{"id":16640,"date":"2016-09-02T06:06:42","date_gmt":"2016-09-02T04:06:42","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=16640"},"modified":"2021-07-19T16:48:22","modified_gmt":"2021-07-19T14:48:22","slug":"los-escenarios-del-cine","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/los-escenarios-del-cine\/","title":{"rendered":"[:es]Los escenarios del cine | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Os escenarios do cinema | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]The scenes of the cinema | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"\"<\/a>
\u00abPapillon\u00bb del director Franklin J. Schaffner<\/span><\/figcaption><\/figure><\/p>\n

Durante estos d\u00edas los escenarios del Kursaal y del Victoria Eugenia recibir\u00e1n la edici\u00f3n del festival internacional de cine de San Sebasti\u00e1n<\/a>. Desde otro punto de vista m\u00e1s alejado, ser\u00e1 la propia ciudad donostiarra la que sirva de escenario al propio festival. La arquitectura y el urbanismo de la ciudad configurar\u00e1n el espacio humano en el que se debatir\u00e1n las pel\u00edculas, se perseguir\u00e1 a los actores y se discutir\u00e1n los premios.<\/p>\n

El urbanismo de San Sebasti\u00e1n es uno de los ejemplos m\u00e1s valorados en las escuelas de arquitectura de todo el mundo. La forma en que los crecimientos del centro urbano supieron respetar el casco hist\u00f3rico, mientras potenciaban la relaci\u00f3n de la ciudad con su entorno natural, la bah\u00eda, el r\u00edo y los montes lejanos son todav\u00eda hoy motivo de estudio continuado.<\/p>\n

\"Kursaal<\/a>
Kursaal de San Sebasti\u00e1n de Rafael Moneo<\/span><\/figcaption><\/figure>\n

La arquitectura contempor\u00e1nea de la ciudad ha respetado este ideal de implantaci\u00f3n urbana. El Kursaal de Rafael Moneo reinterpretaba la desembocadura del Urumea y su relaci\u00f3n con los montes Urgull y Ul\u00eda a trav\u00e9s de la met\u00e1fora de dos rocas varadas en la playa de la Zurriola, lo que le supuso el premio Mies Van der Rohe, el premio a una obra arquitect\u00f3nica m\u00e1s importante otorgado en Europa.<\/p>\n

La recientemente inaugurada obra de rehabilitaci\u00f3n y ampliaci\u00f3n del museo San Telmo, realizada por los arquitectos Nieto y Sobejano, vuelve a incidir en la relaci\u00f3n de la arquitectura con los elementos naturales y articula en su fachada de fundici\u00f3n de aluminio todo un discurso sobre esta tem\u00e1tica. La piel de la nueva ampliaci\u00f3n se perfora planteando una relectura de los orificios naturales que la erosi\u00f3n del mar crea en los bloques de arenisca del monte Urgull y en los que crecen peque\u00f1as plantas y hierbas. Un riego por goteo integrado en la fachada permite el crecimiento de plantas que se sirven de los orificios del nuevo muro de aluminio para ver el exterior de la plaza Zuloaga.<\/p>\n

Si la ciudad es el marco, el entorno en el que se desarrolla la vida de sus habitantes, el cine necesita de esos mismos escenarios para poder contar mediante los fotogramas impresos en el celuloide historias de todo tipo. Han sido m\u00faltiples las ocasiones en las que espacios de nuestro entorno pr\u00f3ximo han sido utilizados para formar parte, como un actor m\u00e1s, de pel\u00edculas de todo tipo.<\/p>\n

\"rehabilitaci\u00f3n<\/a>
Rehabilitaci\u00f3n y ampliaci\u00f3n del museo San Telmo, realizada por los arquitectos Nieto y Sobejano<\/span><\/figcaption><\/figure>\n

Un buen ejemplo es \u00abPapillon<\/a>\u00bb del director Franklin J. Schaffner, estrenada en 1973, ubic\u00f3 el inicio de la historia en el casco antiguo de Hondarribia. Steven McQueen y Dustin Hoffman desfilan junto a una compa\u00f1\u00eda de prisioneros custodiados por el ej\u00e9rcito franc\u00e9s de camino a las prisiones de la Guayana francesa embarcando en Hondarribia y ante la atenta mirada de cientos de ciudadanos que ocupan su concurrida Alameda. El espacio urbano de ocio que configura la Alameda, ocupado por ni\u00f1os que juegan y ancianos pescadores que descansan a la sombra de los plataneros en el centro del casco de Hondarribia contrasta con la dureza del tr\u00e1nsito de los reos hacia su prisi\u00f3n que para muchos ser\u00e1 su final. De alguna manera el cine busca no s\u00f3lo la imagen de la ciudad, sino su esencia y los sentimientos que esos espacios generan para introducirlos en la pel\u00edcula.<\/p>\n

Al igual que Donostia pondr\u00e1 a trav\u00e9s del p\u00fablico sus ojos sobre lo que acontezca en el festival, el cine tambi\u00e9n ha visto la ciudad desde su propia y particular \u00f3ptica. Cuando en 1968 los productores de la \u00abBatalla de Inglaterra<\/a>\u00ab, decidieron rodar una escena con un bombardeo sobre la ciudad de Berl\u00edn, pensaron que la famosa avenida Unter den Linden deb\u00eda ser la localizaci\u00f3n ideal para esas tomas. Sus pretensiones chocaron con las autoridades comunistas que controlaban la zona este de la ciudad, por lo que tras una gran b\u00fasqueda de escenarios seleccionaron la Avenida de la Libertad donostiarra para rodar esas escenas. El aire burgu\u00e9s y elegante del ensanche de la ciudad reproduc\u00eda a la perfecci\u00f3n la vida urbana de la capital alemana, con el \u00fanico inconveniente de que los actores que en la pel\u00edcula se proteg\u00edan de las bombas entrando en el metro berlin\u00e9s, deb\u00edan entrar agach\u00e1ndose poco a poco en unas falsas bocas de metro de cart\u00f3n piedra colocadas en las aceras de la avenida.<\/p>\n

M\u00e1s all\u00e1 de la imagen de apariencia de ambas ciudades, son su escala, su ambiente y su elegancia manierista lo que decidi\u00f3 el escenario, llenando de esv\u00e1sticas y uniformes del III Reich las aceras de la Avenida.<\/p>\n

\"Avenida<\/a>
Avenida de la Libertad, San Sebasti\u00e1n en la pel\u00edcula \u00abBatalla de Inglaterra\u00bb<\/span><\/figcaption><\/figure>\n

Pero tal vez si hay una pel\u00edcula que pueda resumir esa simetr\u00eda contradictoria entre albergar el festival y salir en sus pantallas, esa pueda ser \u00ab27 horas<\/a>\u00ab, el segundo largometraje de Montxo Armendariz, rodado \u00edntegramente en la ciudad donostiarra. La pel\u00edcula se exhibi\u00f3 en el Zinemaldi de 1986, mostrando las 27 horas de vida de unos personajes que ocupan el puerto, el puente del Kursaal o la parte vieja donostiarra en su vida cotidiana. La isla aparece como un punto de ruptura. Si en la vida cotidiana de los ciudadanos es un referente visual permanente desde gran parte de la ciudad, su alejamiento y la imposibilidad de ser alcanzada le confiere siempre un aire misterioso. Es esa cualidad la que Armendariz aprovecha para rematar su pel\u00edcula y establecer la met\u00e1fora de que una vez dado el paso de llegar a la isla, ya no habr\u00e1 vuelta atr\u00e1s.<\/p>\n

\"\"<\/a>
Escena de \u00ab27 horas\u00bb, el segundo largometraje de Montxo Armendariz<\/span><\/figcaption><\/figure>\n

La utilizaci\u00f3n de la ciudad, de sus espacios en el cine es algo natural y sin lugar a dudas enriquecedor al demostrar que esos espacios poseen nuevos significados que incluso en ocasiones pasan desapercibidos para sus habitantes. Durante este Zinemaldi esta relaci\u00f3n entre ciudad, arquitectura y cine se ver\u00e1 en cientos de pel\u00edculas y como casi siempre la realidad superar\u00e1 a la ficci\u00f3n.<\/p>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. arquitecto
\nSan Sebasti\u00e1n. Septiembre 2011<\/p>\n

Publicado en ZAZPIKA 21.09.2011<\/em>[:gl]

\"\"<\/a>
\u00abPapillon\u00bb do director Franklin J. Schaffner<\/span><\/figcaption><\/figure><\/p>\n

Durante estes d\u00edas os escenarios do Kursaal e da Vitoria Eugenia recibir\u00e1n a edici\u00f3n do festival internacional de cinema de San Sebasti\u00e1n<\/a>. Desde outro punto de vista m\u00e1is afastado, ser\u00e1 a propia cidade donostiarra a que sirva de escenario ao propio festival. A arquitectura e o urbanismo da cidade configurar\u00e1n o espazo humano no que se debater\u00e1n as pel\u00edculas, perseguirase aos actores e discutiranse os premios.<\/p>\n

O urbanismo de San Sebasti\u00e1n \u00e9 un dos exemplos m\u00e1is valorados nas escolas de arquitectura de todo o mundo. A forma en que os crecementos do centro urbano souberon respectar o centro hist\u00f3rico, mentres potenciaban a relaci\u00f3n da cidade coa s\u00faa contorna natural, a ba\u00eda, o r\u00edo e os montes afastados son a\u00ednda hoxe motivo de estudo continuado.<\/p>\n

\"Kursaal<\/a>
Kursaal de San Sebasti\u00e1n de Rafael Moneo<\/span><\/figcaption><\/figure>\n

A arquitectura contempor\u00e1nea da cidade respectou este ideal de implantaci\u00f3n urbana. O Kursaal de Rafael Moneo reinterpretaba a desembocadura do Urumea e a s\u00faa relaci\u00f3n cos montes Urgull e Ul\u00eda a trav\u00e9s da met\u00e1fora de d\u00faas rocas varadas na praia da Zurriola, o que lle supuxo o premio Mies Van der Rohe, o premio a unha obra arquitect\u00f3nica m\u00e1is importante outorgado en Europa.<\/p>\n

A recentemente inaugurada obra de rehabilitaci\u00f3n e ampliaci\u00f3n do museo San Telmo, realizada polos arquitectos Neto e Sobejano, volve incidir na relaci\u00f3n da arquitectura cos elementos naturais e articula na s\u00faa fachada de fundici\u00f3n de aluminio todo un discurso sobre esta tem\u00e1tica.\u00a0A pel da nova ampliaci\u00f3n perf\u00f3rase expondo unha relectura dos orificios naturais que a erosi\u00f3n do mar crea nos bloques de arenisca do monte Urgull e nos que crecen pequenas plantas e herbas. Unha rega por goteo integrado na fachada permite o crecemento de plantas que se serven dos orificios do novo muro de aluminio para ver o exterior da praza Zuloaga.<\/p>\n

Se a cidade \u00e9 o marco, a contorna no que se desenvolve a vida dos seus habitantes, o cinema necesita deses mesmos escenarios para poder contar mediante os fotogramas impresos no celuloide historias de todo tipo. Foron m\u00faltiples as ocasi\u00f3ns nas que espazos da nosa contorna pr\u00f3xima foron utilizados para formar parte, como un actor m\u00e1is, de pel\u00edculas de todo tipo.<\/p>\n

\"rehabilitaci\u00f3n<\/a>
Rehabilitaci\u00f3n e ampliaci\u00f3n do museo San Telmo, realizada polos arquitectos Nieto ye Sobejano<\/span><\/figcaption><\/figure>\n

Un bo exemplo \u00e9 \u00abPapillon<\/a>\u00bb do director Franklin J. Schaffner, estreada en 1973, situou o inicio da historia no casco antigo de Hondarribia. Steven McQueen e Dustin Hoffman desfilan xunto a unha compa\u00f1\u00eda de prisioneiros custodiados polo ex\u00e9rcito franc\u00e9s de cami\u00f1o \u00e1s prisi\u00f3ns da Guayana francesa embarcando en Hondarribia e ante a atenta mirada de centos de cidad\u00e1ns que ocupan a s\u00faa concorrida Alameda. O espazo urbano de lecer que configura a Alameda, ocupado por nenos que xogan e anci\u00e1ns pescadores que descansan \u00e1 sombra dos bananeiros no centro do casco de Hondarribia contrasta coa dureza do tr\u00e1nsito dos reos cara \u00e1 s\u00faa prisi\u00f3n que para moitos ser\u00e1 o seu final. Dalgunha maneira o cinema busca non s\u00f3 a imaxe da cidade, sen\u00f3n a s\u00faa esencia e os sentimentos que eses espazos xeran para introducilos na pel\u00edcula.<\/p>\n

Do mesmo xeito que Donostia po\u00f1er\u00e1 a trav\u00e9s do p\u00fablico os seus ollos sobre o que aconteza no festival, o cinema tam\u00e9n viu a cidade desde a s\u00faa propia e particular \u00f3ptica. Cando en 1968 os produtores da \u00abBatalla de Inglaterra<\/a>\u00ab, decidiron rodar unha escena cun bombardeo sobre a cidade de Berl\u00edn, pensaron que a famosa avenida Unter dean Linden deb\u00eda ser a localizaci\u00f3n ideal para esas tomas. As s\u00faas pretensi\u00f3ns chocaron coas autoridades comunistas que controlaban a zona este de a cidade, polo que tras unha gran procura de escenarios seleccionaron a Avenida da Liberdade donostiarra para rodar esas escenas. O aire burgu\u00e9s e elegante do ensanche da cidade reproduc\u00eda \u00e1 perfecci\u00f3n a vida urbana da capital alem\u00e1, co \u00fanico inconveniente de que os actores que na pel\u00edcula protex\u00edanse das bombas entrando no metro berlin\u00e9s, deb\u00edan entrar agach\u00e1ndose aos poucos nunhas falsas bocas de metro de cart\u00f3n pedra colocadas nas beirarr\u00faas da avenida.<\/p>\n

Mais al\u00e1 da imaxe de aparencia de ambas as cidades, son a s\u00faa escala, o seu ambiente e a s\u00faa elegancia manierista o que decidiu o escenario, enchendo de esv\u00e1sticas e uniformes do III Reich as beirarr\u00faas da Avenida.<\/p>\n

\"Avenida<\/a>
Avenida da Libertade, San Sebasti\u00e1n na pel\u00edcula \u00abBatalla de Inglaterra\u00bb<\/span><\/figcaption><\/figure>\n

Pero talvez se hai unha pel\u00edcula que poida resumir esa simetr\u00eda contraditoria entre albergar o festival e sa\u00edr nas s\u00faas pantallas, esa poida ser \u00ab27 horas<\/a>\u00ab, a segunda longametraxe de Montxo Armendariz, rodado integramente na cidade donostiarra. A pel\u00edcula exhibiuse no Zinemaldi de 1986, mostrando as 27 horas de vida duns personaxes que ocupan o porto, a ponte do Kursaal ou a parte vella donostiarra na s\u00faa vida coti\u00e1. A illa aparece como un punto de ruptura. Se na vida coti\u00e1 dos cidad\u00e1ns \u00e9 un referente visual permanente desde gran parte da cidade, o seu afastamento e a imposibilidade de ser alcanzada conf\u00edrelle sempre un aire misterioso. \u00c9 esa calidade a que Armendariz aproveita para rematar a s\u00faa pel\u00edcula e establecer a met\u00e1fora de que unha vez dado o paso de chegar \u00e1 illa, xa non haber\u00e1 volta atr\u00e1s.<\/p>\n

\"\"<\/a>
Escena de \u00ab27 horas\u00bb, o segundo longametraxe de Montxo Armendariz<\/span><\/figcaption><\/figure>\n

A utilizaci\u00f3n da cidade, dos seus espazos no cinema \u00e9 algo natural e sen d\u00fabida enriquecedor ao demostrar que eses espazos pos\u00faen novos significados que mesmo en ocasi\u00f3ns pasan desapercibidos para os seus habitantes. Durante este Zinemaldi esta relaci\u00f3n entre cidade, arquitectura e cinema verase en centos de pel\u00edculas e como case sempre a realidade superar\u00e1 \u00e1 ficci\u00f3n.<\/p>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. arquitecto
\nSan Sebasti\u00e1n. Setembro 2011<\/p>\n

Publicado en ZAZPIKA 21.09.2011<\/em>[:en]

\"\"<\/a>
\u00abPapillon\u00bb by Franklin J. Schaffner<\/span><\/figcaption><\/figure><\/p>\n

During these days the scenes of the Kursaal and of the Victoria Eugenia will receive the next edition of the international festival of cinema of San Sebastian<\/a>. From another more remote point of view, it will be the own city native of San Sebastian the one that uses as scene to the own festival. The architecture and the urbanism of the city will form the human space in which the movies will be debated, the actors will be chased and the prizes will be discussed.<\/p>\n

The urbanism of San Sebastian is one of the examples most valued for the schools of architecture of the whole world. The form in which the growths of the urban center could respect the historical hull, while they were promoting the relation of the city with his natural environment, the bay, the river and the distant mounts are still today a motive of continued study.<\/p>\n

\"Kursaal<\/a>
Kursaal in San Sebasti\u00e1n by Rafael Moneo<\/span><\/figcaption><\/figure>\n

The contemporary architecture of the city has respected ideal this one of urban implantation. The Kursaal de Rafael I Clown around there was reinterpreting the river mouth of the Urumea and his relation with the mounts Urgull and Ul\u00eda across the metaphor of two rocks beached in the beach of the Zurriola, what the prize supposed Mies Van der Rohe, the prize to a more important architectural work granted in Europe.<\/p>\n

The recently inaugurated work of rehabilitation and extension of the museum San Telmo, realized by the architects Nieto and Sobejano, returns to affect in the relation of the architecture with the natural elements and articulates in his front of smelting aluminium the whole speech on this subject matter. The skin of the new extension is perforated raising a rereading of the natural orifices that the erosion of the sea believes in the blocks of sandstone of the mount Urgull and in those who grow small plants and grasses. An irrigation for drip integrated to the front allows the growth of plants that are served the orifices of the new wall of aluminium to see the exterior of the square Zuloaga.<\/p>\n

If the city is the frame, the environment in the one that develops the life of his inhabitants, the cinema needs from the same scenes to be able to count by means of the stills printed in the celluloid histories of all kinds. There have been multiple the occasions in which spaces of our next environment have been used to form a part, as one more actor, of movies of all kinds.<\/p>\n

\"rehabilitaci\u00f3n<\/a>
Rehabilitation and extension of the museum San Telmo, realized by the architects Nieto and Sobejano<\/span><\/figcaption><\/figure>\n

A good example is \u00abPapillon<\/a>\u00bb of the director Franklin J. Schaffner, released in 1973, was located the beginning of the history in Hondarribia’s old town. Steven McQueen y Dustin Hoffman they parade close to a prisoners’ company guarded the French army of way to the prisons of the French Guiana embarking in Hondarribia and before the attentive look of hundreds of citizens who occupy his crowded Avenue. The urban space of leisure that forms the Avenue, occupied by children who play and elderly fishermen who rest in the shade of the banana growers in the center of Hondarribia’s hull it contrasts with the hardness of the traffic of the convicts towards his prison that for many will be his end. Somehow the cinema looks not only for the image of the city, but his essence and the feelings that these spaces generate to introduce them in the movie.<\/p>\n

As Donostia will put across the public his eyes on what it happens in the festival, the cinema also has seen the city from his own and particular optics. When in 1968 the producers of the \u00abBattle of Britain<\/a>\u00ab, they decided to roll a scene with a bombardment on the city of Berlin, thought that the famous avenue Unter is given by them Adjoin it had to be the ideal location for these captures. His pretensions hit with the communist authorities that were controlling the zone this one of the city, for what after a great search of scenes they selected the Avenue of the Freedom native of San Sebastian to roll these scenes. The bourgeois and elegant air of the widening of the city was reproducing to the perfection the urban life of the German capital, with the inconvenient only one of which the actors who in the movie were protected from the bombs entering the Berlin meter, they had to enter stooping little by little in a few false tube station entrances of papyrolit placed in the sidewalks of the avenue.<\/p>\n

Beyond the image of appearance of both cities, it are his scale, his environment and his elegance manierista what decided the scene, filling of esv\u00e1sticas and uniforms of the IIIrd Reich the sidewalks of the Avenue.<\/p>\n

\"Avenida<\/a>
Avenue of the Freedom, San Sebastian in the movie \u00abBattle of Britain\u00bb<\/span><\/figcaption><\/figure>\n

But maybe if there is a movie that could summarize this contradictory symmetry between sheltering the festival and going out on his screens, this could be \u00ab27 hours<\/a>\u00ab, the Montxo Armendariz’s second full-lenght film, rolled entirely in the city native of San Sebastian. The movie showed itself in the Zinemaldi of 1986, showing 27 hours of life of a few prominent figures that there occupy the port, the bridge of the Kursaal or the old part native of San Sebastian in his daily life. The island appears as a point of break. If in the daily life of the citizens it is a visual permanent modal from great part of the city, his withdrawal and the inability to be reached awards always a mysterious air. It is this quality of the one that Armendariz takes advantage to finish off his movie and to establish the metaphor of which once in view of the step of coming to the island, already it will not have gone back.<\/p>\n

<\/a>
Scene of \u00ab27 hours\u00bb, the Montxo Armendariz’s second full-lenght film<\/span><\/figcaption><\/figure>\n

The utilization of the city, of his spaces in the cinema is something natural and no doubt wealth-producingly on having demonstrated that these spaces possess new meanings that enclosed in occasions happen unnoticed for his inhabitants. During this Zinemaldi this relation between city, architecture and cinema will be seen in hundreds of movies and since almost always the reality will overcome to the fiction.<\/p>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. architect
\nSan Sebasti\u00e1n. September 2011<\/p>\n

Published in ZAZPIKA 21.09.2011<\/em>[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Durante estos d\u00edas los escenarios del Kursaal y del Victoria Eugenia recibir\u00e1n la edici\u00f3n del festival internacional de cine de San Sebasti\u00e1n. Desde otro punto de vista m\u00e1s alejado, ser\u00e1 la propia ciudad donostiarra la que sirva de escenario al propio festival. La arquitectura y el urbanismo de la ciudad configurar\u00e1n el espacio humano […]<\/p>\n","protected":false},"author":31,"featured_media":59710,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33,3,1460,5951,1388],"tags":[12471,318,516,521,577,4285,8912,9176,976,6158,2274,12468],"class_list":["post-16640","post","type-post","status-publish","format-standard","has-post-thumbnail","category-arquitectos","category-capturas","category-cine","category-slider-principal","category-urbanismo","tag-cine","tag-ciudad","tag-espana","tag-festival","tag-inigo-garcia-odiaga","tag-jose-rafael-moneo-valles","tag-nieto-sobejano-arquitectos","tag-pais-vasco","tag-premio-mies-van-de-rohe","tag-san-sebastian","tag-urbanismo"],"yoast_head":"\n[:es]Los escenarios del cine | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Os escenarios do cinema | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]The scenes of the cinema | \u00cd\u00f1igo Garc\u00eda Odiaga[:] - 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