WELCOME TO THEATRE DIRECTORS AND STAGE DESIGNERS WEBSITE
Daniel Bianco ESCENA DE LA PUREZA by Raúl Asenjo
“The theatre is a school of weeping and of laughter, a free forum, where men can question norms that are outmoded or mistaken and explain with living example the eternal norms of the human heart and human sentiment”. (Federico García Lorca, from “Words on Theatre”)
I am convinced that to begin to talk of Daniel Bianco it is appropriate to cite these words that Federico García Lorca pronounced at a conference, one evening shortly before he was assassinated.
I often feel the impulse to commence with these lines the correspondence that I mail every day to those who, like me, are involved in the project that Bianco has just started as Director of Teatro de la Zarzuela in Madrid.
ANALOG SETS AND DIGITAL VISIONS
Separating the role of stage designer from that of director in Cristian Taraborrelli’s body of work is not the best way to probe the aesthetics and the poetics of this creator. We are too used to thinking that stage design is an accessory, an add-on to a live show and in some cases a mere backdrop, simply décor. Well, that is not so, and probably never has been. But we don’t need to revisit Svoboda in order to comprehend just how much of an anchor, from a dramatical point of view, constitutes the work of an art director for the design of a production in its entirety, as well as being instrumental in rendering the deepest sense of a drama, to allow its beating heart to emerge.
World Stage Design Exhibition is a feast for all of the senses and celebrates the very best in global performance design. An international panel of judges will be appointed to select at least 100 designs, to be exhibited at WSD2017 Taipei.
Lecture｜Heritage Theatre Machinery: unexpected possibilities in contemporary productions. Jerôme Maeckelbergh
From classic Baroque technology and scene changes to contemporary use of this versatile machinery: on the hand of video clips from a 1/10 scale model and animated technical drawings, solutions are shown for companies who have complaints and problems to play or make a production on a raked floor in Europe. We will also demonstrate unexpected possibilities of the heritage understage machinery. Mostly, when people talk or think about such historical machinery, they hypothesize it is only possible to make baroque scene changes with it as they know them from the different historical documentations. But an imaginative scenographer can surprise you with the most unexpected use of the miscellaneous opportunities of this neglected machinery in contemporary stage design for present-day productions. Besides a revaluation of this historical technique in theatrical use, this should also promote out of the box thinking for designers.
INTERCULTURAL FESTIVAL LABORATORY OF THEATRE PRACTICES
in collaboration with I.S.T.A. International School of Theatre Anthropology
directed by Eugenio Barba. From 23 JUNE to 9 JULY 2017.
Alfons Flores was born in Barcelona. He made his professional debuts as a stage designer and director with the GAT Company, which he co-founded. He works regularly with Ollé and La Fura dels Baus, his credits including set designs for Aufstieg und Fall der Stadt Mahagonny (Teatro Real, Madrid), Le Grand Macabre (English National Opera, La Monnaie, Rome Opera, Adelaide Festival, Buenos Aires and Oslo), Madama Butterfly (Opera Australia, Rome Opera), Un ballo in maschera (La Monnaie, Sydney), Il trovatore (Dutch National Opera, Paris Opéra), Pelléas et Mélisande (Dresden), Faust (Dutch National Opera), Tristan und Isolde and Der fliegende Holländer (Opéra de Lyon and Teatro Real) and Quartett (La Scala, Milan, Vienna Festwochen).
Flores’s collaborations with other directors include set designs for Calixto Bieto (Die Entführing aus dem Serail, Carmen, Un ballo in maschera, Don Giovanni, Die Fledermaus and Wozzeck), Carlos Wagner (Il duca d’Alba) and Joan Anton Rechi (Die Csárdásfürstin, Werther, L’elisir d’amore, Il barbiere di Siviglia, La Cenerentola, Król Roger), among others. His designs have been seen at such companies as ENO, Komische Oper Berlin, Teatro Massimo, Palermo, Deutsche Oper am Rhein, Teatro Regio, Turin, and La Fenice, Venice.