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La Diabla NÚMERO 9TEMPORADA 2012 REVISTA PEDAGÓGICA DEL TEATRO ESPAÑOL La Diabla NÚMERO 9TEMPORADA 2012 ANTECEDENTES ENTREVISTAS CURIOSIDADES RECURSOS Presentación El Teatro Español pone en marcha La Diabla, revista pedagógica, desde su interés por acercar el teatro a todo tipo de comunidades: educativas, lúdicas, culturales... de una forma amena, abierta y entretenida. Cada número de La Diabla está dedicado a una obra de producción propia del Teatro Español, donde se hará un análisis de la misma y se explicarán los pasos realizados para su puesta en escena, a la vez que se ofrecen recursos pedagógicos, con el fin de: 1.- Ofrecer actividades y herramientas a profesores y alumnos, que podrán adaptar a sus necesidades, para conseguir los objetivos didácticos específicos dentro del currículum de la enseñanza, de una forma práctica, integradora y significativa. 2.- Aportar información de cómo analizar una obra de teatro y el proceso de creación de una puesta en escena para formar espectadores teatrales críticos. 3.- Proporcionar a los jóvenes la semilla que produzca nuevos espectadores teatrales capaces de reconocer la valía del teatro desde varios aspectos: lúdico, educativo, cultural... 4.- Ofertar una serie de recursos teatrales aplicables en talleres, aulas, grupos de teatro… de fácil ejecución, así como ricos en contenidos. 5.- Ofrecer información a todo tipo de colectivos que estén interesados en el mundo teatral y deseen saber más sobre la obra y los detalles de la producción. Qué es La Diabla 1. Hilera de luces similar a las candilejas, colgada de una vara, generalmente escondida detrás de una bambalina. 2. Revista pedagógica del TEATROESPAÑOL. Edición: Josema Díez-Pérez Diseño y maquetación: Juan Pablo Rada / Paso de Zebra Fotos del escena y retratos: Javier Naval Dep. Legal: M-19198-2012 2 La Diabla Antecedentes 4 El autor: David Mamet La obra: La anarquista La puesta en escena 9 El director La obra Los personajes La dramaturgia La iluminación La temática Lo que no se ve 19 Ensayos Entrevistas Entresijos Recursos 25 Antes y después de ver la obra , Para saber mAs 34 Bibliografía, artículos, webs, etc. La Diabla 3 EL AUTOR David Mamet Nació en Chicago el 30 de noviembre de 1947 en Flossmoor, Illinois en el seno de una familia judía de clase media, antecedentes aunque se crió en el barrio South Store de Chicago. Su padre era abogado y su madre maestra. Su infancia estuvo marcada por el divorcio de sus padres. En 1958 se fue a vivir con su madre y el segundo marido de ésta. David Mamet Ionesco En su juventud leyó a los CURIOSIDAD: Una clásicos americanos como enfermedad ner- O´Neill, Miller, Williams y a viosa le salvó autores franceses como de ser reclutado Ionesco, Adamov o Bec- para la guerra kett entre otros. de Vietnam. Se sintió atraído por el tea- tro desde niño actuando para compañías como Second City, que eran grupos de co- media de improvisación. Allí creaban sketches rápidos con lenguaje de la calle, para capturar la atención de un pú- blico rudo. Estudió literatura dramática y se licenció en el Goddard College de Ver- mont, donde fue artista-residente a principios de los años setenta. En 1969 en Nueva York estudió en la Neighborhood Playhouse School of Theater, donde San- ford Meisner, del CURIOSIDAD: La hemana de Mamet dijo que Group Theatre, ense- en su infancia hubo mucha violencia emo- ñaba un método de cional (New York Times, 1997) y muchos interpretación basado especialistas la ven reflejada en la escritura en Stanislavski. del dramaturgo. 4 La Diabla Antes de convertirse en un aclamado dramaturgo, empezó su carrera como actor y director. Las primeras obras de Mamet: Duck variations (Variaciones sobre el pato) y Sexual Perversity in chicago (Perversidad sexual en Chicago) fueron producidas en el Off-Broadway y le dieron en seguida una gran popularidad como escritor del “nuevo realismo”. CURIOSIDAD: El au- antecedentes En 1988 fundó con tor ha dicho que ha William H. Macy la trabajado de: actor, Atlantic Theater bailarín, director, Company y tra- escritor, productor de bajó como actor teatro, profesor de litera- y como profesor tura, taxista, camarero, empleado de interpreta- de una agencia inmobiliaria, coci- ción en el Marl- nero de un barco, obrero en una boro College de fábrica de conservas, cobrador de Vermont. autobús y limpiador de cristales, entre otros. Algunos de los ensayos fundamentales para entender el teatro de David Mamet son Bambi contra Godzilla y Los tres usos de un Cuchillo, así como la colección de entrevistas reunidas en Conversaciones con David Mamet. Para Mamet es un privilegio poder dedicarse a aquello que a uno más le gusta y está convencido de que el público es la causa primera y última del cine, del teatro y la literatura. SU ESTILO. Mamet creó una forma compuesta por pen- samientos medio expresados y rápidos cambios de humor para sus guiones. Sus diálogos se acercan de manera fiel al realismo psicológico, mediante la acotación de interrup- ciones, yuxtaposiciones y se materializa en un lenguaje curvo, críptico y con profundidad. La Diabla 5 Mamet en ocasiones recuerda a dramaturgos como Harold Pinter o Samuel Beckett, pero su diálogo es tan único que se ha llegado a conocer como Mametspeak. Muchas de sus obras han sido antecedentes estrenadas por la Saint Nicholas Theater Company de Chicago, de la cual fue miembro fundador y director artístico. OTRAS OBRAS de éxito de Mamet son: Lakeboat (1970), Squirrels (1974), American Buffalo (1975), Reunion (1976), The Water Engine (1976), A Life in the Theatre (1977), Revenge of the Space Pandas (1978), The Woods (1979), The Blue Hour (1979), Lakeboat (revised, 1980), Edmond (1982), The Frog Prince (1983), Glengarry Glen Ross (1984), The Shawl (1985), Speed-the-Plow (1988), Bobby Gould in Hell (1989), Oleanna (1992), The Cryptogram (1995), The Old Neighborhood (1997), Boston Ma- rriage (1999), Faustus (2004), Romance (2005) o The Voysey Inheritance (adap- ted, 2005). “Eso es lo que he aprendido en mi vida de autor. No importa cómo se digan las frases. Lo que importa es lo que quieres decir. Lo que sale del corazón va al corazón. El resto son voces extrañas”. David Mamet LOS PREMIOS. Incluyen el Premio Joseph Jeffer- son, 1974; Premio Obie, 1976, 1983; Nueva York Teatro Circle Critics Award, 1977, 1984; Premio del Círculo Ex- terior de 1978; Compañía de Teatro West End Award, 1983; Premio Pulitzer de 1984; Gremio de Dramaturgos Hall-Warriner Award, 1984; Premio de la Academia Ame- ricana de 1986 y el Premio Tony, 1987. Premio Tony 6 La Diabla ANALIZAMOS LA OBRA: LA ANARQUISTA El estreno. La obra se estrena el 4 de diciembre de 2012 en dos ciudades a la vez: Madrid y Nueva York. En España dirigida por José Pascual y en América por David Mamet. antecedentes Para José Pascual la obra es un poco experimental dentro de la trayectoria de Mamet. La encuen- tra más especulativa, más política, más ideológica e incluso más ambigua que otras. El contenido. Una mujer fue encarcelada hace 35 años por el asesinato de dos policías y sus ideas anarquistas. A pesar de eso el tema de la anarquía no queda reflejado de una forma principal ya que la protagonista lo que pretende es borrar su pasado para obtener la libertad, por lo que intenta desvincularse de esas ideas. La reflexión. El Estado quiere averiguar si alguien se ha rehabilitado pero, ¿cómo se puede medir eso? ¿Qué medios tiene el Estado para determinar esto de una forma objetiva? Y por otro lado ¿con qué recursos cuenta el preso para demostrar que ha cambiado? Cartel de la obra La lucha de poder. La obra presenta un doble enfrentamiento: el del Estado contra alguien en New York que quiere destruirlo y el enfrentamiento de una mujer contra otra. La particularidad. Podemos encontrar ciertas semejanzas con otras obras, como con Oleanna, en el sentido de que son dos personajes, en un mismo lugar y con una lucha de poder. La característica de La Anarquista es que nunca hay un cambio de rol y siem- pre es un personaje el que tiene el poder. John Golden Theatre La Diabla 7 La trama consiste en saber si el Estado conseguirá descubrir si una persona ha cambiado tanto como para que se le pueda reinsertar. Y a la vez, si esa persona puede convencer al Estado de que le deje en libertad. CURIOSIDAD: Filósofos como Michel Foucault diri- La estructura. La obra plantea un interrogatorio donde gieron sus interés al tema del poder, y en su obra el lenguaje es sencillo y en ocasiones llega a ser colo- Vigilar y castigar quial. La obra transcurre en un sólo acto y en tiempo real, (1975) realizó un antecedentes donde no hay cambios espaciales ni temporales. análisis del cam- bio de la tortu- ra al encarcela- El objetivo. La prisionera miento, debe demostrar que ha cam- como mo- biado y para conseguirlo bus- delo peni- ca dos fórmulas: En primer lu- tenciario. Michel Foucault gar argumentando todo lo que ha hecho durante su estancia en la cárcel y en segundo, tratando de explicar a Ann las simili- tudes que hay entre ellas. Para Cathy, las dos son prisioneras del Estado, cada una de una forma. Ella privada de libertad y Ann trabajando para él. Ambas llevan en esa cárcel 35 años, ambas han perdido su vida al servicio del Estado. El Estado. Está presente durante toda la obra. Por un lado como objeto que quiere destruir la anarquía y, por otro, como poder que debe decidir sobre el futuro de Cathy. La época. La obra nos habla de un periodo concreto teniendo en cuenta la vida de uno de los personajes: la prisionera. Analizando su pasado descubrimos momentos como la liberación argelina, los años 60-70, ideas como la revolución, el Mayo del 68..
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