{"id":98404,"date":"2024-11-15T15:43:48","date_gmt":"2024-11-15T14:43:48","guid":{"rendered":"https:\/\/temporada-alta.com\/?page_id=98404"},"modified":"2025-02-24T15:03:39","modified_gmt":"2025-02-24T14:03:39","slug":"2011-edition","status":"publish","type":"page","link":"https:\/\/temporada-alta.com\/en\/2011-edition\/","title":{"rendered":"2011 Edition"},"content":{"rendered":"
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Temporada Alta is 20 years old<\/strong><\/h3>\n\n\n\n

We maintain our upward course in terms of the number of shows and the quality of many of the premi\u00e8res. The total number of spectators increases considerably, as does the percentage of ticket sales. This year we attempt to explore new paths to influence the future lines of action with El Canal and we create the Catalan Dramaturgy Tournament. We are visited by artists such as Daniel Veronese, Mario Gas, Pau Mir\u00f3, Krystian Lupa, Marta Carrasco, Cristopher Marthaler, S\u00edlvia P\u00e9rez Cruz, Jordi Galceran, Jordi Casanovas and Carles Santos, Ricardo Bart\u00eds, Propeller, Lev Dodin and Les 7 doigts de la main, among many others.<\/p>\n\n\n\n

Shows: 89<\/strong> (+ cinema)
Co-productions: 31<\/strong>
Premi\u00e8res: 56<\/strong>
Spectators: 68.635 <\/strong>(total) \/ 93,33%<\/strong> (tickets sold)
Halles: 13<\/strong> (+ cinema)
Budget: 3.026.306,29<\/strong> \u20ac<\/p>\n\n\n\n

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Documents<\/strong><\/h2>\n\n\n\n
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presentation dossier<\/a><\/div>\n\n\n\n
closing balance<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Poster\u00a02011, Santi Moix <\/strong><\/span>\u00a0<\/span><\/strong><\/h2>\n\n\n\n

No aburrir, ser constante, ser claro. No perder la personalidad y, a la vez, profundizar en el propio trabajo. Las premisas con las que trabaja Santi Moix tambi\u00e9n se podr\u00edan escuchar en boca de un director de teatro. De hecho, a Moix le gustar\u00eda hacer la escenograf\u00eda de una \u00f3pera. Un Turandot <\/em>o un Trist\u00e1n y Isolda<\/em>, por ejemplo. Lo har\u00eda para evadirse, para huir de las muchas horas que un artista se pasa trabajando en la soledad m\u00e1s absoluta. Para divertirse. Seguro que le gustar\u00eda hablar por igual con los cantantes c\u00f3mo con los t\u00e9cnicos. Les explicar\u00eda, quiz\u00e1s, que conoci\u00f3 a Fellini, otro loco del teatro y del circo. Se encontraron en Italia, cuando era un adolescente con una extraordinaria facilidad por el dibujo.<\/p>\n<\/div>\n<\/div>\n\n\n\n

The poster he has created for the XX edition of the Festival Temporada Alta \u2013 Festival de Tardor de Catalunya combines these two facets: the abstract and the figurative. He\u2019d been trying to put them together for years but had never quite found the right moment. Until five years ago, that is, when he was working on a set of pottery in Morrocco, and he came across donkeys carrying all sorts of wares. The result? A surprising series of paintings showing the backside of donkeys as the centrepiece (a detail that great masters like Vel\u00e1zquez enjoyed painting and that showed their expertise, says Moix), pictures full of the shapes characteristic of his style. A little later he did a series of engravings on Quijote. The characters he has created for the Festival poster seem to be inspired on the multitude of characters in these engravings, and on those that inhabit the watercolors he has produced for an edition of Hucklelberry Finn, by Mark Twain. Joan Junceda, Picasso, Dal\u00ed, Mir\u00f3, Goya and Delaxroix\u2026\u2026.the list of artists that have inspired him is huge. The choice of Santi Moix to produce the poster for the XX edition of Temporada Alta can be interpreted in many ways. His works, like theatre, are simple and yet voluptuous, flamboyant. They are modern but have travelled far before reaching their destination. The sleeping face he has drawn amongst the other figures in the poster, like forgotten ruins at the bottom of the sea, dreams of works that must still be written and painted.<\/p>\n\n\n\n

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

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

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Short film 2011<\/strong><\/h2>\n\n\n\n

This short film focuses on public and his necessity of catharsis. It talks about the primary necessity which move men to make theater, as much in the past, inside the prehistoric caves and Greek theaters, as in the present. The spot covers and empathizes the long list of face and body\u2019s expressions which every public show thoughtlessly and mechanically. A wrinkled nose, an eye who doesn\u2019t want to look, some teeth destroying a nail, a tear we would like to dissimulate or a natural and childish smile that is not afraid of showing an uncertain denture\u2026
An empathy or, in other words, a fascinating visual experience in which everybody sees themselves reflected. All this travel about body language could be also a reverse travel during history, where every person and face represents an historic stage till the prehistory.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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