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AITA/IATA

FAUST LIVES AGAIN IN MONACO

 

 

            Part One of the story of Goethe’s FAUST came to life again on the stage of the Princesse Grace Theatre in Monaco last summer. Puppets, puppeteers, actor-stagehands and human actors performed with great success under the co-direction of Eva Bodingbauer and Johanna Horcicka. The artists and the production hailed from Theater Kirchdorf, in Kirchdorf, Austria.

            The group was formed in 1972 under the leadership of Franz Horcicka , and for decades Theater Kirchdorf developed a varied repertoire: Aristophanes, Brecht, Tirso de Molina, Chekhov and Tardieu alternated with familiar Austrian classics by writers such as Watsinger and Butterweck. In 1992, the town converted an old factory into a training and rehearsal space for the group, called “the workshop” (pictured at right). Today the theatre lists 39 staff and acting group members on its website, and it’s widely recognized for its success with puppet theatre–particularly the use of puppets alongside live actors in many of its adaptations and devised plays.

 

            Theater Kirchdorf is the only theater in the small town–apart from the school’s theater.  But it is very popular, especially with young audiences. Members of the troupe occasionally offer workshops and short theatrical entertainment for children. One focus of this theatre’s work has been the development of adaptations.  Their current production of FAUST is a compelling example of this, as Monaco audiences realized. For example, Faust (pictured below. right) is portrayed as a respected contemporary researcher and teacher. In Goethe’s familiar tale, he takes stock of his life and comes to a shattering conclusion: as a scientist, he lacks deeper insight and useful results, and as a person he is incapable of life and unable to enjoy wealth. 

            In this desperate situation, he promises his soul to the devil ( a puppet), if Satan can free him from dissatisfaction and restlessness. Satan, of course, turns Faust back into a young man and takes him on a journey through the world: comically helping Faust arranging an affair with the young Margaret (called Gretchen in this version), and observing and playing pranks on members of the under

world (also puppets) in bars and taverns.  The scenes are set and the properties are introduced/removed by ensemble members dressed in black who add another eerie layer to an already strange and grotesque ancient story. The entire production,in fact, was highly visual and easily understood by international audiences in Monaco. And the ensemble developed much of the play together. For example, editing the original story: “Oh, yes!” declared actress Carmen Steinert.  “We did change it a lot! Our first version of FAUST was two hours long, and we had to bring it down to one hour….Some scenes were completely cut, and other scenes were cut internally. That was a little problem, because everybody knows the old text.”

 

The puppetry, however,took center stage in the Monaco production.  Single puppets, puppet crowds, supernatural puppets, hand puppets, body puppets, puppets of all sizes were used throughout.  Steinert pointed out that she loved working with the puppets who “can look like anything you want. And they can speak and talk like they want. There is no limit. For example, the witches. Me personally, I can scream and shout as loud as I want, and the others can do a special voice or movement…. And as an audience, you can’t foresee any of that. I really think our puppets are overwhelming.”

 

            The theater members are all amateurs and come from many different occupations. The group finds this a useful and valuable asset since everyone can bring a new perspective to the work.  In addition, the Austrian press has praised the group for the high quality of its work: the “stupendous precision” of its choral movement and speaking (Christian Hanna in Blickpunkt Folge Nr. 4/2012); “an excellent, colorful production” (Kronen Zeitung, 13. Mai 2009): or “a major challenge for actors and audiences” (Nachrichten vom 26. März 2008).

 

            The troupe is currently performing their longer version of FAUST in Austria, and the piece is still developing. For example, some of the French phrases inserted by the cast for the Mondial audiences have been retained for Austrian audiences, and lines from earlier versions are occasionally to be heard from one performance to another.

 

            For more information on this Austrian theater troupe, visit them on their website: http://www.theater-kirchdorf.at.

 

 

 

FESTIVAL DE TEATRO MARTÍN ARJONA

FICHA DE INSCRIPCIÓN FESTIVAL DE TEATRO 2012       

BASES DE PARTICIPACIÓN:

1.- Podrán concurrir a este certamen todas las Asociaciones, Colectivos, Colegios, Institutos, y demás grupos vinculado de alguna forma con las actividades teatrales, de forma aficionada y sin ningún ánimo de lucro.

2.- La organización seleccionará entre los solicitantes a los grupos que participarán en este XVI FESTIVAL NACIONAL DE TEATRO “MARTÍN ARJONA, 2013”, por lo que se requerirá a cada grupo la siguiente documentación:

 a) SOLICITUD DEBIDAMENTE CUMPLIMENTADA.
b) DVD, O CD DE LA OBRA A CONCURSAR.

c) AUTORIZACIÓN DE LA SGAE.

d) DECLARACIÓN DE LA NO PRFESIONALIDAD DEL GRUPO.

e) N.I.F. Y/O C.I.F. DEL GRUPO PARTICIPANTE
f) Autorización y cesión de los derechos de imagen para la filmación y producción gráfica.
g) Certificado de distancia entre localidades.

h) Certificado de exención de I.V.A.
EN CD Ó CORREO ELECTRÓNICO: (OBLIGATORIAMENTE) (festivaldeteatromartinarjona@hotmail.es)
FICHA TÉCNICA
REPARTO
FOTOS DE LA OBRA.

3.- Podrán participar por cada localidad tantos grupos como lo deseen.

4.- Las obras a escenificar serán de libre elección tanto en la temática como en los autores.

5.- La puesta en escena de las obras participantes se establece en los meses de:
ENERO/FEBRERO 2014.

6.- Cada grupo participante concursará con la puesta en escena de una sola obra y/o tres piezas breves/varios monólogos (tiempo requerido 45 minutos mínimos).

7.- Se establecen los siguientes galardones.:
.- HERRERO DE ORO.
.- HERRERO DE PLATA.
.- HERRERO DE BRONCE.

8.- Además se establecen los siguientes premios artísticos:
– Mejor Dirección.
-Mejor Actor.
– Mejor Actriz.
– Mejor Actor Secundario.
– Mejor Actriz Secundaria.
– Mejor Guión Original.
– Mejor guión Adaptado.
– Mejor Decorado.
– Mejor Vestuario.
– Mejor Ambientación Musical.
– Premio del Público. (Mejor obra vista por el público)
– Mejor pieza breve.
– Mejor Monólogo.

9.- El plazo para presentar las solicitudes finaliza el 10 de Diciembre de 2.013.

10.- El jurado lo formarán personas que de alguna forma u otra estén vinculados con la cultura y las artes escénicas.

11.- El fallo del jurado será inapelable. Los casos no previstos en estas bases serian resueltas a criterios del jurado. Todos los participantes recibirán copia del fallo del jurado.

12.- Los gastos derivados en este certamen, como pudieran ser, transporte, dietas, montaje etc. Estos correrán a cargo de cada participante, ahora bien la organización destinará una bolsa de ayuda para cada grupo a concursar:
• Hasta 250 Km. 300,00 €.
• De 251 a 500 Km. 450,00 €.
• Más de 501 Km. tendrán 650,00 €.
Estas distancias kilométricas se tendrán en cuenta entre las localidades participantes y la localidad dónde se celebra el Festival de Teatro. (no se contabilizará ida y vuelta).

13.- Esta se desembolsará en la jornada de clausura, estos presentarán previamente una factura, por concepto de desplazamientos sellada y firmada por la entidad participante, haciendo constar los siguientes datos:

CLIENTE: AYUNTAMIENTO DE HERRERA
C.I.F. P-4105000-F
DOMICILIO: AVDA DE LA CONSTITUCIÓN, Nº 1 C.P. 41.567 HERRERA (SEVILLA)
CONCEPTO: GASTOS DE DESPLAZAMIENTO Y PARTICIPACIÓN EN EL XV FESTIVAL DE TEATRO MARTIN ARJONA, CON LA PUESTA EN ESCENA DE LA OBRA:

EN LA FECHA:
FIRMADO POR EL RESPONSABLE:
SELLO DE LA ENTIDAD.


14.- El fallo del jurado se hará público en el acto de clausura que será el día 2 de Marzo de 2.014.

15.- La participación en este concurso implica la total aceptación de las bases presentes.

OTRAS DISPOSICIONES:
1.- Las obras cuyos títulos se han representado con anterioridad a 5 años serán desestimadas por la organización.
2.- La duración mínima exigida se establece en 45 minutos a excepción de las piezas breves y los monologo.
3.- Los derechos de autor serán sufragados por cada grupo participante.
4.- Los grupos participantes autorizarán la filmación de las obras, como la realización de fotografías, durante la celebración del festival, que pasarán a formar parte de los fondos del Archivo Municipal, cediendo una copia a los grupos participantes.
5.- Las labores de carga/descarga y montaje/desmontaje de decorados y escenografía serán realizadas por personal del grupo participante.
6.- Los equipos técnicos serán dispuestos por el Ayuntamiento de Herrera, que dispondrá del mismo material para todos los grupos. Este material es el siguiente:
• 6 pc de 1.000 W con filtro.
• 2 focos cañón de 1.000 W con filtro,
• 4 recortes de 1.000 W con filtro.
• Mesa de regulación de 6 canales.
• Reproductor Cd.

7.- En caso de enviar el expediente incompleto se requerirá a cada grupo su subsanación en los 5 días siguientes a su comunicación. La no entrega en fecha y forma supondrá la renuncia a participar en este certamen.
TELEFONO DE CONTACTO: ANTONIO ANGULO/PACO FERNÁNDEZ:
662.228.045/PACO: 625610086 festivaldeteatromartinarjona@hotmail.es   http////www.grupoescanpolo.es

DATOS DEL GRUPO DE TEATRO ESCANPOLO

ASOCIACIÓN CULTURAL DE TEATRO ESCANPOLO

CALLE PONTEZUELO, 17 CASA DE LA CULTURA

CIF G41737255

C.P. 41.567 HERRERA (SEVILLA)

TELÉFONO DE CONTACTO:

954012869/625610086

escanpolo@hotmail.com

festivaldeteatromartinarjona@hotmail.es //    https:www.grupoescanpolo.es/

 

THEATRE GROWTH IN BANGLADESH

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THEATRE GROWTH IN BANGLADESH
 

 

 

             The new President of aita/iata’s Asian region (ARC) is Mr. Liaquat Ali Lucky, Director General of the Bangladesh Shilpakala National Academy of Fine & Performing Arts. Ali Lucky, however, is not a newcomer to aita/iata. He hasbeen working in Bangladeshi theatre for more than forty-two years, and he was first introduced to aita/iata in 1988.
              Born in a small village in the 1950s, Ali Lucky began his artistic career as an actor, inspired by the role of his older brother, a successful theatre director. Since then, Ali Lucky has directed 78 plays in Bangladesh, 30 of which have been plays for children and youth. And even with all his present responsibilities he still is an actor, performing every month onstage.

 

              What is the most popular play that Ali Lucky has directed done in Bangladesh?  It must certainly be Moliére’s The Miser, that his group has presented more than 618 times! But the most popular writer of plays, songs and poetry performed throughout Bangladesh is not a European at all. It is, of course, Rabinadrath Tagore, who was Asia’s first recipient of the Nobel Prize in the 1930s.  Last year, Bangladesh and Ali Lucky’s National Academy celebrated the 150th anniversary of Tagore’s death.

 

            Bangladesh has a long tradition of artistic expression and performance, deriving largely from its religious heritage. “Yes, this is what we stress in the way we train actors,” remarked Dr. Mohammad Israfil, Professor of Theatre at the University of Dhaka.  Dr. Israfil teaches undergraduate and graduate students there, directing them in plays (especially Shakespearean plays) and leading them on tours throughout the country. “And many plays that we present,” he continues, “are adapted for our performance style here in Bangladesh that has so much music and dance.” 

 

            In the past, performing arts in Bangladesh were strongly connected to Buddhism. Ali Lucky explains that “one of Buddhism’s central ideas is to honor and bow-down before the human being.” Hence in Bangladesh, the major art forms were music, dance and theatre. But before Ali Lucky began his work with young students in 1990, there existed only the National Academy’s main center in Dhaka. Moreover, there was no theatre for children and youth at all until he established his own youth troupe, The People’s Little Theatre.                                                                                                                                                                          

           Today, the National Academy under Ali Lucky employs more than 4,000 people, most of whom are trainers and coaches. There are sixty-four district branches of the National Academy for Fine and Performing Arts, and 456 sub-district branches, serving a half-million students. Classes take place in theatre, film, dance, music and the visual arts. It is Mr. Lucky’s goal to grow this number so that the nation’s arts programs can serve all of Bangladesh’s 160 million citizens. “Ali Lucky has done much for theatre in Bangladesh, “ Dr. Israfil remarked. “He is a very important theatre artist in my country.”

 

            “Only in art and theatre can we hope to save the world,” Ali Lucky remarked in a recent interview. “You and I are small, but culture is not small–it is big! After I became active with aita/iata, I was able to meet other directors and share ideas with them.” And he has taken his youth troupes to a number of aita/iata festivals in order to inspire them as well.  Ali Lucky’s ideas have resonated strongly in Bangladesh, where the Dhaka English-language newspaper, The Daily Star, has dubbed him “an articulate observer on Bangladeshi art.” As President of ARC, Ali Lucky hopes to reach out to many nations in South Asia such as Thailand, Malaysia and others, and involve them in aita/iata activities. He sees too few of these far-flung performance traditions reflected on our festival stages: religious drama, puppet theatre, dance-drama and other theatrical styles. 

 

        What’s next on Ali Lucky’s plate? These days he keeps his staff extra-busy organizing DHAKA ART SUMMIT ’14 in the capitol city. The event, referred to as the “Asian Art Biennale,” is now in its second edition.  Together with the Samdani Art Foundation, Ali Lucky’s Shilpakala Academy will bring together more than 250 artists from across the South Asian region. “The summit aims to be an exposure,” Lucky commented, “and also a platform for communication among artists, curators, critics and art enthusiasts…we are heading in the right direction.”

 

           In a recent speech inaugurating a two-day drama festival in Dhaka, Ali Lucky remarked: “Drama is no longer a mere entertainment medium but a leading ‘creative therapy’ tool of learning and a popular way to help children to identify their needs and their creativity. . . We need to enhance and integrate the scattered children’s theatrical activities throughout the country and ultimately give rise to a proper shape of a theatre movement in Bangladesh.”

 

Festival Internacional de Teatro y Danza Fintdaz 2014

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Convocatoria del Festival Internacional de Teatro y Danza Fintdaz 2014 (Bolivia)

 

La Compañía de Teatro Antifaz convoca a todas las agrupaciones de las áreas de teatro y danza a la octava edición del Festival Internacional de Teatro y Danza Fintdaz 2014, que tendrá lugar del 14 al 23 de noviembre del próximo año. 

 

En el festival podrán participar todas las organizaciones, agrupaciones o compañías del ámbito teatral y la danza: local, regional, nacional e internacional de nivel profesional y de comprobada trayectoria, sin importar su naturaleza, etnia o idioma.

La fecha límite para presentar los proyectos será el 30 de diciembre de 2013.

Fuente: Fintdaz 2014

 

Convocatoria: Fintdaz 2014
Convoca: Compañía de teatro Antifaz
Dotación: Participación en el evento
Fecha límite: 30 de diciembre de 2013
Más infromación: http://bit.ly/17gX72p