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Barcelona dijous,   19 d'abril de 2018   Actualitzat a les   13:31 (CET)  - EDICIÓ CATALUNYA -

La col·lecció

La col·lecció

i

Valoració mitjana dels critics i periodistes culturals

Autor:

Harold Pinter

English playwright who achieved international success as one of the most complex post-World War II dramatist. Pinter's plays are noted for their use of silence to increase tension, understatement, and cryptic small talk. Equally recognizable are the 'Pinteresque' themes - nameless menace, erotic fantasy, obsession and jealousy, family hatred and mental disturbance. "I don't know how music can influence writing, but it has been very important for me, both jazz and classical music. I feel a sense of music continually in writing, which is different matter from having been influenced by it." (Pinter in Playwrights at Work, ed. by George Plimpton, 2000) Harold Pinter was born in Hacney, as small, working-class neighborhood near London's East End, as the son of a Jewish tailor. On the outbreak of the World War II he was evacuated out of the city; he returned to London when he was 14. "The condition of being bombed has never left me," Pinter has later said. At school Pinter read particularly the works of Franz Kafka and Ernest Hemingway. He was educated at Hackney Downs Grammar School where he acted in school productions. He accepted a grant to study at the London's Royal Academy of Dramatic Arts. After two unhappy years he left his studies. In 1949 Pinter was fined by magistrates for having as a conscientious objector refused to do his national service. "I could have gone to prison - I took my toothbrush to the trials - but it so happened that the magistrate was slightly sympathetic, so I was fined instead, thirty pounds in all. Perhaps I'll be called up again in the next war, but I won't go." (from Playwrights at Work) In 1950 Pinter started to publish poems in Poetry (London) under the name Harold Pinta. He worked as a bit-part actor on a BBC Radio program, Focus on Football Pools. He studied for a short time at the Central School of Speech and Drama and toured Ireland from 1951 to 1952. In 1953 he appeared during Donald Wolfit's 1953 season at the King's Theatre in Hammersmith. After four more years in provincial repertory theatre under the pseudonym David Baron, Pinter began to write for the stage. THE ROOM (1957), originally written for Bristol University's drama department, was finished in four days. A SLIGHT ACHE, Pinter's first radio piece, was broadcast on the BBC in 1959. His first full-length play, THE BIRTHDAY PARTY, was first performed by Bristol University's drama department in 1957 and produced in 1958 in the West End. The play, which closed with disastrous reviews after one week, dealt in a Kafkaesque manner with an apparently ordinary man who is threatened by strangers for an unknown reason. He tries to run away but is tracked down. Although most reviewers were hostile, Pinter produced in rapid succession the body of work which made him the master of 'the comedy of menance.' "I find critics on the whole a pretty unnecessary bunch of people", Pinter said decades later in an interview. "We don't need critics to tell the audiences what to think." "Pinter's dialogue is as tightly - perhaps more tightly - controlled than verse. Every syllable, every inflection, the succession of long and short sounds, words and sentences, is calculated to nicety. And precisely the repetitiousness, the discontinuity, the circularity of ordinary vernacular speech are here used as formal elements with which the poet can compose his linguistic ballet." (Martin Esslin in The People Wound, 1970) Pinter's major plays are usually set in a single room, whose occupants are threatened by forces or people whose precise intentions neither the characters nor the audience can define. Often they are engaged in a struggle for survival or identity. Pinter refuses to provide rational justifications for action, but offers existential glimpses of bizarre or terrible moments in people's lives. In MONOLOGUE (1973) and NO MAN'S LAND (1975) the characters use words as their weapons in their struggles, not only for survival but also for sanity. ASTON - You said you wanted me to get you up. DAVIES - What for? ASTON - You said you were thinking of going to Sidcup. DAVIES - Ay, that'd be a good thing, if I got there. ASTON - Doesn't look like much of a day. DAVIES - Ay, well, that's shot it, en't it? (from The Caretaker) In 1960 Pinter wrote THE DUMB WAITER. With his second full-length play, THE CARETAKER (1960), Pinter made his reputation as a major modern talent. It was followed by A SLIGHT ACHE (1961), THE COLLECTION (1962), THE DWARFS (1963), THE LOVER (1963) and THE HOMECOMING (1965), the story of an estranged son who brings his wife home to meet his family, perhaps the most enigmatic of all his works. It won a Tony Award, the Whitebread Anglo-American Theater Award, and the New York Drama Critics' Circle Award. After teaching philosophy at an American university for six years, Teddy brings his wife Ruth home to London to meet his family: his father Max, a nagging, aggressive ex-butcher, and other member of the all-male household. At the end Teddy returns alone to his university job in America. No one needs him and he needs no one. Ruth stays as a mother or whore to his family. Everyone needs her. - Similar motifs - the battle for domination in a sexual context - recur in Landscape and Silence (both 1969), and In Old Times (1971) Although Pinter has told in an interview in 1966, that he never has written any part for any actor, his wife Vivien Merchant, frequently appeared in his plays. In the 1960s he also directed several of his dramas. After BETRAYAL (1978) Pinter wrote no new full-length plays until MOONLIGHT (1994). Short plays include A KIND OF ALASKA (1982), inspired by the case histories in Oliver Sack's Awake

Harold Pinter
Direcció:

Albert Prat

Boris Godunov, de David Plana. 2008. Direcció d’Àlex Ollé i David Plana. Cia La Fura dels Baus. TNC i CDN. Quotidiania Delirant, de Miguelanxo Prado. 2006. Direcció d’Eles Alavedra. Versus Teatre. SAM, peces curtes de Samuel Beckett. 2006. Direcció de Llàtzer García i Abel Coll. Sala Beckett. Nit de Poetes. 2005. direcció de recitals. Cia. Teatre de Reserva. Cafè Teatre Llantiol. Bartleby, de Herman Melville. 2005. Direcció d’Ever Blanchet. Versus Teatre. Baal, de Bertolt Brecht. 2004. Direcció d’Abel Coll. Teatre Tantarantana. Minim·mal Show, de Sergi Belbel i Miquel Górriz. 2004. Direcció de Mercè Lleixà. Teatre Regina de Barcelona. Selaginel·les (o la tragèdia d’una cabra), de Txema Stamfford. 2004. Cia. elnacionalnoensvol. Direcció de Peter Gadish i Txema Stamfford. Versus Teatre. Com a Casa-ssas, basat en poemes d’Enric Casassas. 2004. Cia. elnacionalNOensvol. Cafè Teatre Llantiol. Estercolàcies I i II, de Txema Stamfford. 2001/2003. Cia. elnacionalNOensvol. Cafè Teatre Llantiol.

Albert Prat
Producció: Cia. La Ruta 40

La ruta 40 posa en escena un text de Harold Pinter.

Sinopsi de La col·lecció

La col·lecció ens parla de la relació que s’estableix entre dues parelles dedicades al disseny de moda: Harry i Bill i James i Stella. La suposada trobada entre Stella i Bill en un hotel de Leeds una setmana abans que comenci l’acció és el detonant perquè James intenti saber què va passar realment entre ells.
Escrita originalment per a la televisió el 1961, es va representar per primera vegada a l’Aldwych Theatre a càrrec de la Royal Shakespeare Company el 1962.


Repartiment

Alberto Díaz /

Laura Pujolàs

Laura Pujolàs /

Òscar Intente

OSCAR INTENTE 2002 ELS ULLS DE L`ETERN GERMÀ, d`Stefan Sweig. Direcció d`Oriol Broggi. Sala Beckett, Projecte Alcover 2002- EL CAS GASPARD MEYER, de Jean-Yves Piqc. Dir. de Toni Casares. Sala Beckett, Barcelona. 2002-REFUGIATS, de Sergi Pompermayer. Dir. de David Plana. Teatre Nacional de Catalunya. 2002 -L`ENFONSAMENT DEL TITANIC, De H. M. Enzensberger. Dir. de Rafel Duran. STI; Govern Balear; GREC-2002. 2001 -CAOS DEMPEUS, de Verònique Olmi. Dir. d`Esteve Polls. Versus Teatre, Barcelona 2001 -OKUPES AL MUSEU DEL PRADO, d`Alberto Miralles. Dir. de Ricard Salvat. Sala Muntaner, Barcelona. 2000 - HISTÒRIES D`AMOR, de Toni Cabré. Dir. de Toni Casares. Teatre Nacional de Catalunya. 2002 - PLAÇA DELS HEROIS, de Thomas Bernhard. Dir. d'Ariel García Valdés.Teatre Nacional de Catalunya. 2002 - LA MÀQUINA D`AIGUA, de David Mamet. Dir. Àlex Rigola. Sala Beckett, Barcelona. 1999 - LA BARCA NOVA, d'Ignasi Iglesias. Dir. Joan Castells. Teatre Nacional de Catalunya.

Òscar Intente /

Sergi Torrecilla

Sergi Torrecilla

Fitxa tècnica

/ Ajudant de direcció: Ignasi Guasch / Caracterització:

Toni Santos

Toni Santos / Espai escènic: Xesca Salvà / Espai sonor: Joan Solé / Il·luminació:

Sergi Torrecilla

Sergi Torrecilla / Traducció: Víctor Muñoz i Calafell / Vestuari: Nídia Tusal

Crítiques Express

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Els silencis, les preguntes i respostes lacòniques ho deixen tot a la interpretació dels personatges, a la ferma convicció de la pròpia veritat, a l'exclusió de la mentida, a les mirades al buit...
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un gran text de Pinter, servit per excel·lents intèrprets, respectant al màxim l'essència de l'autor. Molt bó.
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Albert Prat s'apropa en aquest notable muntatge al món de l'admirable Pinter, prestant acurada atenció a totes les inflexions presents en un text enigmàticament fascinant.

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Gènere: Teatre
Idioma: Català