie, who were in need of a place to hang around and to have a look at each other. With the same idea in mind, the Teatro Nacional de Catalunya was built at the end of the 20th Century to be a “temple”, because, as its first director said, the theatre was to become a radiant sphere of the city’s life. Being a place of social gathering, it has certainly become the temple it was meant to be. However, the resulting urban impact is rather disappointing. Theatres walk hand in hand with a city’s life; their mutual histories are made up of times of encounter and severance and can be traced by scouting over a city’s theatrical map. This layout can be interpreted as the result of a sometimes harmonious and sometimes harsh relationship between the city and its theatres. These places must not die in oblivion, for they are arteries of social life. |
| publisher |
Facultad de Arquitectura, Universidad Nacional Autónoma de México |
| publishDate |
2011 |
| url |
https://www.revistas.unam.mx/index.php/bitacora/article/view/25170 |
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