Obras de teatro, textos teatrales

SONETS TRANSCENDENTS (QUEVEDO, FRANCISCO)

Rafel Bordoy ha dut a terme una empresa prou dificultosa. Ni més ni menys ha versionat, sense perdre ni una de les qualitats de l'original, els sonets d'un dels escriptors castellans més grans de tots els temps. Mostra del domini de l'idioma que té Rafel Bordoy i que ens ofereix l'oportunitat de llegir Quevedo en català.

UTOPÍA MARIVAUX . DE LA DISPUTA A LA ISLA DE LOS ESCLAVOS (MARIVAUX, PIERRE CARLET DE)

El montaje parte del espacio de la isla desde el punto de vista mediterráneo para realzar los puntos de contacto con nuestra realidad. La música en directo, el vestuario, mezcla de épocas y el tono agridulce se apoya en la visión de Marivaux de la confrontación entre las clases sociales y el choque entre el individuo y la sociedad. Marivaux muestra una visión negra de los experimentos humanistas del momento- tan actuales hoy. La fórmula del teatro en el teatro llevada a sus últimas consecuencias sirve para ahondar en las claves íntimas de la obra y de un Marivaux más próximo al público actual. En principio, un grupo de personajes típicos del Marivaux cortesano, llamándose príncipe, condesa, etc. dilucidan sobre la pareja, el amor y otros tantos temas de la dramaturgia marivaudiana. La metáfora se adapta perfectamente a la sociedad actual. La comicidad de las situaciones, donde los personajes se caricaturizan unos a otros subraya el aspecto corrosivo de la modernidad de la crítica de Marivaux, premonitoria de la inminente Revolución Francesa de 1789.

TEATRO COMPLETO. VOLUMEN I (GARRIGUES WALKER, ANTONIO)

Empecé escribiendo poesía y acabé dándome cuenta lo descubrió Federico García Lorca que «el teatro es la poesía que se levanta del libro y se hace humana». Y yo siempre he hecho caso a Lorca, y le dediqué mi última obra incluida en este libro en la que Federico quiere morir para que «no le manoseen las entrañas y el bulbo raquídeo» y una mujer le salva del olvido. El teatro es también una forma de jugar al ajedrez. Hay que imaginar quién entra y quién sale, quién vive y quién no vive, pero, sobre todo, cuándo cae el telón. Eso es lo más esencial. Hay dramaturgos que todavía no lo saben y muchos ya han fallecido, sin poder concluir obras bellísimas. En cuanto termino una obra, me pongo a pensar en el título de la siguiente y en cuanto doy con un título certero, por ejemplo, Volveremos a morir la acción entera se hace de golpe visible. Hay que escribir una obra de teatro sobre la importancia del título, pero no representarla nunca. La mejor que se ha escrito es La comedia sin título de Lorca. No pudo concluirla. Pienso, eso sí, seguir escribiendo. Lo advierto para que nadie se llame a engaños. Como dice Fernando Arrabal: «El teatro no es como la vida, el teatro es la vida».

KATANA (GAMEZ, PACO)

El caso de el asesino de la catana sacudió a la España del 2000. Cambiaba el milenio y un chico de dieciséis años decidió usar la espada japonesa que le regaló su padre para matar a toda su familia. Un niño asesino, un adolescente desnaturalizado, frío, capaz de cometer el crimen más atroz. ODEIM es el nick que usaba para chatear con su novia; con ese seudónimo hizo la promesa de aniquilar a sus progenitores y a su hermana pequeña. ODEIM; miedo escrito al revés, miedo leído sobre un espejo. El miedo del hijo ante al padre. El miedo del padre frente al hijo. Edipo contra Saturno. Ahora un escritor decide contar su historia, adentrarse en su oscuridad y la realidad y la ficción empiezan a mezclarse hasta que la frontera desaparece; surge entonces la pregunta ¿quién soy yo? ¿Qué tengo en común con ese monstruo? ¿Es un monstruo o un niño sin más? Hay preguntas que es mejor no hacerse, hay ciénagas que no deberíamos atravesar. ¿En qué nos convertimos cuando nos sumergimos en nuestros temores más profundos? Antes de obtener respuestas, ese chico alzó la catana y ya no había marcha atrás.

THE SONG OF HIAWATHA (LONGFELLOW, HENRY WADSWORTH)

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T6 (VOLUM 13) LLEONS / LA AMÈRICA DE EDWARD HOPPER (HIBERNIA, EVA)

Entre el 2002 i el 2006, el TNC va impulsar la primera etapa del projecte T6, dedicat al suport i a la dinamització de l'escriptura teatral contemporània. Durant aquest període, s'ha ofert a quinze dramaturgs la possibilitat d'escriure i d'estrenar les seves obres, i també de participar en el procés de producció de l'espectacle. A partir de la temporada 2006/2007, el T6 ha iniciat una segona etapa, amb la incorporació de la Coordinadora de Sales Alternatives de Catalunya i de la Societat General d'Autors i Editors. Amb l'objectiu que els creadors disposin d'un suport estable en aquest moment clau de les seves carreres, cadascun dels autors i de les autores residents del T6 escriurà dues obres al llarg de tres temporades: una, s'estrenarà en una sala alternativa i, l'altra, al TNC. Els sis autors residents d'aquesta nova etapa són Àngels Aymar, Eva Hibernia, Albert Mestres, Pau Miró, Mercè Sarrias i Jordi Silva.

THE PLAYS OF PHILIP MASSINGER (MASSINGER, PHILIP)

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ON SOME OF SHAKESPEARE’S FEMALE CHARACTERS (MARTIN, HELENA SAVILLE)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

SAPPHO (DAUDET, ALPHONSE/BELOT, ADOLPHE)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

CORIOLANUS (THOMSON, JAMES)

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CONVERSATIONS WITH GOETHE IN THE LAST YEARS OF HIS LIFE (GOETHE, JOHANN WOLFGANG VON/ECKERMANN, JOHANN PETER)

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THE REAY FENCIBLES, OR, LORD REAY’S HIGHLANDERS (MACKAY, JOHN)

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