Sharon Feldman - Academia.edu (original) (raw)

Papers by Sharon Feldman

Latin American Theatre Review, Mar 1, 1993

Contemporary Theatre Review, Aug 1, 2007

Students who have attended the seminars and workshops habitually offered by José Sanchis Sinister... more Students who have attended the seminars and workshops habitually offered by José Sanchis Sinisterra (b. 1940) at the Sala Beckett, Barcelona’s preeminent experimental theatre laboratory, frequently recall with enthusiasm an exercise in which they are encouraged to contemplate what is known in Catalan as el grau zero de la teatralitat (the zero degree of theatricality). According to the exercise, Sanchis asks one of his students to remain on an empty stage, ostensibly without performing, virtually doing nothing. Then, at the conclusion of fifteen minutes, he asks the other students to analyse what they have observed. The exercise consistently engenders surprising results in terms of the extensive list of features and gestures that the students are able to perceive, for it compels them to contemplate the powerful ‘zero degree’, or limits, of theatricality that are signified through the mere presence of the actor within a bare space, a performance stripped down to its minimal quintessence. Viewed through the lens of what has been a nearly twenty-year history of pedagogical and creative endeavours at the Beckett, Sanchis’s exercise may be taken as a parable of minimalism that alludes to the theatre of the legendary Irish playwright who gladly lent his name to the sala; yet it is also a reflection of a predominant attitude that has informed the work of many of those actors, directors, designers, composers, dancers and playwrights who have had a relationship with this locale. An aesthetic based upon the axiom menys és més (less is more) has permeated the walls of the Beckett, evident in its programming of contemporary drama, its seminars, and even its logotype. It is a setting in which risk, experimentation and pedagogy are emphasized over commercialism and frivolity, and where subtlety and discreetness are given precedence over hyperbole and excess. 1. See Santiago Fondevila, José Sanchis Sinisterra: L’espai fronterer (Barcelona: Institut del Teatre de la Diputació de Barcelona, 1998), p. 105. Contemporary Theatre Review, Vol. 17(3), 2007, 370 – 384

Panorama crític de la literatura catalana, Vol. 6, 2011 (Segle XX : de la postguerra a l'actualitat / Enric Bou (dir.)), ISBN 978-84-316-9435-7, 2011

TEATRE Record de Josep M. Benet i Jornet, «Papitu» Jordi Coca. Presentació Enric Gallén. Josep M.... more TEATRE Record de Josep M. Benet i Jornet, «Papitu» Jordi Coca. Presentació Enric Gallén. Josep M. Benet i Jornet i la tradició dramàtica Francesc Foguet i Boreu. Josep M. Benet i Jornet, una dramatúrgia en recerca constant Sharon G. Feldman. Josep M. Benet i Jornet: l\u27herència que ens deix

Resumen: En este artículo se presenta un análisis tanto del texto como de la representación de la... more Resumen: En este artículo se presenta un análisis tanto del texto como de la representación de la obra Llueve en Barcelona, de Pau Miró. El texto del artículo se acompaña de la grabación del espectáculo por el CDT.

Paree que mes souvenirs, qui pourmit !es effaced S11rto11t 111ai11tc1111m quc j'ai rnfi11 tro11\'... more Paree que mes souvenirs, qui pourmit !es effaced S11rto11t 111ai11tc1111m quc j'ai rnfi11 tro11\'l; le 111ore11de111'e11 servir. Com me des bo111bes /'Our 1•011s c11111ihilcr. .. 11li11s c11fi11, ie co1111Jrc11tf,. Vous ne voulez pas de mes souvenirs. 1Hes souvenirs so11t aussi 1•otrc histoirc. Sale histoirc. C'est /;011. II est peut-etre trap tard, 111ais ... le temps qui 111e rcstc est 1111 IClllJ'' 11ricicux. /.c IClll/'5 de reg/er 1105 comptes.

Latin American Theatre Review, Mar 1, 1993

Contemporary Theatre Review, Aug 1, 2007

Students who have attended the seminars and workshops habitually offered by José Sanchis Sinister... more Students who have attended the seminars and workshops habitually offered by José Sanchis Sinisterra (b. 1940) at the Sala Beckett, Barcelona’s preeminent experimental theatre laboratory, frequently recall with enthusiasm an exercise in which they are encouraged to contemplate what is known in Catalan as el grau zero de la teatralitat (the zero degree of theatricality). According to the exercise, Sanchis asks one of his students to remain on an empty stage, ostensibly without performing, virtually doing nothing. Then, at the conclusion of fifteen minutes, he asks the other students to analyse what they have observed. The exercise consistently engenders surprising results in terms of the extensive list of features and gestures that the students are able to perceive, for it compels them to contemplate the powerful ‘zero degree’, or limits, of theatricality that are signified through the mere presence of the actor within a bare space, a performance stripped down to its minimal quintessence. Viewed through the lens of what has been a nearly twenty-year history of pedagogical and creative endeavours at the Beckett, Sanchis’s exercise may be taken as a parable of minimalism that alludes to the theatre of the legendary Irish playwright who gladly lent his name to the sala; yet it is also a reflection of a predominant attitude that has informed the work of many of those actors, directors, designers, composers, dancers and playwrights who have had a relationship with this locale. An aesthetic based upon the axiom menys és més (less is more) has permeated the walls of the Beckett, evident in its programming of contemporary drama, its seminars, and even its logotype. It is a setting in which risk, experimentation and pedagogy are emphasized over commercialism and frivolity, and where subtlety and discreetness are given precedence over hyperbole and excess. 1. See Santiago Fondevila, José Sanchis Sinisterra: L’espai fronterer (Barcelona: Institut del Teatre de la Diputació de Barcelona, 1998), p. 105. Contemporary Theatre Review, Vol. 17(3), 2007, 370 – 384

Panorama crític de la literatura catalana, Vol. 6, 2011 (Segle XX : de la postguerra a l'actualitat / Enric Bou (dir.)), ISBN 978-84-316-9435-7, 2011

TEATRE Record de Josep M. Benet i Jornet, «Papitu» Jordi Coca. Presentació Enric Gallén. Josep M.... more TEATRE Record de Josep M. Benet i Jornet, «Papitu» Jordi Coca. Presentació Enric Gallén. Josep M. Benet i Jornet i la tradició dramàtica Francesc Foguet i Boreu. Josep M. Benet i Jornet, una dramatúrgia en recerca constant Sharon G. Feldman. Josep M. Benet i Jornet: l\u27herència que ens deix

Resumen: En este artículo se presenta un análisis tanto del texto como de la representación de la... more Resumen: En este artículo se presenta un análisis tanto del texto como de la representación de la obra Llueve en Barcelona, de Pau Miró. El texto del artículo se acompaña de la grabación del espectáculo por el CDT.

Paree que mes souvenirs, qui pourmit !es effaced S11rto11t 111ai11tc1111m quc j'ai rnfi11 tro11\'... more Paree que mes souvenirs, qui pourmit !es effaced S11rto11t 111ai11tc1111m quc j'ai rnfi11 tro11\'l; le 111ore11de111'e11 servir. Com me des bo111bes /'Our 1•011s c11111ihilcr. .. 11li11s c11fi11, ie co1111Jrc11tf,. Vous ne voulez pas de mes souvenirs. 1Hes souvenirs so11t aussi 1•otrc histoirc. Sale histoirc. C'est /;011. II est peut-etre trap tard, 111ais ... le temps qui 111e rcstc est 1111 IClllJ'' 11ricicux. /.c IClll/'5 de reg/er 1105 comptes.