{"id":98274,"date":"2024-11-15T08:52:35","date_gmt":"2024-11-15T07:52:35","guid":{"rendered":"https:\/\/temporada-alta.com\/?page_id=98274"},"modified":"2026-06-26T10:33:20","modified_gmt":"2026-06-26T08:33:20","slug":"2017-edition","status":"publish","type":"page","link":"https:\/\/temporada-alta.com\/en\/2017-edition\/","title":{"rendered":"2017 Edition"},"content":{"rendered":"\n

Temporada Alta makes a strong social and educational commitment<\/h3>\n\n\n\n

This edition sees the launch of a new programme: A Tempo, Arts i Formaci\u00f3. We are promoting it with the aim of bringing culture into school classrooms. A total of 3,690 students, 182 teachers, 28 schools and 70 professional artists have taken part in this project. At the same time, we continue to uphold our social commitment, with 2,818 tickets allocated to social groups. Some of the leading artists in this edition include Alain Platel, \u00c0lex Rigola, Romeo Castellucci, Josse De Pauw, Pep Tosar, Guy Cassiers, Elfriede Jelinek, Buika, Roger Bernat, Lali Ayguad\u00e9, Christiane Jatahy, Roc\u00edo Molina, S\u00edlvia P\u00e9rez Cruz, Quim Giron, Oskaras Korsunovas, Mariano Pensotti, Abbas Fahdel, Carlos Marqu\u00e9s-Marcet and \u00cdngrid Guardiola.<\/p>\n\n\n\n

Shows: 108<\/strong> (including cinema)
Co-productions: 26<\/strong>
Premieres: 49<\/strong>
Audience members: 52,753<\/strong> (total) \/ 90.57%<\/strong> (occupancy)
Venues: 22<\/strong> stages
Budget: 3,189,113.16<\/strong> \u20ac<\/p>\n\n\n\n

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PROGRAMMING 2017<\/a><\/div>\n<\/div>\n\n\n\n
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Dossiers<\/strong><\/h2>\n\n\n\n
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presentation<\/a><\/div>\n\n\n\n
closure<\/a><\/div>\n\n\n\n
closing infographic<\/a><\/div>\n\n\n\n
management model<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Poster: Carmen Calvo<\/strong><\/h2>\n\n\n\n

The great voyeur of theatre
<\/strong>Carmen Calvo received the commission for the poster of this edition of the Temporada Alta festival with enthusiasm: \u201cthe travelling companions are wonderful\u201d, says Carmen Calvo of the other artists who have preceded her, among whom she highlights \u201cthe great master\u201d Antoni T\u00e0pies.
\u201cReferences are what allow us artists to keep going\u201d, she stresses. References once again become important when we begin to talk about the figure on this year\u2019s poster: the blindfolded female figure recalls the sculptures Joan Mir\u00f3 made by bringing together different everyday objects. Carmen Calvo\u2019s woman is made up of a mannequin head and a stool. As one of the stool\u2019s legs is broken, the artist levelled it with a box and two additional pieces of wood.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\u201cThe image is only points of light and the trace of light\u201d, says Manel Esclusa. \u201cI thought it was connected to the world of theatre,\u201d he adds, \u201cfor there to be two important elements within the set design: lighting as it was originally, with candles at floor level, and later overhead lighting, with electric light. Both illuminate a stage where there is still no protagonist of the show\u201d.
It is difficult to explain so much with so few elements. The protagonist of the image is a beam of light, but the spotlight that projects it creates a space where it is not yet known what will happen. And this unknown is both exciting and dizzying. \u201cIt is about the mystery that darkness brings, which exists because there are lights that reveal it, just as light exists because there is darkness\u201d, the artist explains.
\u201cLighting defines a space and is a protagonist, because it gives the scene a specific character\u201d, stresses Esclusa, who also explains that the lights on the poster for Temporada Alta can evoke \u201cthe beginning, the interval or the end of a show\u201d.
Although Manel Esclusa\u2019s image for Temporada Alta was made inside a theatre, it connects very directly with his nocturnal photographs of urban spaces. \u201cPhotography is also a constant balance between light and darkness\u201d, the artist concludes.
Manel Esclusa\u2019s image can also be seen as a counterpoint to the one Francesc Torres created for the Festival in 2012, in which he transformed the movement of an acrobat almost into a trail of light. The festival maintains an ongoing collaboration with the world of photography. In addition to Manel Esclusa and Francesc Torres, it has commissioned works from other photographers such as Toni Catany, Joan Fontcuberta and Josep Maria Oliveras.<\/p>\n\n\n\n

Antoni Ribas<\/strong><\/p>\n\n\n\n

Manel Esclusa<\/h2>\n\n\n\n

Born in Vic in 1952, Manel Esclusa is considered one of the most outstanding Catalan photographers of recent decades. He came to photography as a child through his father\u2019s laboratory, working with him in the field of commercial photography between 1966 and 1972. In 1974 he was awarded a Photography Grant from the Dotaci\u00f3 d\u2019Art Castellbach and attended the Stages Internationaux de la Photographie in Arles, France, where he was taught by photographers of the calibre of Ansel Adams, Neal White, Arthur Trees, Ian Dieusaide, Denis Briat and Lucien Clergue. Shortly afterwards, he became one of the founders of Grup Alabern alongside Rafael Navarro, Joan Fontcuberta and Pere Formiguera.
In the late 1970s, Esclusa began his research into the conditions of nocturnal light and various aspects of low light, a theme he has maintained to this day. The results of these processes of technical experimentation have succeeded in materialising light, creating architectural spaces through shadows and lighting effects that construct ghostly, dreamlike and poetic spaces.
He is an internationally recognised artist, thanks to numerous exhibitions such as Aquariana<\/em>, Gits<\/em>, Ahucs<\/em> and Naus<\/em>, among others, most of them with international resonance. His works can currently be found in the Bibliot\u00e8que National, the Museu R\u00e9attu (France) and the Museu Nacional d\u2019Art de Catalunya, as well as in many other museums and private collections. Alongside his career as an artist, Manel Esclusa has worked as a teacher throughout his life, both in workshops and in schools.<\/p>\n\n\n\n

Download the poster<\/a><\/p>\n\n\n\n

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Short 2017, L\u2019incendi<\/em><\/strong><\/h2>\n\n\n\n

A match is nothing unless it starts a fire. L\u2019incendi<\/em> is the audiovisual piece created to present Temporada Alta 2017 and was awarded the Premi Gran Laus, the highest accolade at the Premis Laus for Graphic Design and Audiovisual Communication (2018). Once again, the Festival joins forces with Nanouk films to present this work which, in recent editions, has already earned recognition from the sector, critics and audiences with the Premi Gran Laus (The Pleasure Island<\/em>, TA 2016) and the Premi Laus d\u2019Or (El cant de la cabra<\/em>, TA 2015). This year\u2019s proposal, filmed at the Teatre Municipal de Girona, aims to be a song to freedom, asserting theatre as a space free from constraints. It seeks to turn the rules of advertising upside down in order to present an \u201canti-advert\u201d that is \u201cfree\u201d enough to question itself, the world of culture and its audience, which is, ultimately, the heart of the Festival.<\/p>\n<\/div>\n<\/div>\n\n\n\n

The director of the piece, Salvador Sunyer Vidal, says that, when considering what the freest kind of advertising might be, he reached the conclusion that it is advertising that criticises the product it promotes and, ultimately, its consumers. This year\u2019s promotional short is therefore somewhat provocative: it does not seek to please everyone, but rather to generate a sense of discomfort in the audience. It is from this unease that it seeks to involve the Festival\u2019s audience and make them reflect on the role of culture in general, and the performing arts in particular.<\/p>\n\n\n\n

The director has said\u2026
<\/strong>At Nanouk, we are proposing a promotional piece with its audience and with the world of culture, to remind us that every artistic expression has the obligation to look itself in the mirror and question itself. If it could not do so, it would not be art.
The protagonist of the advert has no mask to protect him and, for that reason, he is granted a certain moral authority. He fulfils the function of a tragic divinity or simply of a naked actor. To choose him, we looked for a real person who had a detached view of the performing arts and their function. Curiously, we found him right next to the Teatre de Salt. He is a young man who never leaves the house but always watches people going to the theatre from the window. Now he has entered the temple to proclaim what he thinks without mincing his words.
The theme of the promotional short is freedom and, in order to be free, the first thing we must do is be able to renounce. Be brave and break our chains, even if they are made of gold!
Fire is the main element of this piece. Fire understood as an element that liberates and purifies. Only if you burn everything you think you have, and are, will you be free. A theatre spectator must live up to the art they consume. It is this mutual relationship that raises or lowers the level of the other. This is the shared demand.
In an ideal framework, theatre is a collective space for reflection where anything should be possible. I would like to be able to convey this feeling in the piece we are making to promote it.<\/p>\n\n\n\n

Artistic credits<\/strong>
Script: Salvador Sunyer and Victor Santacana
Actor: Aleixo Paz Perez
Voice: Llu\u00eds Soler
Produced by Nanouk Films
Director: Salvador Sunyer \/ 1st Assistant Director (pre): \u00c0lex Mac\u00edas \/ 1st Assistant Director (shoot): Bea Hernandez Moreno \/ 2nd Assistant Director: Marc Ferrer Dom\u00ednguez \/ Direction Assistant: Nil Fort\u00f3n Pomada
Production direction: Anna Salgado Balderas \/ Production manager: N\u00faria Andr\u00e9s Rodr\u00edguez \/ Nanouk Films production: Sandra Olalde \/ Bit\u00f2 production: Sarah Agust\u00ed and Anna Rodrigo \/ Ajuntament Cultura: Rosa Carles
Director of photography: El\u00edas M. F\u00e9lix \/ Camera assistant: Ana Ferr\u00f3n Vivas \/ Video Assist: Judit Saizar Ardanuy
Gaffer: Xavier Gonz\u00e1lez Margalef \/ Grip: Jose Miguel Castillo Fernandez and Jose Ram\u00f3n Garc\u00eda Mart\u00ednez \/ Teatre Municipal technician: Txema
Art direction: Judit Ferrer Gimeno \/ Graphic design: Francisca Torres
Sound design: Oriol Bonals Liso \/ Sound mix: Mart\u00ed Albert
VFX supervisor: Sergi Rejat i Martinez
Editor: Victor Navarro Diago
Colourist: Llu\u00eds Velamazan
Suppliers: Service Vision (camera), Service Vision (lighting), Service Vision (machinery), Nasa FX (effects), WRS (walkies), Coser y Cantar (sound), Ricard Hidalgo (production), Galan Rent a Car (vehicles) and CineVent (insurance).
Extras: Antonia Roger, Montserrat Tomeu Manzano, Carme Sabater, Llu\u00efsa Camps Parella, M.\u00aa Rosa Quintana, Mart\u00ed Guillamet Jou, Carme Sedano Noguera, Mayte Casamitj\u00e0, Anna Pulido Sanchez, M.\u00aa Lluisa Alorda Esquinas, Maria Paula G\u00fcidi Sassano, Anna Daniel Cases, Gl\u00f2ria Polls Gonz\u00e1lez, Zoraida Pico Valderrama, Rosa Mart\u00ed Poch, Marycielo Giron, Solymar Jaimes, Carme Pint\u00f3 Curras, Elena Noguer Rubiola, N\u00faria Masal\u00f3, Pere Figueras, Francesc Garcia Sagrera, Carme Gros C\u00f3rdoba, Joan Cervera Morell, Magda Ruiz Exposito, Matilde Campmajo Sansanedas, Adela Cuenca Mart\u00ednez, Raul Gonzalez Bautija, Ricard Cam\u00f3 Campillo, Joan Luis Prado Bastante, Marina Angelica Salda\u00f1a Santiva\u00f1ez, Montse Cordero Rodriguez, Montse Alabert Rius, Amelia Gonz\u00e1lez, Maria Gracia Salas Torreblanca, Maria Rosa S\u00e1nchez, Antonia Vilaplana Moreno, M.\u00aa Lluisa Riera Ros, Conxi Beser, N\u00faria Ripoll Sol\u00e9, Carles Borrell, Llu\u00eds Torner i Calillo, Magdalena Fiam, Francisca Pil\u00f3 Borrega, Carles Duran Batlle, Miracle Sala Farr\u00e9 and M.\u00aa Dolors Rod\u00ed.<\/p>\n\n\n\n

AWARDS<\/strong><\/p>\n\n\n\n

Laus d\u2019Or<\/strong> in the audiovisual category
Grand Laus<\/strong> (the highest accolade at the Premis Laus)<\/p>\n\n\n\n

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