Altres espais per a l'escena : entitats reciclades, associacions culturals i fàbriques de creació a Barcelona (1976-2020)
(English) The thesis investigates the relationships between architecture, urbanism and the arts. It relates recycling, adaptive reuse and architectural adaptations with urban dynamics, neighbourhood and artivist movements and the performing arts. The research studies the architectural and cultural p...
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| Tipo de recurso: | tesis doctoral |
| Fecha de publicación: | 2021 |
| País: | España |
| Institución: | Universitat Politècnica de Catalunya (UPC) |
| Repositorio: | UPCommons. Portal del coneixement obert de la UPC |
| Idioma: | catalán |
| OAI Identifier: | oai:upcommons.upc.edu:2117/411064 |
| Acceso en línea: | https://hdl.handle.net/2117/411064 https://dx.doi.org/10.5821/dissertation-2117-411064 |
| Access Level: | acceso abierto |
| Palabra clave: | Barcelona Arquitectura teatral Teatre Heterotopia Fàbriques de Creació Teatre Lliure Fabià Puigserver Sala Beckett Lleialtat Santsenca L'Artesà Antic Teatre Ateneu Popular 9 Barris Nau Ivanow Fabra i Coats El Graner Harquitectes Lacol Flores i Prats Heterotopía Fábricas de Creación Flores y Prats Teatro Theatre architecture Theatre Heterotopy Art Factories Flores & Prats Àrees temàtiques de la UPC::Arquitectura |
| Sumario: | (English) The thesis investigates the relationships between architecture, urbanism and the arts. It relates recycling, adaptive reuse and architectural adaptations with urban dynamics, neighbourhood and artivist movements and the performing arts. The research studies the architectural and cultural projects of new modalities and types of theatres, venues, scenic spaces and cultural centres in the city of Barcelona and part of its metropolitan area, in a delimited timeframe, from the last quarter of the 20th century to the present. Three types of spaces are analysed: theatres in recycled historical entities (Teatre Lliure, Sala Beckett, Artesà del Prat, La Lleialtat Santsenca), cultural associations and artists' studios (Conservas, La Poderosa, La Caldera, Almazen, L'Atelier, Antic Teatre) and the new generation of municipal facilities, the Art Factories (Ateneu Popular 9 Barris, Nau Ivanow, El Graner, Fabra i Coats). The “other” performance spaces established themselves in architectures that reformulated the function, forms and organisation of theatre, creating a new balance between representation and performance. The adjustment and articulation of the architecture, the arts and the environment, that is, the container and the content in its context, is coherent or problematic according to each case. In its wide and expanded redefinition, the theatrical building can be an agora of diverse activities —creative, formative and sociocultural— that challenge new audiences according to new cultural paradigms. As architecture, the “other” spaces for the performing arts recycle pre-existence with unique project strategies, which can assume the fluidity of new experimental, performative and postdramatic performing arts. Regarding the city, the building of the “other” performance spaces can be a permeable place with strong urban links, rather than a symbolic and spectacular monument. When looking at the possibility of a parallelism between architecture and theatrical work, it is necessary to ascertain whether the variations that we detect in certain spaces for theatre (contemporaries in the Barcelona area), may relate to the change, or “turn,” that occurred in recent decades in the performing arts. Here we are referring to the 'performative turn' which, in the 1960s and 1970s, renewed the theatre. These transformations raise a question: does the new theatre have a parallel in the architecture of the buildings containing these performance spaces? Also, conversely: do the new spaces better promote or welcome a kind of expanded cultural activity? If so, how are architects and other professionals involved in defining the new theatrical areas looking for and finding new ways to enable and promote, if necessary, the new functions of the building? What are the contributions and differences, from the other' spaces for the performing arts, for creation, for the public, and for the city? In the cases examined, the way in which the de-institutionalisation of cultural facilities, the deconstruction of architectural forms and theatrical typology, the decoding of the organisation and the objectives of cultural centres, have been taken more, or less, far, in each case, is analysed. The methodology of the research is based on interviews with the agents involved (architects, creators, neighbours, coordinators and managers), on field work in the buildings studied, to analyse the architectural works and some theatrical works (by Roger Bernat and José Sanchis Sinisterra, among others), on the architectural processes, competitions and projects and on archival research of the cultural projects and programs of the cultural entities involved. |
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