Acceso al área de soci@s

Directora del FESTIVAL INTERNACIONAL DE TÍTERES DE BILBAO. Fundó en 1982 uno de los primeros Festivales de títeres de España y durante muchos años uno de los más prestigiosos por la calidad de sus participantes y sus actividades paralelas. Con la edición número 35 del año 2016 dejó dirección del mismo.

Participa en la FUNDACIÓN DE UNIMA FEDERACIÓN ESPAÑA. En Junio de 1984 se reúne en Segovia con José María Carbonell, Antonio Díaz de la Quintana, Alberto Cebreiro y Guadalupe Tempestini para redactar el anteproyecto de estatutos de lo que luego será UNIMA FEDERACIÓN ESPAÑA. Proceso en el cual estará siempre presente como una de sus mayores impulsoras. Así en 2003, en difíciles momentos para nuestra asociación, coordinará el Congreso de Bilbao que dará lugar a profundos cambios organizativos (sustitución de Junta Directiva por Comité de Gestión, entre otros) y de comunicación (página web y revista Fantoche).

Crea el CENTRO DE DOCUMENTACIÓN DE TÍTERES DE BILBAO. En 1987 se presenta oficialmente, aunque su labor ya había comenzado años antes, el CDTB que se puede considerar el primer centro de documentación específico del arte de los títeres de España. El Centro ha reunido un importantísimo fichero de más de dos mil compañías españolas y extranjeras (especialmente latinoamericanas). Además de la biblioteca de 4000 volúmenes, ha contado con una importante colección de unos 3000 carteles, 5000 fotografías, una videoteca de obras de títeres con unos 1000 registros y una impagable colección de revistas (nacionales y extranjeras) especializadas en teatro y títeres con 148 títulos.

PUBLICACIONES

Probablemente haya sido su labor de documentalista la que mayor huella ha dejado para las próximas generaciones de titiriteros y de investigadores de la historia de las marionetas en España. A su trabajo de documentación ha añadido la función de editora de los trabajos de recopilación de datos y de traducción de obras imprescindibles.

Tres anuarios (1987, 1989, 1991-1992) que recogen datos de todas las compañías y de su repertorio, imprescindible herramienta para conocer la historia de los títeres en España durante su periodo de expansión. Ha sido un instrumento básico para dar a conocer a las instituciones públicas y privadas la amplitud que los títeres tenían en el panorama del teatro español.

Una de las principales miradas de Concha ha ido dirigida al continente latinoamericano. Allí ha viajado en decenas de ocasiones y ha traído a decenas de titiriteros y compañías para que se conozca en España su labor teatral.

En 1990 publicó su primer monográfico sobre las compañías latinoamericanas, trabajo que inició con Guadalupe Tempestini. Posteriormente, ya en solitario, publicó otros dos en 1995 y 2001.
Una impresionante y costosa recogida de datos que llenan tres grandes tomos (entre 450 y 730 páginas cada uno de ellos) de informaciones sobre el estado de los títeres en Latinoamérica.

Concha de la Casa ha participado en muchas organizaciones de contacto con el mundo teatral americano (CELCIT, ITI, Festival Iberoamericano de Cádiz, ASSITEJ, etc).
Además de publicar una colección ilustrada de libros de obras de teatro de títeres, Títeres de Sueños, ha puesto en manos de los profesionales españoles la traducción de obras imprescindibles en el panorama europeo, de autores tan importantes como Michel Meschke, H. Jurkowski o la compañía italiana Gioco Vita.

Pero su principal labor de traducción fue la de los cinco primeros números de la revista Puck, del Instituto Internacional de la Marioneta de Francia. Los titiriteros españoles pudieron acceder así a las nuevas vanguardias europeas y a conocer de primera mano los contactos de la marioneta con otras artes. Desgraciadamente, por falta de apoyo social y económico, no se pudo seguir adelante.

TÍTERES EN FEMENINO

Concha de la Casa, bastantes años antes de esta cuarta oleada del feminismo, quiso intervenir en sacar a la luz el trabajo profesional y artístico de unas mujeres que se desenvolvían en un medio que había sido históricamente de patrimonio masculino. Las compañías familiares dividían el trabajo de tal forma que el prestigio profesional se lo llevaban los hombres y se dejaba a las mujeres el papel de ayudante en la manipulación, el de confección de los vestiditos de los títeres y, si acaso, el de cobrar las entradas e impedir con una vara que los chiquillos se colaran para ver la función.

Ha presentado encuentros teórico-prácticos de discusión y análisis, y funciones donde las protagonistas eran mujeres. Creó el Premio Mariona Masgrau para destacar el papel de aquellas que habían prestado singulares aportaciones al teatro de títeres. Ha creado un foro en Internet (Títeres en femenino = http://www.titeresenfemenino.com/) donde se recogen biografías, ponencias y estudios de las más importantes titiriteras de nuestro país y de todo el mundo…

En 2020 Concha de la Casa es distinguida como Socia de Honor de UNIMA.

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