ALEXANDER POLZIN stage design "La página en blanco"

ALEXANDER POLZIN stage design

 La página en blaco_Pilar Jurado

 

LA PÁGINA EN BLANCO

Pilar Jurado (1968)

En lengua española
Libreto de la compositora
Estreno mundial
Obra encargo del Teatro Real
Nueva producción en el Teatro Real

EQUIPO ARTÍSTICO
Director musical Titus Engel
Director de escena David Hermann
Escenógrafo Alexander Polzin
Figurinista Annabelle Witt
luminador Urs Schönebaum
Directora del vídeo Claudia Rohrmoser
Director del coro Andrés Máspero

REPARTO
Ricardo Estapé - Otto Katzameier
Xavi Novarro - Nikolai Schukoff
Aisha Djarou - Pilar Jurado
Marta Stewart - Natascha Petrinsky
Gérard Musy - Hernán Iturralde
Kobayashi - Andrew Watts
Ramón Delgado - José Luis Sola

REALIZACIONES
Escenografía Locura Producciones SL de Valencia,
Delfini Group Srl de Roma
Utilería Teatro Real
Vestuario, calzado
caracterización y pelucas Teatro Real
Coro Titular del Teatro Real
La página en blanco
3
(Coro Intermezzo)
Orquesta Titular del Teatro Real
(Orquesta Sinfónica de Madrid)

EDICIÓN MUSICAL
La página en blanco
Pilar Jurado
Enelbiou Editions (2010)
Scala Aretina, S.L.

DURACIÓN APROXIMADA
Prólogo y Acto I: 1 hora y 5 min.
Pausa de 25 min.
Acto II: 45
FECHAS
Febrero
11, 14, 16, 18, 22, 25, 28
Marzo
2
20.00 horas

ALEXANDER POLZIN

ESCENÓGRAFO

Estudió en Berlín, su ciudad natal, y desde 1991 ha trabajado como escultor, pintor y diseñador de escenografías. Ha sido artista residente en varios países (Israel, Suiza, Estados Unidos). Ha impartido cursos en Zúrich y en la Universidad de California en Santa Cruz. Su obra ha sido expuesta en el Getty Center de Los Ángeles, así como en museos y galerías de Rumania, Francia, Italia y Hungría. Ha diseñado La página en blanco, escenografías para teatro, ópera y danza en producciones de escenarios tan prestigiosos como la Staatsoper de Berlín y la Deutsche Oper am Rhein de Dússeldorf. Entre los títulos líricos en los que ha colaborado se encuentran Rigoletto, The Rape of Lucretia y Philémon et Baucis de Haydn. Actualmente es artista residente del Institute for Advanced Studies en Bonn.

www.alexanderpolzin.de

L'escalier by Zaha Hadid Architects MAXXI

Un tramo de escalera con dos rellanos, en una casa modesta de vecindad. Los escalones de bajada hacia los pisos inferiores se encuentran en el primer término izquierdo. La barandilla que los bordea es muy pobre, con el pasamanos de hierro, y tuerce para correr a lo largo de la escena limitando el primer rellano. Cerca del lateral derecho arranca un tramo completo de unos diez escalones. La barandilla lo separa a su izquierda del hueco de la escalera y a su derecha hay una pared que rompe en ángulo junto al primer peldaño, formando en el primer término derecho un entrante con una sucia ventana lateral. Al final del tramo la barandilla vuelve de nuevo y termina en el lateral izquierdo, limitando el segundo rellano. En el borde de éste, una polvorienta bombilla enrejada pende hacia el hueco de la escalera. En el segundo rellano hay dos puertas: dos
laterales y dos centrales. Las distinguiremos, de derecha a izquierda, con los números I, II, III y IV.

El espectador asiste, en este acto y en el siguiente, a la galvanización momentánea de tiempos que han pasado. Los vestidos tienen un vago aire retrospectivo.

(Nada más levantarse el telón vemos cruzar y subir fatigosamente al COBRADOR DE LA LUZ, portando su grasienta cartera. Se detiene unos segundos para respirar y llama después con los nudillos en las cuatro puertas. Vuelve al I, donde le espera ya en el quicio la SEÑORA GENEROSA: una pobre mujer de unos cincuenta y cinco años.)

Historia de una escalera.

DRAMA EN TRES ACTOS
Premio Lope de Vega de 1949

Antonio Buero Vallejo

 MAXXI: Museum of XXI Century Arts

Rome, Italy 

1998 – 2009 

Italian Ministry of Culture, Rome, Italy,  

Fondazione MAXXI

    Built 30,000m2

 

MAXXI supercedes the notion of the museum as ‘object’ or – presenting a field of buildings accessible to all, with no firm boundary between what is ‘within’ and what is ‘without’. Central to this new reality are confluent lines – walls intersecting and separating to create interior and exterior spaces.

Photos by Photographer Luke Hayes

http://www.lukehayes.com/

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In the words of Zaha Hadid:

‘An interesting thing about the museum in Rome is that it is no longer an object, but rather a field, which implies that many programs could be attached to the museum. It’s no longer a museum, but a centre.

Here we are weaving a dense texture of interior and exterior spaces. It’s an intriguing mixture of permanent, temporary and commercial galleries, irrigating a large urban field with linear display surfaces.

It could be a library; there are so many buildings that are not standing next to, but are intertwined and superimposed over one another.

This means that, through the organizational diagram, you could weave other programs into the whole idea of gallery spaces. You can make connections between architecture and art – the bridges can connect them and make them into one exhibition.

That gives you the interesting possibility of having an exhibition across the field.

You can walk through a whole segment of a city to view spaces. In Rome, the organization will allow you to have exhibitions across the field, but they can also be very compressed, so you have a great variety.’

Zaha Hadid

http://www.zaha-hadid.com/

David LaChapelle and John Byrne for Florence + The Machine

David LaChapelle

Photographer

Bio

David LaChapelle is known internationally for his exceptional talent in combining a unique hyper-realistic aesthetic with profound social messages.

LaChapelle’s photography career began in the 1980’s when he began showing his artwork in New York City galleries. His work caught the eye of Andy Warhol, who offered him his first job as a photographer at Interview Magazine. His photographs of celebrities in Interview garnered positive attention, and before long he was shooting for a variety of top editorial publications and creating some of the most memorable advertising campaigns of his generation.

LaChapelle’s striking images have graced the covers and pages of Italian Vogue, French Vogue, Vanity Fair, GQ, Rolling Stone and i-D, and he has photographed personalities as diverse as Tupac Shakur, Madonna, Amanda Lepore, Eminem, Philip Johnson, Lance Armstrong, Pamela Anderson, Lil’ Kim, Uma Thurman, Elizabeth Taylor, David Beckham, Paris Hilton, Jeff Koons, Leonardo DiCaprio, Hillary Clinton, Muhammad Ali, and Britney Spears, to name a few.

After establishing himself as a fixture in contemporary photography, LaChapelle decided to branch out and direct music videos, live theatrical events, and documentary films. His directing credits include music videos for artists such as Christina Aguilera, Moby, Jennifer Lopez, Britney Spears, The Vines and No Doubt. His stage work includes Elton John’s The Red Piano and the Caesar’s Palace spectacular he designed and directed in 2004. His burgeoning interest in film led him to make the short documentary Krumped, an award-winner at Sundance from which he developed RIZE, the feature film acquired for worldwide distribution by Lion’s Gate Films. The film was released in the US and internationally in the Summer of 2005 to huge critical acclaim, and was chosen to open the 2005 Tribeca Film Festival in New York City. 





In 2006, LaChapelle decided to minimize his participation in commercial photography, and return to his roots by focusing on fine art photography. Since then, he has been the subject of exhibitions in both commercial galleries and leading public institutions around the world. He has had record breaking solo museum exhibitions at the Barbican Museum, London (2002), Palazzo Reale, Milan (2007), Museo del Antiguo Colegio de San Ildefonso, Mexico City (2009), the Musee de La Monnaie, Paris (2009), the Museum of Contemporary Art in Taipei, Taiwan and the Tel Aviv Museum of Art, Israel. In 2011, he has had a major exhibition of new work at The Lever House, New York and retrospectives at the Museo Arte Contemporáneo de Puerto Rico (through March 2012), the Hangaram Design Museum in Seoul (through February 2012) and Galerie Rudolfinum, Prague (through February 2012).

The galleries he has exhibited in include Tony Shafrazi and Paul Kasmin galleries in New York, Robilant + Voena in London, Alain Noirhomme Gallery in Brussels, Galerie Thomas, Munich and de Sarthe, Hong Kong. In 2012, LaChapelle is breaking new ground in his own career by showing an exhibition titled Earth Laughs in Flowers at four different international galleries simultaneously: Reformierte Dorfkirche in St. Moritz, branches of Robilant + Voena in London and Milan, and Fred Torres Collaborations in New York.

David LaChapelle continues to be inspired by everything from art history and street culture, to the Hawaiian jungle in which he lives, projecting an image of twenty-first century pop culture through his work that is both loving and critical. He is quite simply the only photographic artist working today who has transitioned flawlessly from the world of fashion and celebrity photography to be enshrined by the notoriously discerning contemporary art intelligentsia.

http://www.lachapellestudio.com/