Acceso al área de soci@s

La Máquina Real lleva su colección de teatro de figuras a la feria «Olivares Barroco» de Sevilla

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Esta semana del 11 al 14 de mayo La Máquina Real viaja a Olivares, Sevilla, para mostrar su colección de teatro de figuras, un recorrido por mil años de teatro en España.

La colección esta formada por 10 escenografia y más de 200 figuras.

La exposición comienza por los juglares que recitaban romances y cantares de gesta acompañados de sencillas danzas y canciones. dando vida a los divertidos Bavastelesprimeros títeres documentados en el Hortus Delicarum de 1167.

Al mismo tiempo que se iba desarrollando la épica medieval, los clérigos recitaban poemas narrativos de temática religiosa o histórica, escritos en cuaderna vía. La poesía y sus lecturas dramatizadas nos llevaron al teatro medieval, gestándose dentro de la Iglesia. Los tropos y el drama litúrgico daban mayor solemnidad a la liturgia, y explicaban de forma sencilla las sagradas escrituras a los fieles. Empezaron a usarse figuras móviles en retablos mecánicos, como en el auto de los Reyes Magos, primer manuscrito del teatro español. El teatro pre-renacentista se volvió cada vez más satírico y obsceno, siendo expulsado de los templos. Las representaciones de Misterios y Milagros continuaron en las puertas de las Iglesias, en atrios y plazas, pero cada vez más alejados del latín y la moral de la iglesia, dando lugar a las disputas y los juegos de escarnio, precursores de las coplas dialogadas del teatro renacentista. El teatro no se alejó del todo de la Iglesia, las obras de moralidades y milagros dan paso a las alegorías, los nacimientos y los autos sacramentales. También tenemos la representación del pecado y el mal con la tarasca, los gigantes y cabezudos, en las procesiones del Corpus desde el siglo XIII hasta XVIII.

En las obras de Cervantes encontramos las descripciones más precisas del devenir de los títeres y el teatro de figuras, con su personaje Maese Pedro. “Vagamundos” que muestran sus retablos de figurillas en ventas y plazas. Las puertas de las iglesias y las plazas se fueron abandonando, cuando el teatro se convirtió en un oficio y las representaciones se trasladaron a los Corrales de Comedias, convirtiéndose el teatro de esta época en el sustento de muchos hospitales, que con el alquiler de sus corrales percibían una renta.

El siglo de Oro del teatro español está en pleno esplendor y con él, la Máquina Real, donde máquina adquiere el sentido de las tramoyas. En 1765 se prohíbe la representación de autos sacramentales y comedias de Santos. Estas prohibiciones, junto con las de cofradías e impedimentos de bailes y representaciones en procesiones y atrios de las iglesias, marcaron la desaparición de muchas manifestaciones populares.

La Ilustración trajo consigo el desarrollo de las ciencias experimentales, la reforma del sistema educativo, el progreso científico y las prohibiciones en las artes escénicas. En este periodo nació el Tutilimundi para divulgación del conocimiento a través de la muestra de cosmoramas animados inspirados en imágenes nunca vistas de otros países.

También sale a las calles Don Cristóbal, máximo representante de la sátira social a las costumbres, a la injusticia y a las desigualdades sociales. El títere de guante se convierte en la única forma de supervivencia de muchos actores y titiriteros, expulsados de los teatros y las celebraciones religiosas.

En plena revolución industrial el teatro no es ajeno a esos cambios que está generando la sociedad. Las linternas mágicas, sombras chinescas, zootropos, panoramas, daguerrotipos y mundinovis, enseñaron al público una manera distinta de ver el mundo. Nace el Romanticismo, y con él los decorados corpóreos y realistas, el vestuario se adecúa al momento histórico del personaje, y la luz de gas ilumina la escena, creando fantasmagorías y efectos especiales. Moratín o Zorrilla no escaparon a estos reclamos visuales, y es nuestro retablo romántico con la obra de Don Juan Tenorio buen ejemplo.

La depresión y ruina social española, llega al teatro de finales del siglo XIX, del Modernismo se pasa al esperpento de la mano de Valle Inclán, quien plantea una regeneración de España, criticando el orden establecido a través de sus personajes, que movidos como títeres, por su autor, representan a la vez la tragedia y la farsa en un mundo deforme y absurdo. Con la llegada del nuevo milenio, llegan las vanguardias artísticas y el teatro del absurdo con Francisco Nieva y sus marionetas furiosas, que se convierten en la personificación del sarcasmo, las burlas y la agudeza irónica.

Viernes 12 visita guiada para escolares a las 9:00 horas

Domingo 14  a las 13:00 horas, actuación con nuestro espectáculo «Caballero Soy»

 

Cartel,  diptico curvas

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